![]() When Agnes Martin moved out of the third floor of 3-5 Coenties Slip to a studio nearby, the young painter James Rosenquist moved in, where he began his first series of paintings inspired by the atmosphere and conversations about abstraction. I decided that I needed to travel from Brooklyn to the lower part of Manhattan, in an attempt to find the area called Coenties Slip, where in the middle of the last century a loose community of painters lived in illegal warehouse lofts, among them Ellsworth Kelly, Robert Indiana, and Agnes Martin. It was a Saturday afternoon in March, the day before the first day of spring. What follows is a digressive meditation on his work that encompasses the city and its layered histories, as well as thinking through time and space.Įxplore Time Dust–Black Hole and other works by Rosenquist in our online viewing room. ![]() ![]() ![]() On the occasion of the gallery's 2022 exhibition of work by James Rosenquist, The Kasmin Review asked Kate Zambreno to meditate on the elegiac possibilities in the artist’s painting Time Dust–Black Hole. On occasional Saturday mornings, Kasmin shares essays and interviews that expand critically on the work and practice of the gallery artists. ![]()
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