Alfred Stieglitz, Marcel Duchamp’s Fountain, 1917, gelatin silver print, 23.5 x 17.8 cm. Private Collection.(image courtesy of Francis Naumann Fine Art)

Marcel Duchamp - Fountain An Homage

Francis Naumann Fine Art, New York

April 10 - May 26, 2017 

Opening reception Monday, April 10, 6 - 8pm


Saâdane Afif, Aldwyth, Caroline Bachmann, John Baldessari, Stefan Banz, Ray Beldner, Mike Bidlo, Ecke Bonk,  Marcel Dzama, Pablo Echaurren, Kathleen Gilje, Tom Hackney, Rudolf Herz, Don Joint, Pamela Joseph, Larry Kagan, Alexander Kosolapov, Joseph Kosuth, Sherrie Levine, Carlo Maria Mariani, Sophie Matisse, Saul Melman, Richard Pettibone, Jonathan Santlofer, Peter Saul, Tom Shannon, Sturtevant, Douglas Vogel, Ai Weiwei, Tetsuya Yamada 

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Tom Hackney: The Thought Game (le jeu mental)Kunsthalle Marcel Duchamp | The Forestay Museum of Art[photo © Stefan Banz courtesy of KMD]

Tom Hackney: The Thought Game (le jeu mental)

Kunsthalle Marcel Duchamp, Cully

20 November - 22 January 2017 

Preview Saturday November 19, 6 to 8pm


Tom Hackney’s works are directly related to Marcel Duchamp’s concept of the ‘instantaneous state of rest’ but in a style of painting characteristic of the Zürich Concrete artists, not only giving the idea of ‘movement’ a new dimension but also embracing a fruitful reason for the appropriation or reanimation of abstract painting today.

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FORMWORK
George Charman & Tom Hackney
dalla Rosa Gallery, London 

FORMWORK

George Charman & Tom Hackney

dalla Rosa Gallery London

4 November - 3 December 2016 

Preview Thursday 3 November, 6.30 - 8.30 pm 


FORMWORK inaugurates a series of two-person exhibitions hosted by dalla Rosa with the aim of creating a dialogue between artists that have not previously worked together but share similar interests and influences. George Charman and Tom Hackney are both based in London and have been exploring the possibilities of concrete while developing other sides of their practices, specifically drawing (Charman) and painting (Hackney). The fascination with materials and processes is a clear trait d’union that runs through their work, together with an interest in perception modelled on grids and repetition. 

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Corresponding Squares: Painting the Chess Games of Marcel Duchamp

Duchamp's Chess Knight, 1943, and Arnold T. Rosenberg's 1958 photograph, with Chess Painting No. 2 & No. 64







[photo © Austin Fuller courtesy of the World Chess Hall of Fame]

Corresponding Squares

Painting the Chess Games of Marcel Duchamp

May 19 – Sept 11, 2016

Corresponding Squares: Painting the Chess Games of Marcel Duchamp, is Tom Hackney’s first solo show in the United States. Hackney is a young British painter who has created geometric abstractions based on the movement of pieces in games of chess. In the case of the present exhibition, they are games played by the celebrated French artist and chess player, Marcel Duchamp. Duchamp once remarked that playing a game of chess was like making a drawing. “The chess pieces are the block alphabet which shapes thoughts,” he explained, “and these thoughts, although making a visual design on the chessboard, express their beauty abstractly, like a poem.” In Hackney’s pictures, the beauty in those games is captured and made visible in a single static image. It was Duchamp’s goal to elevate art from a purely visual experience to something more cerebral, an aspiration that Hackney unquestionably accomplishes in these paintings whose beauty is generated entirely by ideas that took place on the 64 squares of a chessboard.

4652 Maryland Avenue, Saint Louis, MO 63108

www.worldchesshof.org

(installation view: Karl Hikade, Walter Angerer-Niketa, Tom Hackney)

Reduction

Nov 20, 2015 – Jan 10, 2016

zs art
Westbahnstr. 27-29
1070 Vienna, Austria
(in association with Ambacher Contemporary)

Walter Angerer-Niketa, Tom Hackney, Karl Hikade, Eric Kressnig, Alfred J. Noll


Minimalism strives for objectivity, clarity and logic. And although the reduction to simple, lucid and usually geometrical basic forms (‘primary structures’) is typical of this direction in art, it is nonetheless entirely possible to read such extremely reductive works narratively.  Their titles help us to grasp the often philosophical symbolism behind them. Looked at in this way, reduction means not simplification but the concentration of an extensive mental world down to its fundamental core. 

REDUCTION is accompanied by a 64 page fully illustrated exhibition catalogue.