Kevin Appel in his studio, Los Angeles, CA, 2023.
Kevin Appel (b. 1967 in Los Angeles, CA) has been the subject of solo exhibitions at Miles McEnery Gallery, New York, NY; Christopher Grimes Gallery, Santa Monica, CA; Susanne Vielmetter Los Angeles Projects, Culver City, CA; ACME., Los Angeles, CA; The Suburban, Chicago, IL; Two Rooms Gallery, Auckland, New Zealand; Marianne Boesky Gallery, New York, NY; and Wilkinson Gallery, London, United Kingdom. His work has been included in group exhibitions at numerous institutions including the Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, CA; Institute of Contemporary Art, Philadelphia, PA; Kunstmuseum Brandts, Odense, Denmark; Museum of Contemporary Art Pacific Design Center, Los Angeles, CA; The Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; and the Walker Art Center, Minneapolis, MN, among others.
Appel’s work is held in the public collections of the Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art, Los Angeles, CA; The Museum of Modern Art, New York, NY; The New York Public Library, New York, NY; Rhode Island School of Design, Providence, RI; Walker Art Center, Minneapolis, MN; and the Saatchi Collection, London, United Kingdom.
Appel received a Master of Fine Arts from the University of California, Los Angeles and a Bachelor of Fine Arts from Parsons School of Design in New York. He is a Professor of Art and currently serves as Art Department Chair at the Claire Trevor School of the Arts, University of California, Irvine.
Appel lives and works in Los Angeles, CA.
We are thrilled to return to The Armory Show for the fair's 2023 edition at the Javits Center.
The UCI Institute and Museum for California Art is pleased to present:
First Glimpse: Introducing the Buck Collection
Curated by Kevin Appel, Cécile Whiting, and Stephen Barker.
September 29, 2018 – January 5, 2019
Opening Reception: 29 September, 2018 | 2:00 – 5:00 p.m.
Join us at this week’s Lunch on Fridays talk to hear from visiting artist Kevin Appel, whose paintings explore the relationship between physical space, architecture and the painted image. Using photographs as a ground to build his painting, he applies layers of paint that act as screens, compressing the perceived space.
Two works by Kevin Appel, House - South Rotation Red: 4 West and Houses and Timbers I, are included in a group exhibition, Endless House: Intersections of Art and Architecture, at MoMA from 27 June 2015 - 6 March 2016.
The ever-expanding measurments of paintings has been a topic of interest since the mid-twentieth century when New York School painters first pushed the boundaries of museum walls to ehir limits. In 1947, at the height of the Abstract Expressionist era, the Museum of Modern Art mounted an exhibition called Large-Scale Modern Paintings; to qualify for inclusion, paintings had to measure at least six feet in one direction. Today, a similar set of criteria has been applied to the Art Center's permanent collection to arrive at a group of monumental paintings that are at once impressive and daunting. These larger-thank-life canvases invite an extraordinary visual experience in which the viewer is immersed in the field of painting. XL, which includes work by Kevin Appel, Roger Brown, Nancy Graves, Joyce Kozloff, Alfred Leslie, Agnes Martin, Joan Mitchell, and Jules Olitski, is a testament to the enduring visual power of mural-sized painting.
The University Art Galleries (UAG) will mount a solo exhibition of paintings by Ed Moses, utilizing all three galleries and featuring works from the 1960s to the present. Cross-Section will trace the common thematic thread binding Moses’s prolific and continuous act of exploration. In so doing, the philosophical continuity of the artist’s disparate visual strategies will be framed, strategies the artist has repeated and contradicted, as his investigation into the painted form has changed direction or reversed course over the past five decades. The curatorial perspective, in turn, will provide a rhizomatic framework to Moses’s oeuvre – a genealogy of these strategies – in place of the conventional, chronological account typically used by institutions to situate an artist’s work within historical movements alone. An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses’s mutational practice.
Many words have been spilled recently, by artists in particular, over the perennial question: New York or Los Angeles? On the occasion of Kevin Appel’s first solo exhibition in NYC since 2009, and his first ever with Ameringer | McEnery | Yohe it seems we may have found one of the more levelheaded voices yet to enter the conversation. “Los Angeles has always had a bit of an identity crisis, partially due to the external view of L.A. as having this superficial mentality tied to the film industry,” explains the photographer-cum-painter, an Angeleno for all his life save for a brief stint studying in Manhattan. “It doesn’t have a long lineage of a canonical or intellectual history, as opposed to New York.”
The Ghost of Architecture celebrates the addition of important works of art to the Henry’s permanent collection in the last five years.
Curated from recent gifts and promised gifts to the collection, the exhibition focuses on contemporary works that invoke architecture without citing it directly. Architecture or the architectural dimension is referenced by the artists in the show, either as a displaced or isolated fragment, as fantasy or folly, as the site of ordinary or extraordinary events, or as memory or the missing context in larger narratives.
Installation photography R.J. Sánchez
EXPO CHICAGO, The International Exposition of Contemporary and Modern Art, is proud to announce the following list of artists that will participate in IN/SITU. Curated by Shamim M. Momin, Director, Curator, and co-founder of LAND (Los Angeles Nomadic Division), IN/SITU is a key element of the exposition's innovative artistic programming, providing the opportunity for exhibitors to showcase large-scale installations, site-specific and performative works by select international artists. Under the title, “Levity/Gravity,” the program includes work from Diana Al-Hadid, Kevin Appel, Sanford Biggers, Jose Dávila, Dan Gunn, Karl Haendel, Glenn Kaino, Andreas Lolis, Michael Rakowitz, Shinique Smith and Alec Soth.
Painting in Place is a group exhibition of contemporary painting which will be presented in the historic Farmers and Merchants Bank in Downtown Los Angeles (401 South Main Street Los Angeles, CA 90013).
The exhibition will present a wide array of work from contemporary artists that tackle painting from various perspectives, using both traditional and unconventional techniques and media in their approach to the discipline. Exploring various ways sculpture, and installation: blurred, deconstructed, and refigured.
Q+A with Kevin Appel, by Jill Singer
In the long list of ways that New York differs from Los Angeles, we’ve always been particularly fascinated by one: New York can be a very physically demanding place to live, but it is not a difficult city to understand on a psychological level. In Los Angeles, the living is easier, but there seems to be – especially among artists – a constant grappling to define and understand LA as a place. LA artist Kevin Appel explains it this way: “Los Angeles has always had a bit of an identity crisis partially due to the external view of LA as having this superficial mentality tied to the film industry. It doesn’t have a long lineage of a canonical or intellectual history, as opposed to New York.” He should know: Appel is a native Angeleno who has called the city home for almost his entire life – save for a brief stint at Parsons for his BFA – and he’s been steeped in the city’s history and vocabulary since birth. Growing up, his father was an architect and his mother an interior designer, so it makes sense that the city’s structures and surroundings would eventually become his subject matter.
