CASSELMAN
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BIOGRAPHY
STANLEY CASSELMAN
JARDIN DE NUIT
Spectacle Into Paint
Text by Joachim Pissaro
CURRICULUM
VITAE
BORN
1963
Phoenix, Arizona
EDUCATION
1985
Bachelor of Arts, Pitzer College, Claremont, California
1984
Richmond College, London, England
SOLO EXHIBITIONS
2023
Fleurish: The Art of Naeem Khan (KACE), curated by Joanna Robotham, The Tampa Museum of Art
2022
Jardin Noir (KACE), curated by Holly Baxter, Gallery 181, San Francisco, CA (text)
2021
Vibrato, Eduardo Secci, curated by Dr. David Anfam, Milan, Italy (text)
15 Degrees of Entropy, Lowell Ryan Projects, Los Angeles, CA
2019
Labyrinths of Light, curated by Dr. David Anfam, Gazelli Art House, Baku, Azerbaijan (catalogue)
lightBEINGS, in collaboration with ThreeAsfour, Peter B. Lewis theater, Solomon R. Guggenheim Museum, New York, NY
2017
Presence, Jim Kempner Fine Art, New York, NY
Full Circle, Gazelli Art House, London, England (catalogue)
2016
Through Frequencies, Brintz Galleries, Palm Beach, FL
Blur & Focus, Scott White Contemporary Art, San Diego, CA (catalogue)
2015
143 miles per second, Jim Kempner Fine Art, New York, NY (catalogue)
The Physics of Surface Tension, Brintz Galleries, Palm Beach, FL
2014
47, Jim Kempner Fine Art, New York, NY
2013
In an Instant, Scott White Contemporary Art, La Jolla, CA
GROUP EXHIBITIONS
2023
Dads, Westbeth Gallery, curated by James Gortner, New York, NY
2022
In America: An Anthology of Fashion, curated by Andrew Bolton, Jessica Regan, Amilia Peck and Sylvia Yount, The Metropolitan Museum of Art, New York, NY
2019
God Always Knows, AB Gallery, curated by William Quigley, East Hampton, NY
2018
Points Of Light In A Nocturnal World, curated by John Newsom, 7 Herkimer Place, Brooklyn, NY
2017
The Approach, Gazelli Art House, Baku, Azerbijan
2016
Gold, Brintz Galleries, Palm Beach, FL
2015
The Approach, celebrating Gazelli’s 5th year, Gazelli Art House, London, England
Icons: The Art of Appropriation, Sotheby’s S/2, New York, NY
New Acquisitions, Coral Springs Museum of Art, Coral Springs, FL
Small Works, curated by Dru Arstark, Jim Kempner Fine Art, New York, NY
2014
Red Tape, Stanley Casselman and Hyo Myoung Kim, curated by Mila Askarova, Gazelli Art House, London, England
2013
Summer Group Show: William Glen Crooks, Stanley Casselman, Ross Bleckner, Scott White Contemporary Art, La Jolla, CA
2012
Let There Be Light, curated by Mila Askarova, Gazelli Art House, London, England (catalogue)
Summer Group Show, curated by Scott White, Scott White Contemporary Art, La Jolla, CA
2010
2010 Light Art Biennial, private light in public spaces, curated by Laura Plana Gracia, Linz, Austria
Simulation: R.E.M., curated by Sondra Tannenbaum, Salon Ciel, D’Mai Urban Spa, Brooklyn, NY
1999
99 Miller Durazo Fine Art, Los Angeles, California
1994
What’s Next, James White Gallery, Beverly Hills, California
1991
Professors Choice no.4, Lang Art Gallery, Claremont, California
1990
3 Artist, The International Gallery, Santa Monica, California
1989
Gallery Artists, Gallery Vega, Santa Barbara, California
1988
Professor’s Choice no.3, Lang Art Gallery, Claremont, California
1986
Rough and Tough, Above the Stud Gallery, San Francisco, California
1985
Ink and Clay IX, Cal Polytechnic Institute, Pomona, California
MUSEUM AND PUBLIC COLLECTIONS
Borusan Contemporary, Istanbul
Coral Springs Museum of Art
Flint Institute of Arts
Fredrick R. Weisman Art Foundation
Georgia Museum of Art
New Orleans Museum of Art
REVIEWS AND PUBLIC COLLECTIONS
05-21-19
Art lovers can travel through “Labyrinths of Light”, by Laman Ismayilova, AzerNews
06-13-17
03-18-15
Iconic Surfaces, by Bruce Helander, Huffington Post,
10-13-14
03-17-14
Interview with Stefania Elena Carnemolla, Wall Street International, Red Tape
01-06-14
Interview with Brainard Carey, Yale Radio WYBC
03-02-13
Review by Elenore Welles, Art Scene Cal
12-03-12
How to Fake a Richter, by Jerry Saltz, New York Magazine, Dec 1, 2012
10-31-11
Interview with Temma Stauffer for Mana Fine Arts
11-30-98
Feature interview with host Jennifer Convey on Awesome Interiors, HGTV
11-23-98
Interview with Chris Lenutti on Planet FM Chicago, WPGU
08-07-95
Interview with Daniela Attwood on Radio CD FM, Vienna Austria
05-29-95
Kronen Zeitung, Vienna Austria
01-01-93
The Los Angeles Downtown News, Los Angeles, California
09-01-92
Review Magazine, Denver, Colorado
06-30-89
The Santa Barbara News Press, Santa Barbara, California
CURRICULUM VITAE
Art and fashion, both inherently predicated on aesthetics, share a fascination for the spectacular and sensorial interplay of rich colors, textures, and materials: These overlapping creative sparks are precisely what prompted KACE, a two individual collective, to enter into an intersubjective exchange where each partner could bring his own aesthetic strength to the table. In their union, KACE bridge the gap between art and fashion, and ultimately transcend that gap. They thrust the viewer into a novel experience that defies simple definition.
The Jardin de Nuit paintings are a testament to this fated meeting of minds. They feature flowers of various sizes, composed entirely of sequins meticulously sewn to a silkscreen backing—a skill that requires hundreds of hours. In turn, these flowers appear to spring forth from thick swashes of vibrant hues that accrete into diverse bands of pigments—some matte, some glistening, as the pigments are poured through one side of the silkscreen canvas and slowly drip to the other.
Yes—a truly unheard of technique is the fruit of this fascinating duo and one almost has to see it to believe it.
In 1950, Hans Namuth famously filmed Jackson Pollock while painting. His iconic stills of Pollock have permeated the collective consciousness and immediately come to mind anytime one encounters this “drip technique” he pioneered. At one point, Namuth ingeniously positioned himself below a piece of glass that Pollock was painting on. Looking up, he captured a moment that phenomenologically speaks to the act of the painting itself, while it anticipates the process evolved by KACE: the paint, liquid, following the pull of its lyrical gravity, in drubs and drabs, forms droplets, filaments, lines, and blobs. Once gravity did its job, KACE (unlike Pollock who stopped there), intervene actively, and with squeegees, brushes and other tools, help the paint go through one more level to transpire down through the silkscreen membrane and form various accretions of paint on the other side—which will become the final work.
Simply imagine Jackson Pollock painting from the back of his canvases, to see what happens as the paint seeps through his porous canvas. Better yet: imagine a collaboration between Pollock and Andy Warhol, where Warhol provides vast silkscreens, and then the two, like seasoned chefs, go at it from each side of the surface, to see what happens. This unique pictorial accord, this remarkable dual technical prowess, developed by KACE, is nothing short of spectacular.
CURRICULUM VITAE
BORN
1963
Phoenix, Arizona
EDUCATION
1985
Bachelor of Arts, Pitzer College, Claremont, California
1984
Richmond College, London, England
SOLO EXHIBITIONS
2023
Fleurish: The Art of Naeem Khan (KACE), curated by Joanna Robotham, The Tampa Museum of Art
2022
Jardin Noir (KACE), curated by Holly Baxter, Gallery 181, San Francisco, CA (text)
2021
Vibrato, Eduardo Secci, curated by Dr. David Anfam, Milan, Italy (text)
15 Degrees of Entropy, Lowell Ryan Projects, Los Angeles, CA
2019
Labyrinths of Light, curated by Dr. David Anfam, Gazelli Art House, Baku, Azerbaijan (catalogue)
lightBEINGS, in collaboration with ThreeAsfour, Peter B. Lewis theater, Solomon R. Guggenheim Museum, New York, NY
2017
Presence, Jim Kempner Fine Art, New York, NY
Full Circle, Gazelli Art House, London, England (catalogue)
2016
Through Frequencies, Brintz Galleries, Palm Beach, FL
Blur & Focus, Scott White Contemporary Art, San Diego, CA (catalogue)
2015
143 miles per second, Jim Kempner Fine Art, New York, NY (catalogue)
The Physics of Surface Tension, Brintz Galleries, Palm Beach, FL
2014
47, Jim Kempner Fine Art, New York, NY
2013
In an Instant, Scott White Contemporary Art, La Jolla, CA
GROUP EXHIBITIONS
2023
Dads, Westbeth Gallery, curated by James Gortner, New York, NY
2022
In America: An Anthology of Fashion, curated by Andrew Bolton, Jessica Regan, Amilia Peck and Sylvia Yount, The Metropolitan Museum of Art, New York, NY
2019
God Always Knows, AB Gallery, curated by William Quigley, East Hampton, NY
2018
Points Of Light In A Nocturnal World, curated by John Newsom, 7 Herkimer Place, Brooklyn, NY
2017
The Approach, Gazelli Art House, Baku, Azerbijan
2016
Gold, Brintz Galleries, Palm Beach, FL
2015
The Approach, celebrating Gazelli’s 5th year, Gazelli Art House, London, England
Icons: The Art of Appropriation, Sotheby’s S/2, New York, NY
New Acquisitions, Coral Springs Museum of Art, Coral Springs, FL
Small Works, curated by Dru Arstark, Jim Kempner Fine Art, New York, NY
2014
Red Tape, Stanley Casselman and Hyo Myoung Kim, curated by Mila Askarova, Gazelli Art House, London, England
2013
Summer Group Show: William Glen Crooks, Stanley Casselman, Ross Bleckner, Scott White Contemporary Art, La Jolla, CA
2012
Let There Be Light, curated by Mila Askarova, Gazelli Art House, London, England (catalogue)
Summer Group Show, curated by Scott White, Scott White Contemporary Art, La Jolla, CA
2010
2010 Light Art Biennial, private light in public spaces, curated by Laura Plana Gracia, Linz, Austria
Simulation: R.E.M., curated by Sondra Tannenbaum, Salon Ciel, D’Mai Urban Spa, Brooklyn, NY
1999
99 Miller Durazo Fine Art, Los Angeles, California
1994
What’s Next, James White Gallery, Beverly Hills, California
1991
Professors Choice no.4, Lang Art Gallery, Claremont, California
1990
3 Artist, The International Gallery, Santa Monica, California
1989
Gallery Artists, Gallery Vega, Santa Barbara, California
1988
Professor’s Choice no.3, Lang Art Gallery, Claremont, California
1986
Rough and Tough, Above the Stud Gallery, San Francisco, California
1985
Ink and Clay IX, Cal Polytechnic Institute, Pomona, California
MUSEUM AND PUBLIC COLLECTIONS
Borusan Contemporary, Istanbul
Coral Springs Museum of Art
Flint Institute of Arts
Fredrick R. Weisman Art Foundation
Georgia Museum of Art
New Orleans Museum of Art
REVIEWS AND PUBLIC COLLECTIONS
05-21-19
Art lovers can travel through “Labyrinths of Light”, by Laman Ismayilova, AzerNews
06-13-17
03-18-15
Iconic Surfaces, by Bruce Helander, Huffington Post,
10-13-14
03-17-14
Interview with Stefania Elena Carnemolla, Wall Street International, Red Tape
01-06-14
Interview with Brainard Carey, Yale Radio WYBC
03-02-13
Review by Elenore Welles, Art Scene Cal
12-03-12
How to Fake a Richter, by Jerry Saltz, New York Magazine, Dec 1, 2012
10-31-11
Interview with Temma Stauffer for Mana Fine Arts
11-30-98
Feature interview with host Jennifer Convey on Awesome Interiors, HGTV
11-23-98
Interview with Chris Lenutti on Planet FM Chicago, WPGU
08-07-95
Interview with Daniela Attwood on Radio CD FM, Vienna Austria
05-29-95
Kronen Zeitung, Vienna Austria
01-01-93
The Los Angeles Downtown News, Los Angeles, California
09-01-92
Review Magazine, Denver, Colorado
06-30-89
The Santa Barbara News Press, Santa Barbara, California
Stanley Casselman is a New
York-based artist whose
sumptuously calculated
surfaces are motivated by a
sense of awe and wonderment
in the intangible spiritual
elements of our being.
Casselman is deeply
committed to the notion that
color, line, and form have the
ability to change cognizance.
Casselman is deeply committed
to the notion that color, line,
and form have the ability to change cognizance. The known and speculative forces that create the lattice of our physical reality are often an undercurrent within his paintings. Baroque yet simplistic, his process reveals itself in a spectrum of layers and strokes, exploring a range of emotions in an efficacious search for higher consciousness.
Casselman’s process is one of contradiction; it reconciles skill with randomness and control with chance. Wearing white coveralls and hair nets and working in an immaculately cleaned studio space, the artist pours pools of paint on the top edge of the polyester, pulls a mammoth self-designed tool called a “flat bar spreader” from top to bottom, and repeats the process to add layers. From layer to layer––and sometimes even within a single “run” over the surface––he will change the angle and/or pressure of the device. Along with the volume of paint poured at the edge, it is this carefully honed technique of the “pull” that renders the pulsing meter of the paintings’ surfaces.
Casselman (born in Phoenix, AZ) received his Bachelor of Arts from Pitzer College, Claremont, CA. His works have been exhibited nationally and internationally at galleries and museums, including Solomon R. Guggenheim Museum, New York, NY; Gazelli Art House, Baku, Azerbijan and London, UK; Lowell Ryan Projects, Los Angeles, CA; and Brintz Galleries, Palm Beach, FL. His works are part of the collections of the New Orleans Museum of Art, New Orleans, LA; Frederick R. Weisman Art Foundation, Los Angeles, CA; Flint Institute of Arts, Flint, MI; and Borusan Contemporary, Istanbul, among others.
Art and fashion, both inherently predicated on aesthetics, share a fascination for the spectacular and sensorial interplay of rich colors, textures, and materials: These overlapping creative sparks are precisely what prompted KACE, a two individual collective, to enter into an intersubjective exchange where each partner could bring his own aesthetic strength to the table. In their union, KACE bridge the gap between art and fashion, and ultimately transcend that gap. They thrust the viewer into a novel experience that defies simple definition.
The Jardin de Nuit paintings are a testament to this fated meeting of minds. They feature flowers of various sizes, composed entirely of sequins meticulously sewn to a silkscreen backing—a skill that requires hundreds of hours. In turn, these flowers appear to spring forth from thick swashes of vibrant hues that accrete into diverse bands of pigments—some matte, some glistening, as the pigments are poured through one side of the silkscreen canvas and slowly drip to the other.
Yes—a truly unheard of technique is the fruit of this fascinating duo and one almost has to see it to believe it.
In 1950, Hans Namuth famously filmed Jackson Pollock while painting. His iconic stills of Pollock have permeated the collective consciousness and immediately come to mind anytime one encounters this “drip technique” he pioneered. At one point, Namuth ingeniously positioned himself below a piece of glass that Pollock was painting on. Looking up, he captured a moment that phenomenologically speaks to the act of the painting itself, while it anticipates the process evolved by KACE: the paint, liquid, following the pull of its lyrical gravity, in drubs and drabs, forms droplets, filaments, lines, and blobs. Once gravity did its job, KACE (unlike Pollock who stopped there), intervene actively, and with squeegees, brushes and other tools, help the paint go through one more level to transpire down through the silkscreen membrane and form various accretions of paint on the other side—which will become the final work.
Simply imagine Jackson Pollock painting from the back of his canvases, to see what happens as the paint seeps through his porous canvas. Better yet: imagine a collaboration between Pollock and Andy Warhol, where Warhol provides vast silkscreens, and then the two, like seasoned chefs, go at it from each side of the surface, to see what happens. This unique pictorial accord, this remarkable dual technical prowess, developed by KACE, is nothing short of spectacular.