Page 1

KIKI KOGELNIK FALLING

1


KAYNE GRIFFIN


KIKI KOGELNIK FALLING


3


FOREWORD Kayne Griffin is thrilled to present a digital catalogue of Austrian born artist Kiki Kogelnik (1935–1997) in conjunction with the exhibition Kiki Kogelnik - Falling. On view July 10 - August 28, 2021, this presentation marks Kogelnik's first solo exhibition in Los Angeles, California, featuring a selection of early works from the 1960s, including paintings and works on paper never before shown. The paintings of Kiki Kogelnik included in this, her first solo exhibition with Kayne Griffin and her first on the West Coast, possess an irrefutable contemporary feel and energy that belies their age. Beginning in 1960, and tracing her development as artist and as a person over the next four years, they also mark her move from a still battle-scarred Europe to the bright lights of New York via the sun-drenched cities of California. The fifteen paintings and works on paper, many never exhibited before, are exceptional examples of Kogelnik’s use of color and form, mapping her move from abstraction to figuration. These works demonstrate the establishing of themes and motifs that will reoccur throughout her artistic practice. Kogelnik through her life found herself close to those in the vanguard of creativity. From the group of avantgarde artists associated with Galerie nächst St. Stephan, Vienna; the intellectual and creative mêlée of Paris in the 1950s; the embryonic Pop Art scene in New York of the 1960s; the rise of the feminist movement in the 1970s; and the emergence of the punk as found in the club CBGB, just a block from her NoHo studio and home in New York. Kogelnik, while certainly a participant in all of these worlds, always stood apart; perhaps separated by her foreignness, but also by her drive to make work that was uniquely hers. The paintings in the exhibition traverse the length of time in which Kogelnik first embarked on her exploration as a painter alongside her own personal journey of self-discovery within the world at large. The stories of love, sexuality, and death are evident within the narratives she chose to depict. The colors remain consistent, including her signature silver that emphasized the mechanical advancements happening in her surroundings, as well as the introduction of space travel and the dropping of bombs. The works truly encapsulate the bright-eyed gusto of a young Kogelnik. We are grateful to the Kiki Kogelnik Foundation for their support in realizing this exhibition, to Stephen Hepworth, the Foundation’s director, for his insightful essay that eloquently introduces Kogelnik’s work and to Anna Sauer, its archivist, for bringing to light such pertinent letters and writings by the artist and the photographs that bring further character to Kogelnik’s story. This digital catalogue intends to celebrate and share with a wider audience the vibrancy and spirit of Kiki Kogelnik. Reanimating the artist and highlighting this formative time in her life spent on the West Coast through the compilation of never before seen artworks, letters, entries, and personal photographs for the public's view, has been an honor and privilege for the gallery. July 2021

Left: Kiki Kogelnik with her painting Self Portrait in her studio on 940 Broadway, New York, 1964 4


Kiki Kogelnik and Sam Francis in front of Francis' Around the Blues, 1957, 1962–63, at 940 Broadway, New York, 1962 5


FALLING FOR EUROPE FALLING FOR COLOR FALLING FOR SAM FALLING FOR AMERICA FALLING FOR THE SCENE FALLING FOR THE BODY FALLING FOR SPACE FALLING FOR KIKI

6


By her early twenties, the Austrian born Kiki Kogelnik had become an inveterate traveler; crisscrossing Europe with her college friends such as Hans Hollein and Peter Kubelka in a shared car, hitchhiking, taking trains, buses or boats. Her passport from that period is littered with entry and exit stamps and provides evidence of a quest for a place outside of war-scarred Vienna and its constricting values. Having studied art at both the Academy of Applied Arts Vienna and the Academy of Fine Arts Vienna alongside Maria Lassnig and Arnulf Rainer—she was engaged to the latter at the age of 21—she soaked in the art that she saw and delighted in the people she met. In the last six months of 1959, she travelled to Italy, France, Denmark, Norway, England, and Ireland. While in Paris, she met Joan Mitchell and Sam Francis with the French sculptor César. Francis had been living in Paris since 1950, where he had become a bilingual participant in the ever-expanding scene of artists, writers, curators and collectors. The city provided both a powerful artistic and intellectual legacy as well as the impetus to create the new. Kogelnik travelled with artist materials, making work where she could, returning to Austria with new ideas eager to try them out. Her work—originally a somber palette of abstract forms that reflected the influence of a circle of postwar avant-garde artists—connected with the Viennese Galerie nächst St. Stephan, soon became looser and more colorful.

Kiki Kogelnik on Staten Island Ferry, New York, 1963 Opposite page: Kiki Kogelnik in Paris, France, 1950s 7


8


In June 1960, Kogelnik traveled to the Venice Biennale with the visionary artist and architect Friedensreich Hundertwasser, where she bumped into Sam Francis and embarked on an affair that would significantly alter her life. After meeting Francis, she spontaneously added pink to her existing paintings. California Man (1960) demonstrates the addition of this signature ‘Sam pink’ applied in bold squiggles. In an unsent letter from November 1964, she acknowledges his influence on her life: “You really made the whole world pink for me – now I know.” Other works were less cryptic: Oncle Sam (1960) has “SAM” painted across its surface in a rich ochre adorned with splodges of pink paint, while the decidedly American title of I Lost My Chewing Gum (1960)—which also has his name as part of its composition—anticipates a new West Coast lifestyle. Her work from this period gains a painterly urgency as her color palette expands and its application gains a new fluidity. Traveling across Europe with Francis, who was estranged from his third wife, they eventually arrived back in Paris where Francis encouraged her to use his studio and materials to make work. The four untitled works on paper, which were probably made serially in 1960, demonstrate this new confidence. Later Kogelnik took a pair of scissors to three of the works and cut away the extraneous ground, isolating the forms and emphasizing their dynamics in a gesture that was to prefigure her mode of working, in which this piece of equipment would play a central role. By the end of 1960, Kogelnik had acquired a nonimmigrant visa to travel to and stay in the USA with the start date December 2, 1960, but only managed to travel to New York on April 12, 1961, staying for just three weeks before returning to Switzerland to the side of Francis, who was confined to hospital in Berne with urogenital tuberculosis. She didn’t fully move to New York until September 1962.

9


Kiki Kogelnik, California Man, 1960, Oil on canvas Kiki Kogelnik, I Lost My Chewing Gum, 1960, Oil on canvas 10


Kogelnik wrote regularly to her mother, Siglinde, back in Bleiburg, Southern Austria. On April 17, 1961, she described her first impressions: At first, New York is shocking. Lots of ugly houses and stores – not at all the way one would imagine it […]. But still great. I think it’s important that I’m here. Yesterday, I was out with Sam’s friends. Francis had given Kogelnik his studio at 940 Broadway as a place to stay, in the same building as his friends, the painters Alfred Leslie and Al Held, and it was here that she set about creating a space to live and work. April 25:

Today, I’m waiting for the furniture pieces from the Salvation Army – bought used things there for my studio. 2 mirrors, 1 writing desk, 3 wicker chairs, 1 kitchen table to mix paint. I already primed the canvases and bought paint. […] I already like N.Y. a lot. […] In the last days, it was also warmer outside. Until then, there hadn’t been a sign of spring yet. But the skyscrapers can’t create blossoms and you don’t see many trees here. I’m eating in a healthy way here. I have never seen such beautiful fruit in my entire life as I do here.

After returning to Europe, by the end of June, Kogelnik had found places to live and work in both Berne and Vienna, in addition to her mother’s house in Bleiburg. She embarked on making work for her first solo exhibition, which took place at Galerie nächst St. Stephan in Vienna and opened on October 9, 1961. Otto Mauer, the founder of the gallery and a Roman Catholic priest, wrote in an accompanying esoteric text of Kogelnik’s joie de vivre, but also of artificiality, making reference to “the thousand lively colors of Broadway in New York” and asserting that “the artificial really has as much to do with art as nature.” The exhibition brought her early recognition as an artist at the age of 26 in the country of her birth. In May the following year, Kogelnik and a recovering Francis arrived in New York, and by June the couple were living on the West Coast, initially in Santa Barbara before moving for a short period to Billy Brice’s Neutra designed Plywood House in Los Angeles. On July 9, Kogelnik wrote to her mother on the back of a postcard that shows an aerial view of Santa Monica: See the yellow house on the photo! Here I found a one room apartment with kitchen and bathroom, refrigerator, stove, etc. included. There is a road under the big highway right to the beach! I’ll get very brown, am brown already. Sam has not found anything yet. I move in in 2 days there – my new address: K. K. 131 ENTRADA DRIVE APT # 13, SANTA MONICA – I am going to paint there!

11


Kiki Kogelnik at 940 Broadway, New York, 1961 Santa Monica Post Card, 1962 12


Kogelnik made three paintings with the title “Marilyn”. The first, painted in 1960-61 stylistically shares much in common with California Man, with a mixture of angular and curved colored brush strokes. The second, Marilyn (1961), appears to be heralded by a series of oils on paper that are studies of groups of figures both standing and reclining, realized in blue, magenta and green, each brushstroke defining a limb or curve. These works are complimented by a series made in ink on paper that in contrast have a dynamic expressive quality where the line appears to be frantically searching for a form; their frenetic energy a record of a body, or bodies in motion. Bridging these two directions are O - eine Hexe (O - a Witch) and Weißhaarige Hexe (White Haired Witch) both painted in vivid red and pink acrylic on tracing paper which reduce the body’s forms to simplified yet dynamic elements. It is known that Kogelnik was gifted a reproduction of the Venus of Willendorf by Francis’ Swiss dealer Eberhard Kornfeld in July 1961. This Marilyn echoes this fertility symbol’s form in the curves of the hips, the roundness of the belly and the fullness of the bosom, yet possesses the energy of another goddess that she was similarly entranced by: Marilyn Monroe. In a letter to her mother, August 15, 1962, Kogelnik wrote: I am really very sad about Marilyn – she died not far away from here – and at this night at about 1 till 4, [I] could not sleep and was very depressed. When I told this to Sam the next day, he told me Marilyn killed herself. It is dreadful what they do with dead people in this country – her belly was opened and they put her into a city fridge for corpse storing – Nr. 33. Well, poor Marilyn – I collect all the papers – and I have to paint to her glory.

Kiki Kogelnik, Kiki Kogelnik, O - eine Hexe (O – a Witch), c. 1960, Acrylic on tracing paper Kiki Kogelnik, Weißhaarige Hexe (White Haired Witch), c. 1960, Acrylic on tracing paper 13


Kiki Kogelnik, Marilyn Monroe, 1960-1, Oil on canvas Kiki Kogelnik, Marilyn, 1961, Oil and acrylic on canvas Kiki Kogelnik, Marilyn, 1962, Oil and acrylic on canvas 14


Female (1962) replaces the Matisse-like background of Marilyn for the aggressive striped glare of the lights of Broadway. Its splayed amorphous figure is bisected by a tapered band that cuts across the canvas. Seven differently colored circles outlined in silver are aligned along its upper edge. They are connected to a set of similarly ringed blue disks with blackened centers that mark its base by ringed poles similar to the springs found in mechanical engineering. It conveys the rush of speed, both exhilarating and dangerous, three black bombs aim downwards while time is marked by the different phases of four floating moons. Female marks the first appearance of many of the signature motifs that would come to populate her paintings of the 60s. Kogelnik’s reaction to the death of Monroe shows an acknowledgement of the corporality of the body whereas previously she had focused on its form and its sexual potency. This work contains the suggestion of mechanical augmentation and the creation of the artificial human, ideas that would obsess her throughout her career. Untitled (1962) is similarly about establishing new forms and ideas. This two-panel work was begun on the West Coast, before she traveled cross-country by train to New York. On a postcard dated September 10, Kogelnik wrote to her mother: I sit here – 8 o’clock [in the] morning – all packed – only the paintings have to be rolled – but Bill will come and help me – (brushes are washed) – ! Will make a great trip by train to Grand Canyon – Taos – Santa Fee – Chicago, New York – more soon.

Kiki Kogelnik, Transparent Woman, 1965, Acrylic enamel, India ink, and ink on paper Kiki Kogelnik, Transparent Angel, 1965, Enamel and India ink on paper 15


Kiki Kogelnik, Female, 1962, Oil and acrylic on canvas 16


Kiki Kogelnik with her painting Falling in Love Again (previous version) in her studio on 940 Broadway, New York, 1963 17


By September 21, she had arrived back in New York and fully committed herself to living and working in her adopted city. This painting, which had begun as two separate works, was brought together as one and reworked. Parts of the abstract composition were overpainted; circles introduced; parts of figures, traced initially from life onto brown paper, were transferred onto the work’s surface in solid colors; and a silver spaceship made its journey across the sky. This work, with its tangled visual complexity, further announced and defined Kogelnik’s identity as an artist. It marks a period when Kogelnik started to break away from Francis’s circle and became associated with the practitioners of the “new direction” which would become known as Pop Art. Recalling Kogelnik in the catalogue for her 1998 retrospective at Österreichische Galerie Belvedere, Vienna, in the year after her death, Claus Oldenburg wrote: “She was to be seen in the early sixties in costumes using materials, fake fur and vinyls, which were just coming out, they made her into a sort of walking work of art.” Andy Warhol, when asked in 1964 to contribute to a catalogue for her first North American solo show at Jerrold Morris International Gallery in Toronto, just wrote the word “Great” 25 times. A decidedly dewy-eyed Roy Lichtenstein appears with her on a strip of photobooth photographs and gifted her a drawing which she pinned to the wall of her studio. An 8mm film shows her visiting Willem de Kooning’s studio in East Hampton with Larry Rivers and the curator Henry Geldzahler. Billy Klüver, a colleague of her brother, Herwig, at Bell Labs and later a co-founder of E.A.T. (Experiments in Art and Technology), took her to openings, theatre and parties; and fellow European artist Alfons Schilling helped her in her studio building stretchers and stretching canvases. Francis was often traveling and didn’t join Kogelnik in New York until late November 1962. On November 6, she wrote resentfully to her mother: “I have a lot of friends now and don’t miss Sam anymore at all.” But by November 13, she wrote: “I’ve painted a surprise painting. Sam on a red chair with a red heart” and ten days later: “Sam watched me dancing ballet and was very happy.” It’s not clear that in titling the painting Falling in Love Again (1962) if she is referring to her relationship with Francis, but it is an indication of a degree of personal biography that she would sometimes include in her paintings. A photograph from the time shows her in a domestic setting, to her left and right are toy robots and suspended in the background is a “satellite” like sculpture (Spaceship, 1963) she had made. On the wall behind her is the painting, but in an earlier form. Kogelnik had been profoundly affected by the Cuban Missile Crisis; she wrote to her very worried mother on October 29, 1962: In case it got really dangerous and if there was still an opportunity, Herwig and I would go to Austria immediately anyway. But nowadays, the missiles are coming already 15 minutes after pushing the button and that’s very fast.

18


Her paintings from this period, such as Melancholie (1962) and Death with Sunglasses (c. 1963), manifest these fears, prominently featuring skulls and bombs in their composition; the seemingly immanent threat of nuclear annihilation, an all too present reminder of the post-war and Cold War Europe she had grown up in. The falling female figure in this earlier version of Falling in Love Again appears to be wearing a riveted suit of armor and a helmet, her arm reaching out to grasp one of the open hands that extend across the painting. On its silver reflective ground, two impressively antennaed satellites appear locked together encircled by the arc of a blue molecular chain, while a large bomb falls threatening to destroy the earth. Despite their subject matter, Kogelnik’s work remains resolutely bright, colorful, and optimistic. Her imagined worlds are childlike in their understanding and imagery, and perhaps this stems from her experience, and way of processing, as an Austrian child who was only ten years old when the Second World War ended. She wrote in late 1962: “Painting paintings is quite difficult now because New York influences me a lot… I am only painting with plastic colors now”, and it is in this conflicted suspicion of her new world and the desire to be immersed in it that she attempts to negotiate both her identity as an artist and as an individual. At some point, probably in 1964, Kogelnik painted over the armored falling figure in a solid fleshtoned pink, the same shade that is used on one half of a split-figure female in Self Portrait (1964), a painting she used as a room-divider separating her bedroom from her studio. In early May 1963, Kogelnik had to return to Europe for four months to get a new visa to remain in the US, staying initially in Paris where she made a lithograph for Walasse Ting’s book One Cent Life before heading to Vienna. On returning to New York in September, she embarked on painting a series of large-scale works. To make these she invited friends to have their bodies traced, creating templates in a process she described as “taking.” This established an ever-expanding archive of figures that she would continue to utilize, both whole and in parts, well into the 1970s in the form of sculpture. Her work gained a crisper graphic intensity, as she shifted from evolving a painting through the act of making to employing these forms to compose and design its ultimate form. Arranged on a background fashioned from metallic and color disks or the nebulous uncertainty of a sprayed ground they were rendered solid in block colors or transparent with highlighted outlines. Titles such as Machine, Female Robot, Astronaut, and Communication During Re-Entry Blackout speak to a less emotive universe where figures, limbs and hands appear to float in a weightless space, exploring and encountering each other in a sensual cosmic nirvana.

Kiki Kogelnik, Melancholie, 1962, Oil and acrylic on canvas Kiki Kogelnik, Death with Sunglasses, c. 1963, Oil and acrylic on canvas 19


Kiki Kogelnik, Female Robot, 1964, Oil and acrylic on canvas Kiki Kogelnik, Self Portrait, 1964, Oil and acrylic on canvas 20


Kiki Kogelnik in her studio at 940 Broadway in front of Outer Space, New York,1964 21


By the end of 1963, her relationship with Francis had ended, and she embarked on an affair with the Peruvian businessman Manuel Ulloa Elías, whose body outline can be seen in paintings such as M and Normal Lunar Impact Analysis – later retitled It’s All Over – both from 1964. In August that year she moved out of Francis’ Broadway studio to one on West 29th Street. On March 26, 1964, Kogelnik wrote in a diary: I am daydreaming of the moon party, on the moon, which I will give in May. And all my friends will come and I will mix rich and artists; with invitations, of course, where the moon is printed on. And downstairs will hang a moon that evening. And it will be a party with pleasures. Belly dancers, etc. and I will ask my dancers or musician friends to make something for a special pleasure too. I will wear my silver wig, of course, with a sexy red evening dress. It will be black tie, of course, [...] Manuel must be there, of course, anonymously. And the band will play every seventh time: Fly Me to the Moon. In space, she had found a realm to make work free from her European history, apart from America, and those who surrounded her. Kogelnik dismissed the idea that she was a Pop artist, and in a possible reference to Warhol in an article published in 1966 she declared: “I am not involved with Coca-Cola… I am involved in the technical beauty of rockets, people flying in space and becoming robots.” Outer Space (1964) looks forward to a world without commodities, consequences, regrets or bombs, a place (for a moment) of escape from the realities of life. A place just to be free. Stephen Hepworth, Director, Kiki Kogelnik Foundation

Kiki Kogelnik, M, 1964, Oil and acrylic on canvas Kiki Kogelnik, It's All Over, 1964, Oil and acrylic on canvas 22


23


WORKS IN THE EXHIBITION

24


Kiki Kogelnik, California Man, 1960, Oil on canvas 59 15/16 x 45 3/16 inches Framed Dimensions: 63 1/16 x 48 5/16 x 2 5/16 inches 25


26


Kiki Kogelnik, Untitled, 1960, Gouache on paper 14 x 17 inches Framed Dimensions: 17 3/4 x 20 3/4 x 1 3/4 inches 27


28


Kiki Kogelnik, Untitled, c. 1961, Oil on paper 17 x 14 inches Framed Dimensions: 20 3/4 x 17 3/4 x 1 3/4 inches 29


30


Kiki Kogelnik, Untitled, c. 1961, Oil on paper 17 x 14 inches Framed Dimensions: 20 3/4 x 17 3/4 x 1 3/4 inches 31


32


Kiki Kogelnik, Untitled, c. 1961, Oil on paper 17 x 14 inches Framed Dimensions: 20 3/4 x 17 3/4 x 1 3/4 inches 33


34


Kiki Kogelnik, Untitled (Love Scene), c. 1962, Acrylic and pencil on paper 14 x 17 inches Framed Dimensions: 17 3/4 x 20 3/4 x 1 3/4 inches 35


36


Kiki Kogelnik, Marilyn, 1961, Oil and acrylic on canvas 49 7/8 x 41 5/8 inches Framed Dimensions: 55 x 46 3/4 x 4 inches 37


38


Kiki Kogelnik, Female, 1962, Oil and acrylic on canvas 77 1/2 x 96 inches Framed Dimensions: 82 x 100 x 2 13/16 inches 39


40


Kiki Kogelnik, Untitled, 1962, Oil and acrylic on canvas 81 x 111 inches Framed Dimensions: 82 13/16 x 114 7/16 x 2 1/2 inches 41


42


Kiki Kogelnik, Untitled (Still Life with Globe), c. 1963, Acrylic and enamel on canvas paper 16 x 19 15/16 inches Framed Dimensions: 19 3/4 x 23 11/16 x 1 3/4 inches 43


44


Kiki Kogelnik, Untitled (Still Life with Hand), c. 1963, Acrylic and enamel on canvas paper 16 x 19 15/16 inches Framed Dimensions: 19 3/4 x 23 11/16 x 1 3/4 inches 45


46


Kiki Kogelnik, Falling in Love Again, 1962, Oil on canvas 71 15/16 x 54 inches Framed Dimensions: 75 7/16 x 57 1/2 x 2 9/16 inches 47


48


Kiki Kogelnik, Hands in the Moon, 1964, Enamel and acrylic on canvas panel 11 7/8 x 15 7/8 inches Framed Dimensions: 17 7/16 x 21 7/16 x 2 3/4 inches 49


50


Kiki Kogelnik, Outer Space, 1964, Oil and acrylic on canvas 72 1/16 x 54 1/8 inches Framed Dimensions: 75 9/16 x 57 5/8 x 2 3/4 inches 51


52


Kiki Kogelnik, Untitled, c. 1964, Oil and acrylic on canvas 16 1/4 x 24 inches Framed Dimensions: 20 1/2 x 28 1/4 x 2 1/2 inches 53


54


55


INSTALLATION VIEWS

56


57


58


59


60


61


62


63


64


65


66


67


68


69


70


Kiki Kogelnik at the opening of her solo exhibition at the Austrian Institute, New York, 1965 71


Kiki Kogelnik 1935 - 1997 Born in Graz, Austria in 1935, Kiki Kogelnik grew up in Bleiburg, in Southern Austria, and studied Fine Art in Vienna relocating to New York in the early 1960s where she joined a community of emergent artists who would define Pop Art including: Roy Lichtenstein, Claes Oldenburg, Tom Wesselmann and Andy Warhol. In an era shaped by the Space Race and Cold War, Kogelnik became fascinated with the uncertainties and possibilities of a new, technology-driven future and the evolving representations of women's bodies. Kogelnik's paintings and drawings depict a world of dismembered techno-bodies and mechanically enhanced avatars floating in vibrant, pop-like compositions reminiscent of the bold shapes and color planes associated with modern advertising. Kogelnik started creating abstract paintings in the early 1950s—by the 60s, she focused on the human form and outlines of limbs and torsos and by the 70s, there was an explicit focus on the portrayal and representation of women and the female figure. During the 60s Kogelnik made painted sculptures from bomb casings and fashioned altered and augmented body parts from foam rubber before in 1968 embarking on a series of works made from brightly colored vinyl sheets that were hung from clothes hangers and spoke of ideas of identity and the impermanence of the human body. She was introduced the possibilities of ceramics in 1974, and initially made a series of heads, before fully embracing the practice in the 1980s, establishing dedicated spaces in her studios both in New York and Austria. The imagery of faces and masks made in ceramics appear in parallel with the paintings and drawings that she also produced at the time, distilling simplified forms into a language that spoke of the collapsing of identity and a fierce desire to be seen and heard. Kogelnik showed throughout her life in both Austria and America and was based in New York while also maintaining studios in Austria. She posthumously was awarded the Austrian Decoration for Science and Art (Österreichisches Ehrenkreuz für Wissenschaft und Kunst). Kogelnik died in Vienna in 1997 where she was receiving treatment for cancer. Recent solo museum shows include: Kiki Kogelnik - Les cyborgs ne sont pas respectueuses, Musée des beauxarts de La Chaux-de-Fonds, Switzerland; Kiki Kogelnik: Inner Life, Kunsthall Stavanger, Norway; Kiki Kogelnik: Fly Me to the Moon, Modern Art Oxford, UK; and Kiki Kogelnik – Retrospective, Kunsthalle Krems, Austria. Recent group exhibitions include: She-Bam Pow POP Wizz! The Amazons of POP, Museum of Modern and Contemporary Art, Nice, France; The Assembled Human, Museum Folkwang, Germany; Fly Me to the Moon, Kunsthaus Zürich, Switzerland; and The World Goes Pop, Tate Modern, UK.

72


© Kiki Kogelnik Foundation, the authors, and Kayne Griffin. This catalogue was published in conjunction with the exhibition Kiki Kogelnik - Falling at Kayne Griffin on view July 10 - August 28, 2021. Credit: All images courtesy of the artist, Kiki Kogelnik Foundation, New York, and Kayne Griffin, Los Angeles. Installation views credit: Flying Studio, Los Angeles. Archival images courtesy Kiki Kogelnik Foundation, New York. Front and back cover: Detail views of Kiki Kogelnik's Falling in Love Again, 1962. All rights reserved. Kayne Griffin 1201 S. La Brea Avenue Los Angeles, CA 90019 United States 310 586 6886 info@kaynegriffin.com

Kiki Kogelnik with her painting Marilyn in her studio on 940 Broadway, New York, 1962 73


74


KAYNE GRIFFIN

1201 S. La Brea Ave, Los Angeles, CA 90019 | 310 586 6886 | kaynegriffin.com

Profile for KayneGriffin

Kiki Kolgelnik: Falling  

This catalogue was published in conjunction with the exhibition Kiki Kogelnik - Falling at Kayne Griffin on view July 10 - August 28, 2021.

Kiki Kolgelnik: Falling  

This catalogue was published in conjunction with the exhibition Kiki Kogelnik - Falling at Kayne Griffin on view July 10 - August 28, 2021.

Advertisement

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded