Karel Appel
September 6November 1, 2014

Karel Appel
New York, September 6—November 1, 2014
Opening reception: Saturday, September 6, 6—8pm

Blum & Poe is pleased to present an exhibition of paintings and works on paper by Karel Appel (1921-2006). Organized in collaboration with the Karel Appel Foundation in Amsterdam, this exhibition represents the first significant overview of Appel in New York City in more than forty years and will be comprised of works dating from 1947-1981.

Throughout a nearly six-decade career, Appel pushed his studio practice to extremes, often shifting between abstraction and figuration, never content to settle on one signature style, media, or body of work. His earliest works, created during the time he co-founded the COBRA group with Asger Jorn, Christian Dotremont, and Constant, make evident his interest in the uninhibited artistic experience. As a member of the Dutch Experimental Group and later Art Informel, Appel drew his earliest and possibly greatest inspiration from folk art, children’s drawings, and the works of the mentally disturbed. This is perhaps most clear in The Psychopathological Notebook, a collection of free-form drawings on pages of catalogue text from the International Exhibition on Psychopathological Art (1950) at the Saint-Anne Hospital for the mentally ill in Paris. Visiting this exhibition on multiple occasions proved impactful for Appel and would inform much of his work in the following years.

When I started, I used to look at children's drawings. They gave me the impetus I needed to free myself from the things I'd learnt during my classical education. I could then begin with a blank page like a child – or let's say, like a ‘child-adult.' I started again from scratch thanks to these children’s drawings, which were like a gust of fresh air. (Karel Appel: Paintings 1980-85, 19)

At the suggestion of French critic Michel Tapié, Appel met gallerist Martha Jackson, who would give the artist his first one-person show in New York City in 1954 and continue to show his work for the next twenty years. During his time in New York in the late 1950s, Appel became friendly with Sam Francis, Jackson Pollock, fellow-Dutchman Willem DeKooning, Franz Kline, and other members of the Abstract Expressionist group, as well as Jazz luminaries Dizzie Gillespie, Miles Davis, Count Basie, and Sarah Vaughan. This circle of cultural producers was sympathetic to Appel’s interest in a self-conscious investigation of the psychology of painting and would influence the artist’s shift from realism to an emotionally charged, robustly active, and spontaneous abstract painting style. Having already begun with his peers in COBRA to explore an anticlassical stance in favor of what critic Hal Foster has termed the “creaturely” – a “pagan vernacular of the North in opposition to the official Christianity of the South” – Appel’s time in New York allowed him to propel towards a de-aestheticized, boundless expressivity.

Appel spent much of the following half-century moving between New York and Europe. During his lifetime, the artist would participate in numerous one-person traveling exhibitions around the world and would represent the Netherlands in the 27th International Art Exhibition in the Venice Biennale.

The exhibition Karel Appel at Blum & Poe, New York marks the first in a series of upcoming exhibitions of the artist’s work, including a drawing retrospective at the Centre Georges Pompidou, Paris (2015), which will travel throughout Europe. A retrospective exhibition will open in 2016 at the Gemeentemuseum Den Haag, Netherlands, followed by an exhibition of painting and sculpture at the Phillips Collection, Washington, D.C. (2016) and a retrospective exhibition at the Musée d'Art Moderne de la Ville de Paris (2017). Public collections with Karel Appel’s work include the Stedelijk Museum Amsterdam, Netherlands; Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Tate Modern, London, UK; Moderna Museet, Stockholm, Sweden; Museum Boijmans van Beuningen, Rotterdam, Belgium; Museum Ludwig, Cologne, Germany; Neue Nationalgalerie, Berlin, Germany; Musée National d’Art Moderne and Centre Georges Pompidou, Paris; and Gemeentemuseum Den Haag, Netherlands, among many others.