Two Pink Roses, 2011, oil, gold leaf and acrylic on book pages, 18 1/4 x 25″

Offramp Gallery
is pleased to present
a solo exhibition of works on paper by Robert Kushner
April 12 – May 17, 2015
Opening reception: Sunday, April 12, from 2-5 pm

In the more than 40 works in Patois, Kushner juxtaposes broad bands of gold leaf and gestural painted flowers with ephemera — including ancient texts in myriad languages, as well as musical scores, book covers, end papers, postage stamps and illustrations. He creates an exotic garden woven from many languages that ultimately speaks in one lively, unique voice.

Offramp Gallery
1702 Lincoln Avenue
Pasadena, CA 91103

Gallery Talk with Robert Kushner
On his exhibition Robert Kushner: baroque
January 8 – February 14, 2015

DC Moore Kushner Anouncement Print2:Ann

Join Robert Kushner for the Opening Reception of
Thursday, January 8, 2015, from 6-8pm
Exhibition dates: January 8 – February 7, 2015

DC Moore Gallery
535 West 22nd Street, New York, NY 10011

Screen Shot 2015-01-25 at 12.21.01 AM

Order the catalog
“Robert Kushner: Baroque”
Essay by Faye Hirsch. 56 pages with color illustrations. DC Moore Gallery, 2014.


Robert Kushner, “Two Red Rembrandts”, 2014
Collage, gold leaf, acrylic and oil on paper, 36 x 18″

2012 PEDEN ST.


Robert Kushner
-Treasures, Souvenirs, Memories-
New Collages

Yoshiaki Inoue Gallery, Osaka, Japan

Wednesday, October 1  -  Saturday, October 25, 2014

 Artist Talk: Friday, October 24, 5-6pm. Reception to follow.  

Treasures, Souvenirs, Memories

One of the claims made for collage when it was first introduced by the Cubist painters in 1912 was that it rooted the art works firmly to their present time.  By simply reading the stories in the newspaper glued to the canvas, you could know what the news of the world was at the exact moment in time when the collage was made. Since then collage has gone in so many unpredictable directions scooping up realms of both meaning and disjuncture by Dada, Surrealist and Pop artists among others.  But in my personal hierarchy of great collagists,  I love to picture Kurt Schwitters strolling the streets of Hannover  picking up odd scraps of discarded paper and then weaving them into his transcendent abstract compositions.  Or American artist Anne Ryan taking us to silent, still realms with her unique assemblages of paper and cloth. Or Lenore Tawney, creator of visionary poetry through collage,  is often looking over my shoulder, even so far as my having inherited pages from some of her favorite 18th Century books. In many ways I am trying to do the opposite of the Cubists: instead of tying my pieces to one point in time, I want to make them as diffused and  confusing as possible. I want the viewer to time travel as broadly as possible. And so I include papers from as many languages, cultures, times, and places as I can which become a part of the content of the work.  In all likelihood  no one individual could  read all the languages in each collage. Instead of concrete cognition we arrive at a mist of unknowing.

At the beginning of this series, I wanted the texts and images to be neutral. I was not very concerned with exact content. Rather I wanted their age and exoticism of the papers to create a kind of nostalgic ambiance, not to evoke any one time in particular, but to connote “other”.  Gradually, I  have come to be more autobiographical with the materials. I have started to include pieces of ephemera that meant something to me, that marked significant places or events alongside found texts the content of which I had no grasp. In “Columbine” (pictured above),  I combined the entry ticket to the Van Gogh Museum in Amsterdam, the ticket for Alvar Aalto’s Experimental House outside of Helsinki, a scrap from a 1902 edition of the Osaka Yomiuri Shinbun, saved from the inside of a Japanese screen that I had dissected, along with another piece of paper announcing:  “Treasures, Souvenirs, Memories”.

I enjoy juxtaposing illustrations and diagrams from the 1914 Encyclopedia Britannica, postage stamps that I saved as a teen ager, but never got around to pasting into my stamp album, pages from 19th Century lady’s magazines, dictionaries, music, Japanese woodblock books.

One Arabic text  is a handwritten copy of an old  treatise entitled “Useful Information”.  While this book about navigation must have contained masses of essential and practical knowledge  for  15th Century sailors, it is probably pretty irrelevant to today’s world even if we could read the Medieval Arabic. In fact, nearly all these precious pieces of paper are slightly extraneous in one way or another. Some are in languages most of us cannot read. Some are popular songs that will rarely be sung again. There are currencies no longer in use. Legal documents from countries that no longer exist. Or century old diagrams of technological advances that today read as quaint.  In the end each scrap is beautiful to me.  These diverse facts become a sea of untold and irrecoverable stories upon which a single flower hovers.

Robert Kushner, August 2014

Yoshiaki Inoue Gallery
2F 3F Shinsaibashi Inoue Bldg.,
1-3-10 Shinsaibashi-suji, Chuo-ku, Osaka 542-0085 JAPAN
Gallery hours : 11:00 – 19:00.  Closed on Sunday and public holidays.
Tel. +81(0)6-6245-5347
Fax. +81(0)6-6252-0402


Robert Kushner’s “Queen Anne’s Lace” 2014

June 22, 2014

 Robert Kushner, Queen Anne’s Lace, oil, acrylic, gold leaf on canvas, 84″ x 60″, 2014 I think that I learned to rely on concept from a very early age.  As a child, I was never very good at coloring inside the lines. I remember coloring with my second grade friend David Jackson.  David always got a lot […]

Read the full article →

Robert Kushner and Shark’s Ink: New Prints, 2014

June 5, 2014

Last January, I was invited to work with master printer Bud Shark in his Hawaii studio in Holualoa on the Big Island.  I had worked there with Bud before, but this time we both wanted to something new and  different. Basing our project on some of our studio experiments in Lyons, Colorado, and on the […]

Read the full article →

“White Peonies: A Cumulus Accumulation” in ‘Kaikodo Journal’

March 13, 2014

“It is for him as if there can never be enough beauty, as if there were never a place where nor a time when beauty has not potentially existed, and as if there can never be enough expressions of it.”  — Kaikodo Journal, March, 2014 Each year, Kaikodo Gallery has a spring show. It opens during […]

Read the full article →

Sneak Preview

February 23, 2014

Quinces oil, acrylic, gold leaf on canvas 84″x60″ 2014 To be shown next season at DC Moore Gallery. Date to be announced.

Read the full article →

Robert Kushner’s “Wedding Dress” (1976) featured in the “New York Times,” 1.16.14

January 18, 2014

“A Dealer’s Eye, and Life: ‘Hooray for Hollywood!’ Recalls Holly Solomon’s Eye for Art” by Roberta Smith The New York Times, January 16, 2014 In her article, Roberta Smith covers “Hooray for Hollywood!,” an expansive exhibit at two adjacent New York galleries, Pavel Zoubok and Mixed Greens that celebrate the eclectic eye of ‘Pop princess,’ collector, […]

Read the full article →