“Amalgam (Origin),” 2024. (Photo: Dan Bradica Studio)
In New York, space can be tight. Jack Shainman Gallery’s new Tribeca flagship proves otherwise. Housed inside the historic Clock Tower Building on Lafayette Street, the gallery stretches 20,000 square feet, all while preserving the building’s original 29-foot-high ceilings, lavish staircases, and arched windows. It’s only fitting, then, that Nick Cave’s largest sculpture to date inaugurates the space.
At nearly 26 feet tall, Amalgam (Origin) offers a monumental introduction to Cave’s latest solo exhibition, Amalgams and Graphts, at the new gallery. The bronze sculpture almost grazes the ornamental ceiling, its head completely obscured by an intricate tangle of branches, birds, and twigs. Its body, modeled after Cave’s own, is similarly overcome by organic forms, such as flowers, leaves, and berries.
Like Cave’s renowned Soundsuit series, Amalgam (Origin) rejects the expectation of uncovering a coherent face or identity. From the shoulders up, arguably one of the sculpture’s most recognizable elements—the face—is concealed, forcing the viewer to engage with the work without preconceived judgment.
The choice to shield the sculpture’s face, however, isn’t strictly a comment on anonymity or prejudice. Rather than an alternative material or motif, the sculpture is explicitly immersed in an abundance of flora, reflecting the natural world’s ability to flourish in spite of immense hardship.
“Together, the Amalgams are embodiments of growth and resistance in the face of oppressive structures,” the gallery writes. “They continue the propulsion within Cave’s practice towards public engagement and the civic and social responsibility of artwork.”
Unlike the exhibition’s three Amalgam sculptures, Cave’s “graphts” are surprisingly familiar and intimate. These mixed-media assemblages unite needlepoint portraits of the artist alongside fields of florals and colors, all constructed from vintage serving trays. What renders these “graphts” unique is that Cave allows himself to be recognizable in a way he hasn’t before.
“While Cave has often used his own body within his artwork, this is the first time that he has revealed a recognizable self,” the gallery notes.
Amalgams and Graphts is currently on view at Jack Shainman’s new Tribeca location until March 15, 2025. To learn more, visit the Jack Shainman Gallery website.
Nick Cave: Amalgams and Graphts is now open at Jack Shainman Gallery, and showcases the artist’s largest sculpture to date.
“A•mal•gam,” 2021. (Photo: Dan Bradica Studio)
“Amalgam (Plot),” 2024. (Photo: Dan Bradica Studio)
“Grapht,” 2024. (Photo: Dan Bradica Studio)
“Grapht,” 2024. (Photo: Dan Bradica Studio)
“Wallwork,” 2024. (Photo: Dan Bradica Studio)
As its name suggests, the exhibition features a series of “amalgam” sculptures and “graphts,” all of which are mixed-media assemblages of needlepoint portraits and naturalistic imagery.
“Amalgam (Plot),” 2024. (Photo: Dan Bradica Studio)
“Grapht,” 2024. (Photo: Dan Bradica Studio)
“Grapht,” 2024. (Photo: Dan Bradica Studio)
“Grapht,” 2024. (Photo: Dan Bradica Studio)
“Grapht,” 2024.
This monumental exhibition inaugurates Jack Shainman Gallery’s new Tribeca flagship, housed in the historic Clock Tower Building on Lafayette Street.
Jack Shainman Gallery’s new Tribeca flagship in the Clock Tower Building. (Photo: Dan Bradica Studio)
Jack Shainman Gallery’s new Tribeca flagship in the Clock Tower Building. (Photo: Dan Bradica Studio)