Stanley Casselman is a mid-career New York artist whose richly textured paintings subtly reference the history of abstraction. His works often self-consciously appropriate the signature styles of twentieth and twenty-first century artists from Mark Rothko to Gerhard Richter, while at the same time introducing novel techniques and procedures that expand the discourse and material possibilities of contemporary painting.
In a 2017 interview with Casselman, David Anfam (Senior Curator of the Clyfford Still Museum) describes the artist’s work as so “tantalizing and complex” that it “makes you want to come back to it,” and he sees the “mix of randomness and pattern” in Casselman’s paintings as “a figure of life itself.” Casselman has also been favorably reviewed in such publications as Wall Street International, New York Magazine, Forbes, and Huffington Post.
He has been interviewed by Brainard Carey (author of The Art World Demystified) for Yale University Radio, and Jerry Saltz has praised his “highly crafted minimalist works.” Casselman has a record of strong auction results at Phillips, Sotheby’s, and Christie’s, and his work was exhibited in Sotheby’s S|2 space in New York (“Icons: The Art of Appropriation,” 2015) alongside Richard Pettibone, Vic Muniz, Louise Lawler, Mike Bidlo, Banksy, and Richard Prince. International curators such as Joan Young of the Solomon R. Guggenheim Museum (NYC) and Laura Plana Gracia (Barcelona) have curated his work.
Casselman’s most recent group exhibition was with Metro Pictures project space in Brooklyn, 7 Herkimer Place in a 2018 show that also included works by Marilyn Minter, Tracey Emin, and Carol Bove. Casselman’s paintings are included in the permanent collections of the Frederick R. Weisman Art Foundation (Los Angeles), Borusan Contemporary (Istanbul, Turkey), New Orleans Museum of Art, Georgia Museum of Art, The Museum of Modern Art of Bologna (Bologna, Italy), and numerous outstanding private collections around the world.