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Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

All the Young Cunanans, 2019, Acrylic and oil on panel, 79 x 61 x 2 1/4 inches (200.7 x 154.9 x 5.7 cm)

Richard Hawkins

All the Young Cunanans, 2019

Acrylic and oil on panel

79 x 61 x 2 1/4 inches (200.7 x 154.9 x 5.7 cm)

Coming to Grips with Dick Pic Addiction, 2019, Acrylic and oil on panel, 79 1/4 x 61 x 2 1/4 inches (201.3 x 154.9 x 5.7 cm)

Richard Hawkins

Coming to Grips with Dick Pic Addiction, 2019

Acrylic and oil on panel

79 1/4 x 61 x 2 1/4 inches (201.3 x 154.9 x 5.7 cm)

A Lure Painting #5, 2019, Oil stick and collage on panel, 48 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

Richard Hawkins

A Lure Painting #5, 2019

Oil stick and collage on panel

48 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

A Lure Painting #1, 2019, Oil stick and collage on panel, 48 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

Richard Hawkins

A Lure Painting #1, 2019

Oil stick and collage on panel

48 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

 

 

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Proposal for a monument, 2019, Oil on panel, 51 x 49 x 11/2 inches (129.5 x 124.5 x 3.8 cm)

Richard Hawkins

Proposal for a monument, 2019

Oil on panel

51 x 49 x 11/2 inches (129.5 x 124.5 x 3.8 cm)

A Region-Specific Vision, 2019, Oil and collage on panel, 47 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

Richard Hawkins

A Region-Specific Vision, 2019

Oil and collage on panel

47 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

Or, Rather, the Adored’s Resistance to the Incorporating Undertow of the One Who Adores, 2019, Acrylic, oil stick and collage on panel, 51 x 49 x 1 1/2 inches (129.5 x 124.5 x 3.8 cm)

Richard Hawkins

Or, Rather, the Adored’s Resistance to the Incorporating Undertow of the One Who Adores, 2019

Acrylic, oil stick and collage on panel

51 x 49 x 1 1/2 inches (129.5 x 124.5 x 3.8 cm)

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

A Lure Painting #2, 2019,  Oil stick and collage on panel,  48 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

Richard Hawkins

A Lure Painting #2, 2019

Oil stick and collage on panel

48 3/4 x 36 3/4 x 1 1/2 inches (123.8 x 93.3 x 3.8 cm)

Dandy Spirit Guide Lecture on Ancient Feeds, Ever–Refreshed, 2019,  Oil and collage on panel,  49 x 50 3/4 x 1 1/2 inches (124.5 x 128.9 x 3.8 cm)

Richard Hawkins

Dandy Spirit Guide Lecture on Ancient Feeds, Ever–Refreshed, 2019

Oil and collage on panel

49 x 50 3/4 x 1 1/2 inches (124.5 x 128.9 x 3.8 cm)

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Death to Mike Kelley (in an attemptedly Peter Saul manner), 2019, Oil, acrylic and collage on panel, 61 x 79 x 2 1/4 inches (154.9 x 200.7 x 5.7 cm)

Richard Hawkins

Death to Mike Kelley (in an attemptedly Peter Saul manner), 2019

Oil, acrylic and collage on panel

61 x 79 x 2 1/4 inches (154.9 x 200.7 x 5.7 cm)

Emptied, Lost and Swallowed Up in Thee (Quietism), 2019, Oil on panel, 79 1/2 x 61 1/2 x 3 inches (201.9 x 156.2 x 7.6 cm)

Richard Hawkins

Emptied, Lost and Swallowed Up in Thee (Quietism), 2019

Oil on panel

79 1/2 x 61 1/2 x 3 inches (201.9 x 156.2 x 7.6 cm)

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

After Artaud: The Sexual Awkwardness of God, Sperm Traps, 2019, Concrete, air-dry clay, cardboard tube, boxes, office hardware, cow’s blood and collage on panel, 27 x 23 x 6 inches (68.6 x 58.4 x 15.2 cm)

Richard Hawkins

After Artaud: The Sexual Awkwardness of God, Sperm Traps, 2019

Concrete, air-dry clay, cardboard tube, boxes, office hardware, cow’s blood and collage on panel

27 x 23 x 6 inches (68.6 x 58.4 x 15.2 cm)

After Artaud: The Sexual Awkwardness of God, Stages of Succubal Development, 2019, Acrylic and collage on panel, 25 3/4 x 22 3/4 x 1 1/2 inches (65.4 x 57.8 x 3.8 cm)

Richard Hawkins

After Artaud: The Sexual Awkwardness of God, Stages of Succubal Development, 2019

Acrylic and collage on panel

25 3/4 x 22 3/4 x 1 1/2 inches (65.4 x 57.8 x 3.8 cm)

 

After Artaud, The sexual awkwardness of god, Rape Table, 2019, Plastic, air-dry clay, cardboard tube, boxes, razors, matches, mousetrap, office hardware, cow’s blood and collage on table, 37 x 46 x 32 inches (94 x 116.8 x 81.3 cm)

Richard Hawkins

After Artaud, The sexual awkwardness of god, Rape Table, 2019

Plastic, air-dry clay, cardboard tube, boxes, razors, matches, mousetrap, office hardware, cow’s blood and collage on table

37 x 46 x 32 inches (94 x 116.8 x 81.3 cm)

 

After Artaud, The sexual awkwardness of god, Rape Table, 2019, Plastic, air-dry clay, cardboard tube, boxes, razors, matches, mousetrap, office hardware, cow’s blood and collage on table, 37 x 46 x 32 inches (94 x 116.8 x 81.3 cm)

Richard Hawkins

After Artaud, The sexual awkwardness of god, Rape Table, 2019 (detail)

Plastic, air-dry clay, cardboard tube, boxes, razors, matches, mousetrap, office hardware, cow’s blood and collage on table

37 x 46 x 32 inches (94 x 116.8 x 81.3 cm)

After Artaud, The sexual awkwardness of god, Rape Table, 2019, Plastic, air-dry clay, cardboard tube, boxes, razors, matches, mousetrap, office hardware, cow’s blood and collage on table, 37 x 46 x 32 inches (94 x 116.8 x 81.3 cm)

Richard Hawkins

After Artaud, The sexual awkwardness of god, Rape Table, 2019 (detail)

Plastic, air-dry clay, cardboard tube, boxes, razors, matches, mousetrap, office hardware, cow’s blood and collage on table

37 x 46 x 32 inches (94 x 116.8 x 81.3 cm)

After Artaud: The sexual awkwardness of god, Ass Cannon, 2019, Concrete, cardboard tube, boxes, razors, tacks, matches, mousetrap, corkscrew, office hardware, pubic hair, cow’s blood and collage on table,  36 x 45 x 32 inches (91.4 x 114.3 x 81.3 cm)

Richard Hawkins

After Artaud: The sexual awkwardness of god, Ass Cannon, 2019

Concrete, cardboard tube, boxes, razors, tacks, matches, mousetrap, corkscrew, office hardware, pubic hair, cow’s blood and collage on table

36 x 45 x 32 inches (91.4 x 114.3 x 81.3 cm)

After Artaud: The sexual awkwardness of god, Ass Cannon, 2019, Concrete, cardboard tube, boxes, razors, tacks, matches, mousetrap, corkscrew, office hardware, pubic hair, cow’s blood and collage on table,  36 x 45 x 32 inches (91.4 x 114.3 x 81.3 cm)

Richard Hawkins

After Artaud: The sexual awkwardness of god, Ass Cannon, 2019 (detail)

Concrete, cardboard tube, boxes, razors, tacks, matches, mousetrap, corkscrew, office hardware, pubic hair, cow’s blood and collage on table

36 x 45 x 32 inches (91.4 x 114.3 x 81.3 cm)

After Artaud: The sexual awkwardness of god, Ass Cannon, 2019, Concrete, cardboard tube, boxes, razors, tacks, matches, mousetrap, corkscrew, office hardware, pubic hair, cow’s blood and collage on table,  36 x 45 x 32 inches (91.4 x 114.3 x 81.3 cm)

Richard Hawkins

After Artaud: The sexual awkwardness of god, Ass Cannon, 2019 (detail)

Concrete, cardboard tube, boxes, razors, tacks, matches, mousetrap, corkscrew, office hardware, pubic hair, cow’s blood and collage on table

36 x 45 x 32 inches (91.4 x 114.3 x 81.3 cm)

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

Richard Hawkins, Installation view, Bait Paintings, Greene Naftali, New York, 2019

The Collage Killer #9, 2018, Fake blood and collage on paper, 15 3/4 x 11 7/8 inches (40 x 30.2 cm) Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

Richard Hawkins

The Collage Killer #10, 2018

Fake blood and collage on paper

15 3/4 x 11 7/8 inches (40 x 30.2 cm)

Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

The Collage Killer #4, 2018, Fake blood and collage on paper, 15 3/4 x 11 7/8 inches (40 x 30.2 cm) Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

Richard Hawkins

The Collage Killer #4, 2018

Fake blood and collage on paper

15 3/4 x 11 7/8 inches (40 x 30.2 cm)

Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

The Collage Killer #3, 2018, Fake blood and collage on paper, 15 3/4 x 11 7/8 inches (40 x 30.2 cm) Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

Richard Hawkins

The Collage Killer #3, 2018

Fake blood and collage on paper

15 3/4 x 11 7/8 inches (40 x 30.2 cm)

Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

The Collage Killer #6, 2018, Fake blood and collage on paper, 15 3/4 x 11 7/8 inches (40 x 30.2 cm) Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

Richard Hawkins

The Collage Killer #6, 2018

Fake blood and collage on paper

15 3/4 x 11 7/8 inches (40 x 30.2 cm)

Frame: 18 1/4 x 14 1/4 inches (46.4 x 36.2 cm)

Press Release

Richard Hawkins

Bait Paintings

 

March 8th – April 19th, 2019

8th Floor

 

Richard Hawkins’ multimedia practice often reads simultaneously as vividly personal and promiscuously referential. Working in collage, painting, and sculpture, several of Hawkins’ series emerge from a process of studying, internalizing, and regenerating the ideas of historical artists and thinkers, inflected by the specificity of Hawkins’ own visual lexicon and biography. For his forthcoming exhibition at Greene Naftali, the artist’s sixth, Hawkins revisits past series, and initiates new bodies of work, once again examining historical figures and their personal and artistic impact on him: Forrest Bess’ enigmatic paintings and life as an eccentric Texan; Antonin Artaud’s asylum drawings; and Mike Kelley’s suicide.

 

Hawkins’ diligent study of these artists branches into reappraisals and stylistic diversions, the resulting works both ventriloquizing other figures and bearing trademarks of the artists’ own oeuvre. Hawkins continues his examination of Artaud’s works on paper, classifying, assigning functionality to, and realizing in the round the component parts of the playwright’s drawing, The Sexual Awkwardness of God. Two sculptures, Ass Cannon, Rape Table, and a relief entitled Sperm Trap (all works 2019), each work toward prototypes of the forms generated by Artaud’s convictions, with an approach both taxonomical and unflinching. Proposal for a monument and A Region-Specific Vision each pay tribute to Forrest Bess, whom Hawkins first encountered as an undergraduate reading a 1982 issue of the regionally focused magazine Texas Monthly. The two paintings acknowledge the vernacular detail of Bess’ often sensationalized biography, with Proposal for a monument depicting Chinquapin Bay, the fisherman’s camp where the artist lived and worked; and A Region-Specific Vision, with its neatly silhouetted oil pump, signifying the industry of Bay City, where Bess was born, raised, and spent the final years of his life. Each work employs the iconography that Bess transmitted from spontaneous visions into his paintings—intensely colored circles, stacked lines, and a recurring, pelvic form seemingly related to the artist’s famous self-mutilation. In Death to Mike Kelley (in an attemptedly Peter Saul manner), Hawkins’ hand combines the former’s iconography with the latter’s comic-based, labyrinthine style, in a painting loaded with text, much of it deliberately misspelled references to Kelley’s role as teacher and mentor during his lifetime: UNDERGRAD DUDENESS, TRANZISHUNAL ABJECT, INSTOOTOOTIONAL FORTITUDE. Kelley’s arresting face appears in collage alongside those of the stuffed animals so recurrent in his work. Several blocks of thickly applied oil paint reference Hans Hofmann, the formalist whose trademark Kelley derisively referenced with flatly constructed facsimiles.

 

Throughout the exhibition are Hawkins’ Lure Paintings, non-objective works constituting grittily layered tangles of looping, brightly colored oil stick. Magazine cutouts of heartthrobs are obscured, buried, and emerge again, as though trapped. Coming to Terms with Dick Pic Addiction magnifies the figures of the Lures in Hawkins’ own hand, weaving throughout them abstraction and sardonic terms emanating from seduction: Lure, as well as Bait, Snare, Charm, Trap. All the Young Cunanans is similarly populated with pop stars and text, in this case their content being substances like anti-depressants, cocaine, and, scrawled at the bottom of the canvas, leaked nudes. While these works approximate a contemporary form of idol worship, Emptied, Lost and Swallowed Up in Thee (Quietism) is conceived as a devotional painting. Named for an 18th century heretical ideology, the work’s still and concise, yet enigmatic imagery invites meditation only to proffer a nihilistic message, reading: Quietism: An annihilation in devotion to a disinterested god. The painting features a young man’s chest, with eyes for nipples, and a hypnotic, soul-swallowing emanation from its solar plexus.