Sam McKinniss

Misery


Paris, Turenne

Opening on September 7th, from 11 am to 8 pm.

Inquire about the exhibition:
inquiries@alminerech.com

The gallery is open from 11 am until 7 pm.

  • , River Phoenix and Martha Plimpton attending the Academy Awards, 2022
    Oil on linen
    177.8 x 274.3 cm
    70 x 108 in
  • , Daisy, 2022
    Oil on linen
    167.6 x 198.1 cm
    66 x 78 in
  • , Mother and Calf, 2022
    Oil on linen
    167.6 x 198.1 cm
    66 x 78 in
  • , Sarah Connor, 2022
    Oil on linen
    106.7 x 198.1 cm
    42 x 78 in
  • , Salazar's Pit Viper, 2022
    Oil on linen
    22.9 x 30.5 cm
    9 x 12 in
  • , Gwyneth Paltrow, 2022
    Oil on linen
    30.5 x 22.9 cm
    12 x 9 in
  • , Cher, 2022
    Oil on linen
    137.2 x 96.5 cm
    54 x 38 in
  • , L'Adoration du veau (after Picabia), 2022
    Oil on linen
    30.5 x 22.9 cm
    12 x 9 in
  • , Kathy Bates, 2022
    Oil on linen
    83.8 x 83.8 cm
    33 x 33 in
  • , Angela Lansbury, 2022
    Oil on linen
    61 x 45.7 cm
    24 x 18 in
  • , Jennifer Lawrence,, 2022
    Oil on linen
    27.9 x 35.6 cm
    11 x 14 in
  • , Will Smith, 2022
    Oil on linen
    35.6 x 27.9 cm
    14 x 11 in
  • , Dairy Cow (study), 2022
    Oil on linen
    20.3 x 25.4 cm
    8 x 10 in

Press release

Almine Rech Paris is pleased to announce Misery, Sam McKinniss's third solo exhibition with the gallery, and his first in France, on view from September 7 to October 8, 2022.

In Sam McKinniss’s paintings, one sees the artist working overtly against this fear by leaning into and beyond it, painting subjects not from his own personal experiences but those with which most of us are extremely familiar, found in popular media, press photos, other artworks. And yet, Sam’s paintings are necessarily of himself, of what has formed or is forming him. They are also of his viewers, of what has formed and is forming us. In redrawing snapshots of celebrities, for example, that are so recognizable they have become common, Sam reevaluates that very action of collectively flattening an image. The references are not unduly manipulated. These are captured moments, as we saw and continue to see them, heightened by virtue of their being paintings.

— Natasha Stagg, writer and critic