David Hockney in the Kasmin Gallery during the Kenneth Noland exhibition in 1965.
Known as ‘Kas’ to friends and art world afficionados, he is best known for representing David Hockney, who was one of his first artists when he opened his inaugural gallery in 1963.
The Kasmin Gallery at 118 New Bond Street was London’s first specifically designed commercial building, created to show large paintings and sculpture in a single, blank space. Arguably, Kas created the ‘white cube’ concept.
His sway and impact on the British contemporary art scene is such that in 2016, Tate Britain had an exhibition of works given by or acquired via Kas.
Hockney purchase
Kasmin went to the Royal Society of British Artists’ annual Young Contemporaries show in 1961. Auspiciously, he bought Doll Boy for £40, one of Hockney’s first major paintings. Hockney then became a key component of Kasmin’s game-changing gallery. Other artists who were bigged up by Kas or enjoyed their first show at this space include Howard Hodgkin, Anthony Caro, Gillian Ayres, Barnett Newman, Jules Olitski, Frank Stella, Helen Frankenthaler and Kenneth Noland. American abstract expressionists got their UK debut thanks to the keen eye of Kas.
That first gallery was a roaring success with both the art world and the gawping public. Jimi Hendrix lived round the corner and would pop in for a smoke and a jam. Kas would throw post-show parties at his house, defined by “dancing, dancing, dancing”. There was a fair amount of casual sex too: “It was my only sport. I assumed all girls liked doing it, and why not?”
Unsurprisingly, he got a reputation in some quarters as a provocateur and a rogue.
Gillian Ayres with Bardsley Island in the distance, Lleyn Peninsula, North Wales, c.1985.
While showcasing these artists at his gallery, the boundaries between business, banter and holidaying together were highly blurry. It was the 1960s, after all, but perhaps more importantly, everyone involved in this emerging circle was in some way giving the establishment a poke in the eye.
The tribulations of money, status, addictions and tragedy had yet to descend on these bohemian chancers. They were young, familiar to some, but not famous and on the cusp of success. The fascination with the photos now is undeniably fuelled by their current status as dead, legendary or in the case of Hockney, perhaps the UK’s greatest living artist.
The photographs in the exhibition at at Lyndsey Ingram Gallery in Bourdon Street, London, which is titled Kasmin’s Camera, also include images of friends, such as textile designer Celia Birtwell, her husband Ossie Clark and the explorer and writer Bruce Chatwin, with whom Kasmin travelled widely.
Helen Frankenthaler and Anthony Caro posing at the ancient throne, Torcello, Venice, 1966, by John Kasmin.
Debut for most
The show marks Kasmin’s 90th birthday year and it is the first time most of these images have ever been seen.
Some were available through Camera Press for use in academic publications, but none have ever been printed or exhibited and all come directly from Kasmin’s archive.
The images are printed from Kasmin’s original negatives and are signed, numbered and available in small editions. All photos are offered at £950 plus VAT.
