Black and white close-up photograph showing a person's eyes (Karen Kilimnik) with dramatic eyelashes against a dark background

Karen Kilimnik, Me as Isabelle Adjani in Ishtar, Part II, 1994 (detail)

 

In a diverse practice that draws upon the tradition of Romantic painting, Karen Kilimnik (*1955) utilizes painting, drawing, collage, photography, video and installation to produce nuanced and playful observations of historical codes and symbols. Reveling in both mass and high culture, George Stubbs, Jean-Baptiste Oudry and the ballet are as important for Kilimnik as The Avengers, Kate Moss and pop music, forcing such distinctions to collapse into her own specific mélange of cultural influence and production.

 

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Kilimnik’s early work from the late 1980s and early 1990s are complex mise-en scènes that extend from the wall to the floor. Usually consisting of artifacts strewn amidst the gallery with seeming carelessness, painted backdrops and scribbled allusions to a narrative, they are often born of a certain fandom or interest in celebrity culture that is evident across her practice. Specific episodes of cult British television programs were the impetus for a number of these installations and in Paris Is burning (1991) / Is Paris burning? (1944) (1992), Kilimnik merges the documentary about New York drag sororities with a Hollywood movie about the pending destruction of occupied Paris. Seemingly incongruous moments and events are rolled into one through the use of props within a stage set, historical fact presented as theatre.

The artist also became one of the main proponents of the resurgence of figurative painting in the early 1990s, coming to prominence with portraits of figures both semi-fictional and real, derived from the worlds of music, film, fashion and royalty. Figures from the present are dragged into historical overtures, becoming characters in scenarios that draw from disparate sources to form veiled critiques of conventional concepts of beauty, romanticism and glamor. My Sister and Me – by Sir Thomas Lawrence (1986) imagines the artist as a Baroque painting from a Met Museum postcard of the aforementioned British portraits of the eighteenth century, executed with similar blushing cheeks and unfurling fabrics, with The goddess Artemis’s afternoon snack, Moreton-on-marsh, the cotswolds (2009) placing a charming picnic for the Greek goddess in the artist’s beloved English countryside.

Despite what appears as a childlike obsessiveness with her subjects, Kilimnik is primarily interested in their personalities rather than their public-facing personas. The worlds she creates simultaneously draw from major events, a recurring series for example of maps that color in the boundaries of shifting territories across war in the twentieth century, to more general themes such as English country houses, Delftware or fairies. Often her paintings and drawings come to inhabit carefully produced stage sets, theatrical environments that viewers can experience as though part of the artist’s self-contained worlds, that bear a similarity to early installations. The Forest in La Bayadère (2003–2020) recreates an enchanted forest from the Russian ballet, replete with music and even a toy owl, offering an environment for her paintings on ballet. Her 2012 exhibition at the Brant Foundation, Greenwich, Connecticut presented a variety of installations, resplendent with wallpaper, wood paneling, artificial snow, fountains and era-appropriate furniture. Works are likewise animated within the existing collections of institutions, creating new narratives with an aesthetic still reminiscent of the private boudoirs or salons of the nineteenth century. Throughout, a reworking of cultural codes and mores reveals an artistic realm where a mystical past is consciously evoked in the present, veiled in an air of earnest mystery and delight.

 

Works
Karen Kilimnik
Degas painting hair ornament accessories bag world, 2004

Karen Kilimnik
Degas painting hair ornament accessories bag world, 2004
Water soluble oil color on canvas
27.3 × 35.6 cm | 10 3/4 × 14 inches

Karen Kilimnik
Rudolph appearing on stage in 1999 for Christmas, 1999

Karen Kilimnik
Rudolph appearing on stage in 1999 for Christmas, 1999
Water soluble oil color on canvas
50.8 × 40.6 cm | 20 × 16 inches

Karen Kilimnik
Shadow, 2013

Karen Kilimnik
Shadow, 2013
Water soluble oil color on canvas
51.5 × 61 cm | 20 1/4 × 24 inches

Karen Kilimnik
the island beach, 2023

Karen Kilimnik
the island beach, 2023
Acrylic on canvas
98.7 × 137.2 × 3.8 cm | 38 7/8 × 54 × 1 1/2 inches

Karen Kilimnik
Scout's map, 2004

Karen Kilimnik
Scout's map, 2004
Water soluble oil color on canvas
50.8 × 61 cm | 20 × 24 inches

Karen Kilimnik
Me, Corner of Haight & Ashbury, 1966, 1998

Karen Kilimnik
Me, Corner of Haight & Ashbury, 1966, 1998
Water soluble oil color on canvas
45.7 × 35.6 cm | 18 × 14 inches

Karen Kilimnik
Paris Is burning (1991) / Is Paris burning? (1944), 1992

Karen Kilimnik
Paris Is burning (1991) / Is Paris burning? (1944), 1992
Mixed media
Dimensions variable

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Karen Kilimnik
"Winston" pet society stray cat (paper Kenny's present from London, England), 1979

Karen Kilimnik
'Winston' pet society stray cat (paper Kenny's present from London, England), 1979
Ink on paper
21 × 14.6 cm | 8 1/4 × 5 3/4 inches
38 × 31.5 × 2.4 cm | 15 × 12 3/8 × 1 inches (framed)

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Karen Kilimnik
Tiffany on the way to ballet class in January, 2011

Karen Kilimnik
Tiffany on the way to ballet class in January, 2011
Water soluble oil color on canvas
35.6 × 27.9 cm | 14 × 11 inches

Karen Kilimnik
The medieval cottage tapestry, 2014

Karen Kilimnik
The medieval cottage tapestry, 2014
Water soluble oil color on canvas
41.3 × 51.4 cm | 16 1/4 × 20 1/4 inches

Karen Kilimnik
Kate Moss, 1993

Karen Kilimnik
Kate Moss, 1993
Crayon on paper
44 × 35 cm | 17 1/4 × 13 7/8 inches

Karen Kilimnik
The Joker Episode of the Avengers, 1991

Karen Kilimnik
The Joker Episode of the Avengers, 1991
Mixed media
Dimensions variable

More views
Karen Kilimnik
Secret agent club, London, Mayfair, 2017

Karen Kilimnik
Secret agent club, London, Mayfair, 2017
Water-soluble oil color on canvas
30.5 × 23.5 cm | 12 × 9 1/4 inches

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009
Water-soluble oil color on canvas
50.8 × 40.6 cm | 20 × 16 inches

Karen Kilimnik
Helter Skelter, 1992

Karen Kilimnik
Helter Skelter, 1992
Acrylic, costume jewelry and turkey fork
Dimensions variable

More views
image/svg+xml
Details

Karen Kilimnik
Degas painting hair ornament accessories bag world, 2004
Water soluble oil color on canvas
27.3 × 35.6 cm | 10 3/4 × 14 inches

Karen Kilimnik
Degas painting hair ornament accessories bag world, 2004

Karen Kilimnik
Rudolph appearing on stage in 1999 for Christmas, 1999
Water soluble oil color on canvas
50.8 × 40.6 cm | 20 × 16 inches

Karen Kilimnik
Rudolph appearing on stage in 1999 for Christmas, 1999

Karen Kilimnik
Shadow, 2013
Water soluble oil color on canvas
51.5 × 61 cm | 20 1/4 × 24 inches

Karen Kilimnik
Shadow, 2013

Karen Kilimnik
the island beach, 2023
Acrylic on canvas
98.7 × 137.2 × 3.8 cm | 38 7/8 × 54 × 1 1/2 inches

Karen Kilimnik
the island beach, 2023

Karen Kilimnik
Scout's map, 2004
Water soluble oil color on canvas
50.8 × 61 cm | 20 × 24 inches

Karen Kilimnik
Scout's map, 2004

Karen Kilimnik
Me, Corner of Haight & Ashbury, 1966, 1998
Water soluble oil color on canvas
45.7 × 35.6 cm | 18 × 14 inches

Karen Kilimnik
Me, Corner of Haight & Ashbury, 1966, 1998

Karen Kilimnik
Paris Is burning (1991) / Is Paris burning? (1944), 1992
Mixed media
Dimensions variable

Karen Kilimnik
Paris Is burning (1991) / Is Paris burning? (1944), 1992
Karen Kilimnik

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992 (detail)

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992
Karen Kilimnik

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992 (detail)

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992
Karen Kilimnik

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992 (detail)

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992
Karen Kilimnik

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992 (detail)

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992
Karen Kilimnik

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992 (detail)

Karen Kilimnik
Paris Is Burning (1991) / Is Paris Burning? (1944), 1992

Karen Kilimnik
'Winston' pet society stray cat (paper Kenny's present from London, England), 1979
Ink on paper
21 × 14.6 cm | 8 1/4 × 5 3/4 inches
38 × 31.5 × 2.4 cm | 15 × 12 3/8 × 1 inches (framed)

Karen Kilimnik
"Winston" pet society stray cat (paper Kenny's present from London, England), 1979
Karen Kilimnik

Karen Kilimnik
'Winston' pet society stray cat (paper Kenny's present from London, England), 1979 (detail)

Karen Kilimnik
"Winston" pet society stray cat (paper Kenny's present from London, England), 1979

Karen Kilimnik
Tiffany on the way to ballet class in January, 2011
Water soluble oil color on canvas
35.6 × 27.9 cm | 14 × 11 inches

Karen Kilimnik
Tiffany on the way to ballet class in January, 2011

Karen Kilimnik
The medieval cottage tapestry, 2014
Water soluble oil color on canvas
41.3 × 51.4 cm | 16 1/4 × 20 1/4 inches

Karen Kilimnik
The medieval cottage tapestry, 2014

Karen Kilimnik
Kate Moss, 1993
Crayon on paper
44 × 35 cm | 17 1/4 × 13 7/8 inches

Karen Kilimnik
Kate Moss, 1993

Karen Kilimnik
The Joker Episode of the Avengers, 1991
Mixed media
Dimensions variable

Karen Kilimnik
The Joker Episode of the Avengers, 1991
Karen Kilimnik

Karen Kilimnik
The Joker Episode of the Avengers, 1991 (detail)

Karen Kilimnik
The Joker Episode of the Avengers, 1991
Karen Kilimnik

Karen Kilimnik
The Joker Episode of the Avengers, 1991 (detail)

Karen Kilimnik
The Joker Episode of the Avengers, 1991
Karen Kilimnik

Karen Kilimnik
The Joker Episode of the Avengers, 1991 (detail)

Karen Kilimnik
The Joker Episode of the Avengers, 1991
Karen Kilimnik

Karen Kilimnik
The Joker Episode of the Avengers, 1991 (detail)

Karen Kilimnik
The Joker Episode of the Avengers, 1991

Karen Kilimnik
Secret agent club, London, Mayfair, 2017
Water-soluble oil color on canvas
30.5 × 23.5 cm | 12 × 9 1/4 inches

Karen Kilimnik
Secret agent club, London, Mayfair, 2017

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009
Water-soluble oil color on canvas
50.8 × 40.6 cm | 20 × 16 inches

Karen Kilimnik
The goddess Artemis's afternoon snack, Moreton-on-marsh, the cotswolds, 2009

Karen Kilimnik
Helter Skelter, 1992
Acrylic, costume jewelry and turkey fork
Dimensions variable

Karen Kilimnik
Helter Skelter, 1992
Karen Kilimnik

Karen Kilimnik
Helter Skelter, 1992 (detail)

Karen Kilimnik
Installation view, Sprüth Magers, Los Angeles, September 12–October 26, 2019
Karen Kilimnik

Karen Kilimnik
Helter Skelter, 1992 (detail)

Karen Kilimnik
Installation view, Sprüth Magers, Los Angeles, September 12–October 26, 2019
Details
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Current and Upcoming
Karen Kilimnik, Corpse, 1993

See It Now
Group Exhibition
Contemporary Art from the Ann and Mel Schaffer Collection
The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs
Through January 4, 2026

See It Now celebrates art and artists brought together by Ann and Mel Schaffer, collectors whose empathy, curiosity, and embrace of our complex humanity, is evident throughout their artworks. The Schaffers are drawn to artworks which describe the messy, rough, and visceral narratives that are bound up with urgent issues of today.

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Exhibitions at Sprüth Magers

Horror
Curated by Jill Mulleady
November 21, 2025–February 14, 2026
Los Angeles

Monika Sprüth and Philomene Magers are pleased to present Horror, an intergenerational group exhibition curated by Jill Mulleady. In conceiving the exhibition, Mulleady was inspired by the long history of horror in film and literature, as well as by Mike Kelley’s 1993 group exhibition and publication, The Uncanny, a curatorial statement which explored the complex interplay of recognition, memory, and repression. Over thirty years on, Horror takes Kelley’s project as a touchstone, moving beyond the psychological discomfort of the uncanny toward the explicit shock of horror.

With works by Dario Argento, Antonin Artaud, Oliver Bak, Bruce Conner, Mati Diop & Fatima Al Qadiri, Cyprien Gaillard, Jonathan Glazer, Anne Imhof, Arthur Jafa, Asger Jorn, Mike Kelley, Karen Kilimnik, Harmony Korine, Tetsumi Kudo, Mire Lee, Diego Marcon, Tyler Mitchell, Ottessa Moshfegh, Jill Mulleady, Precious Okoyomon, Sondra Perry, Carol Rama, Cindy Sherman, Pol Taburet, Henry Taylor, Paul Thek, Rosemarie Trockel, Andra Ursuta, Kara Walker and Jordan Wolfson.

Karen Kilimnik
September 12–October 26, 2019
Los Angeles

One of the most important representatives of figurative painting, sculpture, video and installation in the last four decades, Karen Kilimnik continues to produce work that is as diverse as it is groundbreaking. The artist brings together historical cultural references—including ballet, the aristocracy, 14th to 18th-century painting, Romanticism, and the Second World War—with the spheres of books, music, film and television.

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Karen Kilimnik
April 13–May 26, 2018
London

Karen Kilimnik’s latest exhibition with Sprüth Magers brings together works from across four decades in her career as one of the most important representatives of figurative painting, sculpture and installation. Included in the exhibition is an early example of her sculptures, as well as early drawings, and more recent paintings and prints in her delightful and darkly humorous style. Kilimnik’s diverse practice is recognised for activating relationships between the traditions of culture and art history. Frequently, she combines figures and motifs from art history and collective memory – ballerinas, aristocracy, the Second World War – with cultural references to music, media and film.

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Karen Kilimnik
February 7–March 8, 2014
Berlin

Over the past two decades, Karen Kilimnik has become known for her playful treatment of nostalgia, combining a love for stories, costumes and magic to create highly theatrical yet intimate exhibitions. Using a wide range of media, including installation, drawing and photography, and not least her distinctive paintings, she orchestrates a range of references, from scraps of nature to the trappings of European aristocracy. In her exhibition in Berlin, adapted and expanded from her show organized by Le Consortium, Dijon, for the vineyard L’Académie Conti in Burgundy, Kilimnik will exhibit a body of work that juxtaposes images of wealth and war, fairytales and femininity.

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Karen Kilimnik
November 17, 2007–January 19, 2008
Cologne

The exhibition comprises works on paper, photographs and new oil paintings. As in her last solo exhibition at the London gallery, Kilimnik is also showing an installation of a forest, in this case a fairytale birch forest in winter. The artist for one uses well-known historical clichés; for another she cites the present in her installations. A sense of the artificial, of staging, is characteristic of her work. Since the 1990s she has been seen as a precursor for this kind of theatrical mise-en-scène installation art.

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Karen Kilimnik
June 19–July 21, 2007
London

Renowned as one of the pioneers in the early 1990’s for her deconstructed installations and assemblages of seemingly random objects with an emphasis on ‘throw away’ materials – Kilimnik’s paintings and installations are a highly personalised appropriation of historical and contemporary sources. Drawing on the world of fairy tales, romance, ballet, mysteries, various magazines and newspapers, TV, European stately homes and painters such as Stubbs, Oudry and Raeburn, Kilimnik casts these diverse elements like a stage director in her own play.

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Karen Kilimnik
Haydn-Zimmer
April 3–April 12, 2004
Salzburg

Karen Kilimnik
January 17–March 8, 2003
Munich

Reflexions
Carl André, John Armleder, John Baldessari, Sylvie Fleury, Isa Genzken, Thomas Grünfeld, Stephan Jung, Karen Kilimnik, Jeff Koons, Louise Lawler, Robert Morris, Paul Morrison, Andreas Schulze, Andy Warhol, Franz West, Heimo Zobernig
January 24–March 1, 2002
Munich

Press

No Animals Were Harmed in the Making of Karen Kilimnik’s Contribution to the Carnegie International, Cats Prevailed
Cultured Magazine, article Kat Herriman, October 26, 2018

The “Blood and Treasure” of Karen Kilimnik
Frieze, article by Travis Diehl, October 18, 2019

The Last Days of Rococo: Karen Kilimnik
Mousse, article by Sabrina Tarasoff, Fall 2019

Biography

Karen Kilimnik (Philadelphia, PA). Major solo exhibitions include Art Chosun, Seoul (2024), Kunsthaus Glarus (2023), Le Consortium, Dijon (2013, 2007), the Museum of Contemporary Art, Denver (2013), The Brant Foundation, Greenwich (2012), the Belvedere Museum, Vienna (2010), the Museum of Contemporary Art in Chicago (2008), the Serpentine Gallery, London (2007), the Museum of Contemporary Art, Miami (2007), the Musée d’Art Moderne de la Ville de Paris (2006), the Fondazione Bevilacqua La Masa, Venice (2005), Irish Museum of Modern Art, Dublin (2002) and the Institute of Contemporary Art in Philadelphia (1992). Major group exhibitions include the Fondation Vincent van Gogh Arles, Arles (2024), Fondazione Prada, Milano (2021), Haus Mödrath, Kerpen (2020), the Carnegie International, 57th Edition in Pittsburgh (2018), the Whitney Museum of American Art, New York (2016, 2008, 1993), the Rubell Family Collection, Miami (2015, 2010), Le Grand Palais, Paris (2013), the Tate Modern, London (2012), the Metropolitan Museum of Art, New York (2012), the Van Abbemuseum, Eindhoven and the MOMA PS1, New York (both 2006), the Museum of Modern Art, New York (2005, 2001, 1999), the Institute of Contemporary Art, London (1997), and the Secession, Vienna (1994). In 2011, Kilimnik created a stage scenery for Alexei Ratmansky’s ballet “Psyché” at the Opéra National de Paris.

Education
1974–76 Temple University, Philadelphia
Public Collections
American Academy of Arts and Letters, New York
Centre genevois de gravure contemporaine, Geneve
Fondazione Di Vignola
Fondazione Prada, Milan
Graphische Sammlung das ETH, Zurich
Guggenheim, New York
Hammer Museum, Los Angeles
Los Angeles Museum of Contemporary Art
Mead Art Museum at Amherst College, MA
Metropolitan Museum of Art, New York
Museum of Contemporary Art, Chicago
Museum of Modern Art, New York
Philadelphia Museum of Art
Ruby City Foundation, San Antonio, TX
Sammlung Goetz, Munich
San Francisco Museum of Modern Art
Seattle Art Museum
Statens Museum for Kunst, Copenhagen
The National Museum of Women in the Arts, Washington
The Whitney Museum of American Art, New York
Windsor Collection, Bielefeld