#MelekoMokgosi: Meleko Mokgosi has been selected to receive the 2020 Soros Arts Fellowship, alongside nine other cultural practitioners working at the intersection of migration, public space, and the arts. He will receive a stipend to realize an ambitious project titled Pan-African Pulp over the next eighteen months. Through publications, murals, posters, and a digital archive, Mokgosi will explore histories of Pan-Africanism in southern African pulp photo-novels of the 1960s and 1970s, with the aim of reviving ideas of Pan-Africanism and Black consciousness to build transcontinental alliances between groups fighting systems of oppression today. “Meleko Mokgosi: Democratic Intuition” opens tomorrow at Gagosian, Britannia Street, London. Follow the link in our bio to learn more. __________ #Gagosian @opensocietyfoundations
#SpencerSweeney: “I would be in a certain mood and have a certain idea, and I would get started on a self-portrait. So stylistically, I ended up with some pretty divergent works. But then that became something that was important to me, to push that further and create this variety of expressions.” —Spencer Sweeney A selection of Spencer Sweeney’s paintings and works on paper are presented online for galleryplatform.la. Curated from several existing bodies of work, these pieces center on the human face as a bearer of expression and a site for visual experimentation. Inspired by the improvisational spirit of jazz, Sweeney produces intensely colored, boldly gestural images that reverberate with the amplified and distorted voices of art historical exemplars. Follow the link in our bio to view the works or to make an inquiry. __________ #Gagosian #GagosianQuarterly #GalleryPlatformLA #GPLA #GalleryAssociationLosAngeles #GALA @galleryplatform.la @dirtyroomba (1, 2) Spencer Sweeney, "Self-Portrait Eating Snake," 202
#LouiseBonnet: "I think that’s my whole practice: to freeze the scary things—rage, death—so you can look at them from the outside." —Louise Bonnet Louise Bonnet recently joined filmmaker and author Miranda July on a video call to discuss life during lockdown, the luminosity of oil paint, and Bonnet’s forthcoming exhibition of new work, which opens tomorrow at Gagosian, Park & 75, New York. Longtime friends—and newly neighbors—the two reflect on their shared history and shared interests in the unconscious, vagueness, and the mixture of humor and pain. Follow the link in our bio to read the "Gagosian Quarterly" piece or to learn more about the exhibition. __________ #Gagosian #GagosianQuarterly @louisebonnetstudio Louise Bonnet in her Los Angeles studio, 2020. Artwork © Louise Bonnet. Photo: Jeff McLane
#MelekoMokgosi: Meleko Mokgosi’s first solo exhibition in the United Kingdom and Europe, drawn from his grand project "Democratic Intuition" (2014–19), opens on September 29 at Gagosian, Britannia Street, London. In works of sweeping scale and scope, Mokgosi combines history painting with cinematic montage, bringing together elements of religious iconography, advertising, and political propaganda from southern Africa and the United States to produce a layering of imagery both familiar and unfamiliar. Reconceptualizing the intersection of art history, postcolonial nationhood, and democracy within an interdisciplinary critical framework, Mokgosi seeks to redress the many ways in which Black subjects have become unattributed objects of empire and institution. Follow the link in our bio to learn more about the upcoming exhibition. __________ #Gagosian Meleko Mokgosi, "The Social Revolution of Our Time Cannot Take Its Poetry from the Past but Only from the Poetry of the Future, 6," 2019 © Meleko Mokgosi
#MaryWeatherford: "Train Yards," an exhibition of recent works by Mary Weatherford, is on view at Gagosian, Grosvenor Hill, London, through December 19. Weatherford roots abstract painting in subjective experience, evoking urban and rural environments while experimenting with internal painterly dynamics around light, color, and gesture, as well as the relationship between a painted surface and various three-dimensional addenda. Preparing each canvas with a mixture of gesso and marble dust, she conjures a wide range of chromatic and textural effects. In her best-known works, sponged grounds of vinyl-based emulsion on heavy linen panels are surmounted by one or more carefully shaped and placed neon-filled glass tubes. Follow the link in our bio to learn more. __________ #Gagosian @maryweatherford Installation views, "Mary Weatherford: Train Yards," Gagosian, Grosvenor Hill, London, September 22–December 19, 2020. Artwork © Mary Weatherford. Photos: Lucy Dawkins
#TitusKaphar: “Even though I feel like I was way too vulnerable, even though I feel too much on display, this was what I was supposed to do at this moment. Nobody else really matters.” —Titus Kaphar Titus Kaphar is featured on the Fall 2020 cover of "Cultured Magazine" as the final #CulturedLivingLegends star. In an intimate interview with Jacoba Urist, Kaphar discusses the mixed emotions that accompanied his "TIME" cover homage to George Floyd, his arts incubator NXTHVN, and what it’s like to unbox the complexity and horror of American history. An exhibition of new paintings by the artist, "From a Tropical Space," opens October 1 at Gagosian, West 21st Street, New York. Follow the link in our bio to learn more about the exhibition, or to read the feature. __________ #Gagosian @__nxthvn__ @cultured_mag (1) Titus Kaphar, "Braiding possibility," 2020 © Titus Kaphar; (2) Titus Kaphar on the cover of "Cultured Magazine," Fall 2020. Photo: @jamelshabazz
“The tension between beauty and sadness is a powerful one. It’s something that I strive for.” ーGregory Crewdson Happy birthday to Gregory Crewdson, born on this day, September 26, in Brooklyn. For three decades, Crewdson’s photographs of houses, landscapes, and people have become canonical representations of the liminal and forgotten in America. Crewdson orchestrates every detail of his scenes, from casting the landscape’s light and color to devising the words on a street sign. Crewdson’s new series, “An Eclipse of Moths,” is titled for the phenomenon of moths’ innate navigational system drawn off course, disoriented instead towards artificial lights. In these pictures, Crewdson’s figures appear between two places, caught somewhere out of time, isolated and unsettled with a premonition of both perilousness and hope. “An Eclipse of Moths” is now on view at Gagosian, Beverly Hills. Follow the link in our bio to learn more. ________ #GregoryCrewdson #Gagosian @crewdsonstudio Gregory Crewdson, "The Taxi Dep
"Ed Ruscha: Travel Log" opens today at Sonoma Valley Museum of Art, Sonoma, California. This exhibition by Ed Ruscha includes rarely seen black-and-white photographs documenting the artist’s frequent trips from Los Angeles to Oklahoma in the 1960s, which reveal inspirations for his iconic prints and paintings, including images of gas stations, diners, and the streets of rural towns like Gallup, New Mexico, and Winslow, Arizona. Also featured are examples of his well-known word prints, including color lithographs that combine visual formality with playful language. Follow the link in our bio for more. __________ #EdRuscha #Gagosian @edruschaofficial @sonomavalleymuseumofart Ed Ruscha, "Double Standard," 1966–69 © Ed Ruscha
"Always casting herself in the starring role, Cindy Sherman changed appearance as any actress would, but instead of using her facial expression and body language to tell a feature-length story, she condensed an entire genre into a single frame." —Jonathon Keats, Forbes A career retrospective on the work of Cindy Sherman is on view at Fondation Louis Vuitton, Paris, through January 3, 2021. Designed in close collaboration with the artist, this exhibition presents more than 170 works from 1975 to 2020, with a particular focus on pieces produced in the early 2010s, as well as some previously unseen works. Follow the link in our bio to learn more. __________ #Gagosian Cindy Sherman, "Untitled Film Still #13," 1978 © Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York
#StanleyWhitney: Italy remains a central and enduring source of inspiration for Stanley Whitney, whose new paintings are on view at Gagosian, Rome, through October 17. In a piece for "Gagosian Quarterly," Matthew Jeffrey Abrams, the author of a new monograph on the artist, reflects on the profound and far-reaching influence of Italian art and architecture on Whitney’s art. Follow the link in our bio to read the article or to learn more about the exhibition. __________ #Gagosian #GagosianQuarterly @stanley.whitney (1) Stanley Whitney, "How to Speak to Trees," 2019; (2) Stanley Whitney in his studio in Rome, mid-1990s. Photo: Athina Ioannoy. Artwork © Stanley Whitney
#GregoryCrewdson: "An Eclipse of Moths," an exhibition of new work by Gregory Crewdson, is on view at Gagosian, Beverly Hills, through November 21. This exhibition comprises sixteen large-scale panoramic exteriors, shot using Crewdson’s famously meticulous production techniques and longtime technical crew. Set in a postindustrial urban landscape, the series depicts locales of removed isolation, each of which Crewdson spent months scouting and staging before production began: a taxi depot, a traveling carnival lot, an abandoned factory complex, defunct bars and diners, and vacant storefronts. In scenes that combine hope with the forgotten and restlessness with ennui, the world of these photographs is laden with premonition. Confounding the eerie, elusive intimacy of an Edward Hopper painting with a Hitchcockian cinematic and compositional precision, Crewdson’s images create wordless, open-ended narratives populated by characters and places that feel remote and unsettling—yet deeply familiar. Follow the link
#SpencerSweeney: "Sometimes you find a convergent expression of joy and pain, almost in the same breath. This is what interests me." —Spencer Sweeney Gagosian is pleased to present paintings and works on paper by Spencer Sweeney online for galleryplatform.la. Curated from several existing bodies of work, the selection centers on the human face as a bearer of expression and a site for visual experimentation. Sweeney’s paintings, drawings, and collages are alive with the same infectious energy as his multimedia environments, musical performances, and collaborative experiments. In the eight works on view, which were made between 2011 and 2020, the New York–based artist presents a vital and accessible take on the elemental formats of portrait and figure study, viewing them afresh through the mercurial lenses of popular culture and subjective experience. Inspired by the improvisational spirit of jazz, he produces intensely colored, boldly gestural images that reverberate with the amplified and distorted voices o
#BriceMarden: "My work has always been involved with nature, no matter how abstract. Sometimes it’s more formal and less directly related to the real world. But there’s always been some sort of engagement with nature." —Brice Marden "Marbles and Drawings," an exhibition of paintings and works on paper by Brice Marden, opens today at Gagosian, Athens. This is Marden’s first solo exhibition in Greece in four decades and it will inaugurate the new location of the Athens gallery, an elegant stand-alone building in the center of the city. Today, to celebrate the opening of the exhibition, the gallery will have extended hours from 11am to 9pm. Follow the link in our bio to learn more. __________ #Gagosian Brice Marden, "EM Blotter 2," 2012 © 2020 Brice Marden/Artists Rights Society (ARS), New York
#DesertPainters: "Desert Painters of Australia: Two Generations," the first-ever exhibition in Hong Kong dedicated to work by contemporary Indigenous Australian artists is now open at Gagosian, Hong Kong. This exhibition is designed to introduce the local audience to rare works by some of Australia’s most renowned Indigenous artists from remote regions of the continent. Bill “Whiskey” Tjapaltjarri, a Pitjantjatjara artist from the Western Desert, used a unique cartographic approach to paint works of sweeping scale that are reminiscent of drawings his elders once made with crayon on butcher’s paper to map the vast lands of their Country for white anthropological interlocutors. Two of Whiskey’s largest paintings, both titled "Country and Rockholes near the Olgas" (2006) depict the areas around Uluru (Ayers Rock) and Kata Tjuta (Mount Olga). The subtle palette of these works, which ranges from deep aqueous blues to vivid corals, and their complex contouring, reimagine the striking hues and topography of the ge
#GregoryCrewdson: "I’m trying to explore what, on the surface at least, seems to be everyday life, and trying to find within that some unexpected anxiety, or fear, or wonder, even." —Gregory Crewdson "An Eclipse of Moths," an exhibition of new work by Gregory Crewdson, opens tomorrow at Gagosian, Beverly Hills. In a piece for "Gagosian Quarterly," actor Cate Blanchett discusses this body of work with the artist. Follow the link in our bio to read the article or to learn more about the exhibition. __________ #Gagosian #GagosianQuarterly @crewdsonstudio Gregory Crewdson, "Starkfield Lane," 2018–19, digital pigment print, image: 50 × 88 7/8 inches (127 × 225.7 cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm) © Gregory Crewdson
#TitusKaphar: Gagosian is pleased to present "From a Tropical Space," an exhibition of new paintings by Titus Kaphar opening October 1 at Gagosian, West 21st Street, New York. This is Kaphar’s first exhibition with the gallery and inaugurates his representation. A painter, sculptor, filmmaker, and installation artist, Kaphar reexamines American history by deconstructing existing representations and styles through his own formal innovations. His practice seeks to dislodge history from its status as “past” in order to understand its continuing impact on the present. While much of Kaphar’s work begins with an exhaustive study of pre-twentieth-century master painting techniques, "From a Tropical Space" sees him wield these various methods to create an emotionally saturated visual landscape that is entirely contemporary. Just as artists, through time, have translated the fraught and mercurial sociopolitical contexts in which they operate into new and often radical aesthetic modes, so do the pervasive social and
#DesertPainters: "Desert Painters of Australia: Two Generations" opens tomorrow at Gagosian, Hong Kong. It is the third in a series of critically acclaimed exhibitions presented by the gallery, following New York and Los Angeles in 2019. Organized in collaboration with D’Lan Davidson, a leading Melbourne-based consultant in the Indigenous Australian art market, this exhibition is designed to introduce the local audience for the first time to rare works by some of Australia’s most renowned Indigenous artists from remote regions of the continent. The intergenerational selection includes the late Emily Kame Kngwarreye, Makinti Napanangka, and Bill “Whiskey” Tjapaltjarri, and living artists such as Yukultji Napangati, George Tjungurrayi, and Warlimpirrnga Tjapaltjarri. Follow the link in our bio to learn more. __________ #Gagosian Emily Kame Kngwarreye, "Yam Dreaming," 1995 © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artists Rights Society (ARS), New York, 2020
#GagosianSpotlight: Today at 5pm EDT, join artist Adam McEwen, Gagosian director Bob Monk, and Lisa Turvey, editor of the catalogue raisonné of Ed Ruscha’s works on paper, for an online conversation. On the occasion of Ed Ruscha's Artist Spotlight feature, the trio will discuss how Ruscha has experimented with the sound, appearance, and sense of language to imbue his works on paper with humor and pathos. Follow the link in our bio to register. __________ #EdRuscha #Gagosian @edruschaofficial Ed Ruscha, "The End #61," 2005 © Ed Ruscha. Photo: Paul Ruscha
#MaryWeatherford: "Train Yards," an exhibition of recent works by Mary Weatherford, opens today at Gagosian, Grosvenor Hill, London. Weatherford began using neon in 2012, inspired by the illuminated signs that lined the streets of Bakersfield, California, where she was then working as a visiting artist and educator. Casting an intense industrial light onto the modulated fields of color beneath them, the tubes (which sometimes extend beyond the edges of the painting) read as hand-drawn lines, their trailing power cords adding a further graphic and dimensional aspect. In a piece for "Gagosian Quarterly," Weatherford speaks to Laura Hoptman about her new paintings presented in this exhibition. Begun in 2016, the “Train Yard” series evokes the sights and sounds of railroads and night skies. Follow the link in our bio to read the article, or to schedule an appointment to visit the show. __________ #Gagosian #GagosianQuarterly @maryweatherford Mary Weatherford, "No. 4000,” 2017–18 © Mary Weatherford. Photo: Fredr
#PlanYourVote: Created in 2020, Plan Your Vote is an initiative of Vote.org that harnesses the power of the visual arts to promote and empower citizens to exercise their right to vote. The organization has collaborated with artists, including Davide Balula, Sally Mann, and Patti Smith, to create a public library of voting advocacy images, available for anyone to download and share, in order to help ensure everyone has a voting strategy and is vote ready. Visit vote.org to check if you are registered to vote, to register, or learn more about your voting rights. __________ #Vote #VoteReady #SallyMann #Gagosian @planyourvote @a_thousand_crossings Artwork © Sally Mann
#BriceMarden: "Marbles and Drawings," an exhibition of paintings and works on paper by Brice Marden, opens September 24 at Gagosian, Athens. This will be Marden’s first solo exhibition in Greece in four decades and it will inaugurate the new location of the Athens gallery, an elegant stand-alone building in the center of the city. In 1981, while summering on the island of Hydra, Marden began painting on small fragments of marble from local quarries, describing his strategy as “taking an accident and turning it into a form.” He partially tints the stone ground with thin, translucent layers of oil paint, producing serenely colored rectangles alongside bars of black and gray. These compositions work in harmony with each stone’s inherent texture and veining pattern; some even preserve traces of ruled graphite markers. Follow the link in our bio to learn more about the exhibition. __________ #Gagosian (1) Brice Marden, "Untitled (Black Stripe Marble)," 1987; (2) Brice Marden, "Years 3," 2011. Artwork © 2020 Brice
#GagosianQuarterly: "Isabelle Waldberg explored the eroticism engendered by the polarity between figuration and abstraction. Occasional intimations of violence betray her formation as an artist between two catastrophic wars." —Jacquelynn Baas In a piece for "Gagosian Quarterly," Jacquelynn Baas profiles Isabelle Waldberg, writing on the sculptor’s many friendships and the influence of her singular creations. Follow the link in our bio to read the article. _________ #IsabelleWaldberg #Gagosian (1) Isabelle Waldberg, with “Construction” (1943), in her studio, New York, 1943. Photo: H. Brammer; (2) Isabelle Waldberg’s studio on rue d’Orsel, Paris, c. 1960. Photo: Michel Waldberg, courtesy Corinne Waldberg. Images: Michel Waldberg’s "Isabelle Waldberg" (Paris: Éditions de la Différence, 1992)
#CasaMalaparte: Join Gagosian today at 1pm EDT (6pm BST) for a virtual tour of "Casa Malaparte: Furniture” at Gagosian, Davies Street, London. Gagosian director Millicent Wilner and Tommaso Rositani Suckert, Curzio Malaparte’s youngest descendant, will discuss Casa Malaparte in Capri, Italy. Designed in its entirety by Malaparte, from floor plan to furniture, the house blends classical and modernist influences, united under one roof with inimitable poetic drama. Editions of the furniture are installed in the gallery to replicate the layout of the main room of the house, including a one-to-one scale image of the ocean vista. Rositani Suckert has produced the editions based on key pieces of furniture that grace the house to this day: a table, a bench, and a console. Manufactured in Italy, each piece comprises a simple, elegant solid walnut slab with supports in different materials. Follow the link in our bio to register. __________ #Gagosian (1) Original walnut and pine table conceived in 1941 by Curzio Malapa
#GagosianSpotlight: “Louis Michel Eilshemius is an artist’s artist. He’s completely vanguard. I put him in the category of somebody like George Ohr, you know, the Mad Potter who also was a self-proclaimed genius.” —Ed Ruscha Ed Ruscha tells Viet-Nu Nguyen and Leta Grzan how he first encountered the paintings of Louis Michel Eilshemius, which of the artist’s aesthetic innovations captured his imagination, and how his own work relates to and differs from that of this “Neglected Marvel.” A 2020 painting by Ruscha, “REAL RESEARCH,” is currently presented exclusively on gagosian.com as part of his Artist Spotlight. Follow the link in our bio for more. __________ #EdRuscha #Gagosian #GagosianQuarterly @edruschaofficial (1) Louis Michel Eilshemius, “Fanciful Landscape,” 1907; (2) Ed Ruscha, "Spied Upon Scene: Oh/Ho," 2017 (detail) © Ed Ruscha. Photo: Jeff McLane Studio
#GagosianSpotlight: "Ed Ruscha: Artist Rooms" is on view at Tate Modern, London, through July 2021. This display reflects the range of Ed Ruscha’s practice, including paintings, prints, and photographic books, through artworks spanning sixty years of the artist’s career. Full of irony and humor, his works can often be interpreted as commentaries on American society. This morning, Gagosian unveiled a new painting by Ed Ruscha exclusively on gagosian.com Follow the link in our bio to view the work. _________ #EdRuscha #Gagosian @edruschaofficial @tate Installation views, “Ed Ruscha: Artist Rooms,” Tate Modern, London, July 26, 2019–July 2021. Artwork © Ed Ruscha. Photo © Tate (Oliver Cowling)
#GagosianSpotlight: “All art comes out of other art.” —Ed Ruscha Gagosian is pleased to present "REAL RESEARCH," a new painting by Ed Ruscha, now online for forty-eight hours only. Ruscha is unabashed about reaching back into the history of visual expression to produce original work, and this new painting transforms that foundational practice into explicit subject matter. The titular phrase is rendered in black serif capitals against the soft orange-yellow glow of a sunset over (we assume) the Hollywood Hills, only a periodic smearing of the letters hinting that the process it describes is anything other than seamless and immutable. Follow the link in our bio for more information about the work. __________ #EdRuscha #Gagosian @edruschaofficial Ed Ruscha, “REAL RESEARCH," 2020 © Ed Ruscha. Photos: Fredrik Nilsen
"Nothing will ever be the same." —Douglas Gordon, "Instruction (Number 6)," 1993 Happy birthday to Douglas Gordon, born on this day, September 20, in Glasgow. Gordon works across disciplines and often dimensions, layering time, language, and philosophical questions of ethics and morality. His large-scale, multi-screen videos and conceptual installations engage with references to popular novels and film, as well as to the artist’s own life and memories. Using well-known characters and environments as a canvas, Gordon breaks down the world as we know it, restructuring it into his own refurbished, non-linear portrait. After being postponed due to COVID-19, Gordon’s exhibition, “The Morning After,” will open at the Giacometti Institute, Paris, in 2021, exhibiting his work alongside Alberto Giacometti’s rarely shown objects. This year, Gordon and the Giacometti Institute are currently partaking in a long-term artist “residence,” an unprecedented collaboration and dialogue between the artist and Institute, inte
Damien Hirst has created four new limited-edition prints to raise money for Save the Children’s campaign, "Riscriviamo il Futuro" ("Rewrite the Future") in collaboration with Fondazione Prada in Milan. The editions, titled "Fruitful" and "Forever," feature bright, abstract details from Hirst’s new series of "Cherry Blossom" paintings. The prints are available through September 27. Follow the link in our bio to purchase a print. __________ #DamienHirst @damienhirst @heni @fondazioneprada @savethechildrenitalia @damienhirst (1) Damien Hirst, "Forever," 2020; (2) Damien Hirst with "Forever," 2020; (3) Damien Hirst, "Fruitful," 2020; (4) Damien Hirst with "Fruitful," 2020; Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photos: Prudence Cuming Associates
#GagosianSpotlight: "Ed Ruscha: Drum Skins" is on view at Blanton Museum of Art, Austin, Texas, through October 4. This show features more than a dozen new works by Ed Ruscha painted on found drum heads. Ruscha sourced the paintings’ visual iconography and language from the American vernacular. Ruscha speaks about the Oklahoma roots of the exhibition in a “New York Times” piece by M. H. Miller from earlier this year. Follow the link in our bio to read the article. _________ #EdRuscha #Gagosian @edruschaofficial @blantonmuseum Installation views, “Ed Ruscha: Drum Skins,” Blanton Museum of Art, Austin, Texas, January 11–October 4, 2020. Artwork © Ed Ruscha
Work by Gregory Crewdson features in "Le mauvais œil," which opened today at FRAC Auvergne, Clermont-Ferrand, France. Clément Cogitore’s 2018 film "The Evil Eye" lends this exhibition its title and, projected in the center of the museum, is also the show’s heart. Its soundtrack is broadcast in each of the institution’s rooms and accompanies the other works to create a sense of a whispered litany announcing the end of the world. On Thursday, an exhibition of new work by Crewdson, "An Eclipse of Moths," opens at Gagosian, Beverly Hills. Follow the link in our bio for more info. __________ #GregoryCrewdson #Gagosian @crewdsonstudio Gregory Crewdson, "Untitled (Long Clump of Beetles)," 1992–97 © Gregory Crewdson
#RudolfPolanszky: This weekend, Gagosian is participating in Kunsttage Basel. Visit "Hypotetic," an exhibition of new and recent paintings and sculptures by Rudolf Polanszky, at Gagosian, Basel. A key player in the Vienna art scene, Polanszky creates cerebral yet tactile works that embrace chance occurrence. In the early 1990s, Polanszky began examining the formal potential of sculpture and mixed-media painting with the series "Reconstructions" (1991–). To make these richly textured works, he uses salvaged industrial materials such as acrylic glass, aluminum, mirrored foil, resin, silicone, and wire, recombining them into purely aesthetic forms divorced from their original uses and contexts. Inspired by his father’s profession as a jazz musician, Polanszky’s process of “ad hoc synthesis” produces compositions that oscillate between concrete objects and symbols of subjective perception. Follow the link in our bio for more info. __________ #Gagosian #KTBasel #KunsttageBasel @kunsttagebasel Installation views,
#GagosianSpotlight: “I would visit Thomas Cole’s paintings every time I came to New York and I’d always find something new. This progression of the passage of civilization seemed really profound.” —Ed Ruscha In a piece for “Gagosian Quarterly,” Ed Ruscha sat down with Tom McCarthy and Elizabeth Kornhauser, curator at the Metropolitan Museum of Art, to discuss the nineteenth-century artist Thomas Cole, whose “Course of Empire” paintings inspired a series of works by Ruscha more than a century later. Follow the link in our bio to read the article. __________ #EdRuscha #Gagosian #GagosianQuarterly @edruschaofficial (1) Ed Ruscha, “The Old Trade School Building,” 2005 (detail), Whitney Museum of American Art, New York; (2) Thomas Cole, “The Course of Empire: The Consummation of Empire,” 1835–36 (detail), New-York Historical Society; (3) Ed Ruscha, “Expansion of the Old Tires Building,” 2005 (detail), Collection of Donald B. Marron, New York; (4) Thomas Cole, “The Course of Empire: Desolation,” 1836 (detail), New
#GagosianQuarterly: “The landscape is in the Woman, and there is Woman in the landscapes.” —Willem de Kooning In a "Gagosian Quarterly" article, Lauren Mahony considers a critical four-year period in the Willem de Kooning's career, examining the technical changes that occurred between his “abstract parkway landscapes” of the late 1950s and the “pastoral landscapes” that succeeded them, as well as the impact on his work of his impending move to Springs, New York. Follow the link in our bio to read the piece. _________ #WillemdeKooning #Gagosian Willem de Kooning at the Sidney Janis Gallery, New York, 1959. Photo: Arnold Newman Properties/Getty Images
#GagosianSpotlight: Gagosian is pleased to present five recent works on paper by Ed Ruscha, now online for forty-eight hours only. Throughout decades of formal experimentation, Ruscha has explored language in painting, drawing, photography, printmaking, and bookmaking through a singular, sometimes oblique use of words. In these five new works on paper featured in Ruscha’s Artist Spotlight presentation, blurred phrases appear on softly layered pigment grounds, evoking rapid movement and the disorienting experience of encountering words as we swipe and scroll across digital screens. Follow the link in our bio for more information or to make an inquiry. __________ #EdRuscha #Gagosian @edruschaofficial (1) Ed Ruscha, “IT FITS,” 2020; (2) Ed Ruscha, “AT THAT,” 2020; (3) Ed Ruscha, “RIOT BOX,” 2020; (4) Ed Ruscha, “ODD AD,” 2020; (5) Ed Ruscha, “IRON CLAD,” 2020. Artwork © Ed Ruscha. Photos: Fredrik Nilsen
#GagosianSpotlight: “It’s the same menu for me . . . everything I do comes from the way I was when I was 16 or 17 years old. Seems to be like a variation on a theme.” —Ed Ruscha In this interview for the Louisiana Channel, Ed Ruscha speaks about how his interests led him away from Abstract Expressionism and Minimalism to work with common objects and words. Follow the link in our bio to watch the video. Tomorrow at 6am EDT, five recent works on paper by the artist will be unveiled on gagosian.com. Keep an eye out! __________ #EdRuscha #Gagosian @edruschaofficial @louisianachannel Still from “Ed Ruscha: Words Have No Size,” 2016, courtesy Louisiana Museum
“I still believe in the unpredictable, in an artist who just has something and overwhelms you with something that you didn’t even ask for. I believe that in the sort of wrong moment there comes a time when someone who no one wanted, just does it . . .” —Albert Oehlen Happy birthday to Albert Oehlen, born on this day, September 17, in Krefeld, Germany. Head to “Gagosian Quarterly” via the link in our bio to read an interview between Albert Oehlen and art historian Christian Malycha where they discuss the artist’s work. _________ #AlbertOehlen #Gagosian #GagosianQuarterly Albert Oehlen, “Untitled,” 2019 © Albert Oehlen
#LouiseBonnet: "The Hours," an exhibition of new oil paintings by Louise Bonnet, opens September 29. The installation will be viewable exclusively through the storefront windows of Gagosian, Park & 75, New York, twenty-four hours a day. Bonnet’s fascination with the body in extremis prompts a range of other comparisons, from Lucas Cranach the Elder and Caravaggio to modern and contemporary iconoclasts such as Philip Guston and Cindy Sherman, as well as satirists Basil Wolverton and Robert Crumb. In particular, "The Hours" emphasizes the sexual perversity of the figures: in "Visitation" (2020), the spectral double of a supine figure hovers overhead, naked and sexless. Follow the link in our bio to learn more about the exhibition. __________ #Gagosian @louisebonnetstudio Louise Bonnet, "Visitation," 2020 © Louise Bonnet. Photo: Jeff McLane
#GagosianSpotlight: This month Ed Ruscha is the featured artist for Gagosian’s Artist Spotlight series. To mark the occasion “Ed Ruscha: Custom-Built Intrigue: Drawings 1974–1984” is available for online reading as part of the From the Library series. Published on the occasion of artist’s 2017 exhibition at Gagosian, 980 Madison Avenue, New York, this catalogue features over seventy-five text drawings by Ruscha rendered in pastel, dry pigment, and various edible substances. An essay by Lisa Turvey examines the artist’s use of humor in this body of work. Follow the link in our bio to read the catalogue. __________ #EdRuscha #Gagosian #FromTheLibrary @edruschaofficial “Ed Ruscha: Custom-Built Intrigue: Drawings 1974–1984” (New York: Gagosian, 2018)
#CasaMalaparte: An exhibition of new editions of furniture pieces from the legendary Casa Malaparte in Capri, Italy, is on view at Gagosian, Davies Street, London. In 1937, renowned author Curzio Malaparte purchased a plot of land overlooking the Tyrrhenian Sea. There, he supervised the construction of Casa Malaparte, his residence and architectural brainchild, to which he referred affectionately as “casa come me” (house like me). Designed in its entirety by Malaparte, from floor plan to furniture, the house blends classical and modernist influences, united under one roof with inimitable poetic drama. In a piece for "Gagosian Quarterly," Wyatt Allgeier explores the legacy of Curzio Malaparte and corresponds with the avant-garde author’s youngest descendant, Tommaso Rositani Suckert. Follow the link in our bio to read the article or to learn more about the exhibition. __________ #Gagosian #GagosianQuarterly (1, 2) Production of the editions of the Malaparte furniture. Photo: Dariusz Jasak; (3) Casa Malaparte
#GagosianSpotlight: “Ed Ruscha’s bleary phrases mime the dizziness that information overload can induce, and so too its consequences, ones acutely felt over the past six months.” —Lisa Turvey In a new piece for “Gagosian Quarterly,” Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by Ed Ruscha, detailing the ways these words in motion evoke the experience of the current moment. Follow the link in our bio to read the article. __________ #EdRuscha #Gagosian #GagosianQuarterly @edruschaofficial (1) Ed Ruscha, “OFF WE GO,” 2020; (2) Ed Ruscha, “CERTAIN FACTS,” 2020. Artwork © Ed Ruscha. Photo: Fredrik Nilsen
#GagosianSpotlight: This week, Ed Ruscha features in our Artist Spotlight series. At the start of his artistic career, Ruscha called himself an “abstract artist . . . who deals with subject matter.” Abandoning academic connotations that came to be associated with Abstract Expressionism, he looked instead to tropes of advertising and brought words—as form, symbol, and material—to the forefront of painting. Working in diverse media with humor and wit, he oscillates between sign and substance, locating the sublime in landscapes both natural and artificial. Ruscha’s formal experimentations and clever use of the American vernacular have evolved in form and meaning as technology alters the essence of human communication. Ruscha’s Artist Spotlight features five recent works on paper by the artist. The works will be unveiled on gagosian.com on Friday, September 18, at 6am EDT. A surprise offering by the artist will be revealed on Sunday, September 20. Follow the link in our bio to learn more. __________ #EdRuscha #G
Work by Jennifer Guidi, Katharina Grosse, and Ed Ruscha will feature in LAXART's 2020 Benefit Auction, which begins today at 5pm EDT on Artsy. Proceeds will help the nonprofit visual art space continue its mission to promote emerging and under-recognized talent and engage with key issues of our time through exhibitions, publications, and public programs. The works will also be available for viewing at LAXART by appointment from today. Follow the link in our bio to learn more. __________ #JenniferGuidi #Gagosian @laxart @artsy #Repost: @jenguidi Jennifer Guidi, "Hanalei Sunset (White Sand #10 Mandala, Black-Green-Turquoise-Red Mountain, Orange-Pink-Purple Sky)," 2017 © Jennifer Guidi
Work by Richard Prince, Gregory Crewdson, and Cindy Sherman is included in "Feelings: Kunst und Emotion," now on view at Pinakothek der Moderne, Munich, through October 4. One hundred paintings, objects, and films from contemporary artists invite the viewer to intuitively approach art from an emotional perspective. What does art provoke in us? To what extent does our view of art depend on our personal experiences and memories? This exhibition seeks to encourage this direct dialogue between artwork and viewer in order to stimulate an intense emotional engagement. Follow the link in our bio for more. __________ #RichardPrince #Gagosian @richardprince_official @pinakothekdermoderne Installation view, "Feelings: Kunst und Emotion," Pinakothek der Moderne, Munich, November 7, 2019–October 4, 2020. Artwork © Richard Prince
Tomorow at 7pm EDT, join Lilly Wei, independent curator and critic, and Kelly Montana, assistant curator at the Menil Drawing Institute in Houston, for a conversation on the arc of Brice Marden’s drawing practice and the critical influence that site has played in his work. The artist’s work is currently displayed in the Menil’s exhibition "Think of Them as Spaces: Brice Marden’s Drawings," an exploration of the artist’s draftsmanship and of the catalytic role the medium plays within his practice. This exhibition presents six series of drawings that span nearly the entirety of Marden’s ongoing career, highlighting the processes of invention and permutation that occur as he works and thinks on paper. To watch the live conversation, visit the Menil’s YouTube channel via the link in our bio. __________ #BriceMarden #Gagosian @menilcollection Installation view, "Think of Them as Spaces: Brice Marden’s Drawings," Menil Collection, Houston, February 21–October 11, 2020. Artwork © 2020 Brice Marden/Artists Rights So
#StanleyWhitney: September is a truly celebratory month for Stanley Whitney, with covers of "Artforum" and Rome's "La Lettura" (the cultural supplement of "Corriere della Sera"), in addition to the launch of his new monograph by Matthew Jeffrey Abrams, published by Lund Humphries. Whitney's "Roma 12" is currently presented in his exhibition at Gagosian, Rome, which features work produced both in New York and in the artist’s studio near Parma, Italy. Follow the link in our bio for more about the show. __________ #Gagosian @stanley.whitney @artforum (1) Stanley Whitney, "Roma 12," 2019. Photo: Rob McKeever; (2) Cover of "La Lettura," #458, September 6, 2020; (3) Cover of “Artforum," September 2020; Artwork © Stanley Whitney
#RudolfPolanszky: "Hypotetic," an exhibition of new and recent paintings and sculptures by Rudolf Polanszky, opens today at Gagosian, Basel. Polanszky’s handling of material is intuitive and improvisational; he often leaves the raw components outdoors, letting the natural elements help determine the work’s final form. Yet the works in "Hypotetic" also reveal his acute consideration of the properties, idiosyncrasies, and possibilities of these materials. In Polanszky’s hands, industrial fragments are synthesized into shimmering tableaux that transcend their mundane origins. Follow the link in our bio for more. __________ #Gagosian Rudolf Polanszky, "Reconstructions / Translinear Fragments," 2020 © Rudolf Polanszky. Photo: Jorit Aust
#JayDeFeo: Jay DeFeo’s monumental painting "The Rose" (1958–66), is now in the collection of the Whitney Museum of American Art, New York. In a recent video, Dana Miller, curator of the Whitney’s permanent collection, David A. Ross, former director, and Lisa Phillips, former curator, and Leah Levy, director of the Jay DeFeo Trust (now the Jay DeFeo Foundation) describe the significance of this iconic work and detail the Whitney’s efforts to conserve it. Follow the link in our bio to watch the video. An exhibition of paintings, photographs, and works on paper from the 1970s by DeFeo is currently on view at Gagosian, San Francisco. Visit gagosian.com to schedule an appointment. __________ #Gagosian @jaydefeofoundation @whitneymuseum Still from “Jay Defeo's The Rose,” courtesy Whitney Museum
#JayDeFeo: An exhibition of paintings, photographs, and works on paper from the 1970s by Jay DeFeo (1929–1989) is on view at Gagosian, San Francisco, through October 31. In her works of the 1970s, DeFeo fuses the representational with the abstract, permeating her images of everyday objects with a sense of mystery. The more than twenty works on view reveal the breadth of inspiration that she identified in her home, her studio, and other surrounding environments. They also define the spectrum of materials in her works on paper, in which she balanced precision with spontaneity, and underscore her interest in photography, which she valued both as a way to hone her observational skills and as an expressive medium in its own right. Follow the link in our bio to learn more about the exhibition or to read a "Gagosian Quarterly" feature about the artist’s life and work. __________ #Gagosian #GagosianQuarterly @jaydefeofoundation (1) Jay DeFeo, "Untitled" ("Shoetree" series) 1977 © 2020 The Jay DeFeo Foundation / Arti
#GagosianQuarterly: "Matisse’s reaction to the privations of the war took the form of a self-imposed restriction of means, making do with less in his art as well as in his life. This response, which was ethical as well as pictorial, only increased the intensity of what he achieved." —John Elderfield In the essay, “Lockdown: Henri Matisse’s Domestic Interiors,” John Elderfield reexamines "The Piano Lesson" (1916) and "The Music Lesson" (1917), considering the works’ depictions of domestic space during the tumult of World War I. Follow the link in our bio to read the “Gagosian Quarterly” article. __________ #HenriMatisse #Gagosian (1) Henri Matisse, "The Piano Lesson," 1916, The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund. Photo: © The Museum of Modern Art/Licensed by Scala/Art Resource, New York; (2) Henri Matisse, "The Music Lesson," 1917, The Barnes Foundation, Philadelphia. Photo: © 2020 The Barnes Foundation
#MaryWeatherford: "There’s always sound that enters when I’m thinking about a painting. To me they have sound." —Mary Weatherford Gagosian is pleased to present "Train Yards," an exhibition of paintings by Mary Weatherford opening September 22 at Grosvenor Hill, London. This is her first solo exhibition with the gallery in London. Weatherford’s abstract canvases evoke urban and rural environments and investigate the relationship between a painted surface and three-dimensional addenda; she has also sourced inspiration from American abstract painters of the 1950s and 1960s such as Helen Frankenthaler and Kenneth Noland. Since 2012, Weatherford has become especially well known for works in which colored neon tubes are attached to heavy linen panels sponged with Flashe emulsion. Following series inspired by Manhattan, Los Angeles, New York Harbor, and Red Hook in Brooklyn, the "Train Yards" (2016–19) series featured in this exhibition also traces Weatherford’s interest in the poetics of urban transportation. S