Sarah Sze’s "Images in Translation" (2019) is an intricate installation of still and moving images that blurs the line between art and life, the virtual and the real. This work is included in "Off the Wall," now open at San Francisco Museum of Modern Art. The exhibition features photography-based installations by five artists who have challenged the established notions of how a photograph should be displayed. Employing inventive approaches that stretch the boundaries of the medium, the exhibited works engage visitors in unconventional ways. Follow the link in our bio for more. __________ #SarahSze #OffTheWall #SFMOMA #Gagosian @sarahszestudio @sfmoma Sarah Sze, "Images in Translation," 2019 © Sarah Sze
"In Japan, many traditional ceremonies take place in the forest and old trees are considered sacred. So when I make a tree, I do it with gratitude. As I make it I’m thanking it for letting me make it." —Setsuko Happy birthday to Setsuko, born on this day, March 8, in Tokyo. In a recent "Quarterly" article, Gagosian’s Elsa Favreau speaks with Setsuko and Benoît Astier de Villatte about the artist's newest body of terra-cotta works, produced at the Astier de Villatte atelier in Paris. Follow the link in our bio to read the piece. __________ #Setsuko #Gagosian #GagosianQuarterly (1-3) Setsuko, "Montée," 2017 © Setsuko. Photos: @lannes.thomas; (4) Setsuko, Paris, 2019. Photo: Zarko Vijatovic
"Soutine / de Kooning: Conversations in Paint," a visual dialogue exploring affinities between the work of Chaïm Soutine (1893–1943) and Willem de Kooning (1904–1997), is now open at the Barnes Foundation, Philadelphia. The exhibition, which presents nearly forty-five works, considers how Soutine’s paintings, with their built-up surfaces and energetic brushwork, informed de Kooning’s art, shaping his figurative/abstract works in the late 1940s and beyond. Follow the link in our bio for more. __________ #WillemdeKooning #Gagosian @barnesfoundation (1) Willem de Kooning, "Queen of Hearts," 1943–46 (detail), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC. Artwork © 2021 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York. Photo: Lee Stalsworth, Hirshhorn Museum and Sculpture Garden; (2) Chaïm Soutine, "Landscape," c. 1922–24 (detail). Artwork © 2021 Artists Rights Society (ARS), New York. Photo: Hervé Lewandowski / RMN-Grand Palais (Musée de l’Orangerie)
#GagosianQuarterly: Architect Sir David Adjaye OBE recently discussed his archival project “Adjaye Africa Architecture: A Photographic Survey of Metropolitan Architecture” with Zoë Ryan, Daniel W. Dietrich, II Director of the Institute of Contemporary Art at the University of Pennsylvania. The conversation, now live on the "Gagosian Quarterly," delves into the decade-long project, published in seven volumes, for which Adjaye traveled to the capital city of every major African country. Follow the link in our bio to watch now. __________ #DavidAdjaye #AdjayeAssociates #ZoeRyan #Gagosian @adjayeassociates @zoeryanprojects #Repost: @adjaye_visual_sketchbook: (1) Agadez, Niger; (2) Rinaldo Olivieri, La Pyramide, 1973, Abidjan, Côte d'Ivoire; (3) Mario Pani, Multifamiliar Alemán, 1948, Mexico City; (4) Tamale, Ghana
#HongKongExchange: An exhibition of works by some of the gallery’s most esteemed artists, "Hong Kong Exchange," is on view at Gagosian, Hong Kong. The show features artists including Jeff Koons and Urs Fischer, most of whom have shown at the Hong Kong location, and some of whom are exhibiting in the space for the first time. New and recent artworks are shown alongside key works of historical significance. Follow the link in our bio to schedule an appointment or to learn more about the show. __________ #JeffKoons #UrsFischer #Gagosian @jeffkoons @ursfischerstudio (1) Jeff Koons, "Landscape (Tree) III," 2007 © Jeff Koons. Photo: Markus Tretter Fotografie; (2) Urs Fischer, "Blue Succulents," 2020 © Urs Fischer
#GagosianQuarterly: "Warhol let us in on his working methods and set a precedent for our contemporary fixation on recording, posting, and sharing details of our lives with strangers online. . . . As a tool for recording, the camera became a means of staving off death and forgetfulness and left a treasure trove of memories and moments that continue to tell stories of his past and to unlock insight into his art." —Jessica Beck In a piece for "Gagosian Quarterly," Jessica Beck, the Milton Fine Curator of Art at the Andy Warhol Museum, Pittsburgh, considers the artist’s career-spanning use of Polaroid photography as part of his more expansive practice. Follow the link in our bio to read the article. __________ #AndyWarhol #Gagosian @thewarholmuseum (1) Andy Warhol, "Self-Portrait with Skull," 1977; (2) Andy Warhol, "Self-Portrait," 1958. Artwork © 2018 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
#GagosianOnline: Some artists included in the "Printemps oublié" ("Forgotten Spring"), Gagosian’s online presentation for FIAC 2021, create works that capture the duality of fragility and strength that characterizes this season, like flower buds delicately emerging from the inhospitable winter landscape each year. Both Man Ray and Damien Hirst notably engage with the butterfly—a harbinger of springtime rebirth—as central components in their works, including them as subject matter and artistic material, respectively. Simon Hantaï’s distinctive "pliage" painting process—in which he folded and knotted a linen canvas before painting and then unfurling the support—results in an abstract pattern that resembles a lush thicket of verdant brush. With his gilded and richly textured ceramic flowers whose fallen petals expose the craggy surface structures beneath, Sterling Ruby conveys the elusive and often contradictory nature of springtime reverie. Through his sculptural composition based on distinctive contrasts in
#RudolfPolanszky: An exhibition of new and recent paintings and sculptures by Rudolf Polanszky is on view at Gagosian in Paris through March 20. From the early 1990s, Polanszky began experimenting in mixed-media painting with the series "Reconstructions" (1991–). To make these subtle compositions, he uses salvaged industrial materials such as acrylic glass, aluminum, mirrored foil, resin, silicone, and wire, decontextualizing them from their original uses and recombining them into aesthetic forms. The artist's process of “ad hoc synthesis” produces works that oscillate between material constructions and symbols of subjective perception. Follow the link in our bio to learn more about the exhibition or to schedule an appointment. __________ #Gagosian Rudolf Polanszky; (1) "Reconstructions / Double Twin Pictures," 2020 (detail). Photo: Jorit Aust; (2) "Reconstructions / Double Twin Pictures," 2020 (detail). Photo: Jorit Aust; (3) Installation views, "Rudolf Polanszky," Gagosian, Paris, January 16–March 20, 2021
#GagosianOnline: One of a hundred selected galleries, Gagosian is pleased to participate in Art Basel OVR: Pioneers from March 24 to 27. The gallery’s presentation will highlight seven artists, including Andreas Gursky, who have introduced aesthetic or conceptual innovations in art, pushing aesthetics, art discourse, and the creative process forward into original and uncharted territories. Keep an eye out for more information! __________ #ArtBaselOVR #AndreasGursky #Gagosian @artbasel Andreas Gursky, "Times Square," 1997 © 2021 Andreas Gursky/Artist Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Germany
#GerhardRichter: An exhibition of Gerhard Richter’s "Cage" paintings has now reopened at Gagosian, Beverly Hills. The presentation follows their inclusion, as a cornerstone, in the artist’s retrospective, "Gerhard Richter: Painting After All" at the Metropolitan Museum of Art in New York last year. In conjunction with this key group of six paintings, a new group of drawings created by the artist on consecutive days over the summer of 2020 will be shown for the first time. Follow the link in our bio to schedule an appointment. __________ #Gagosian Installation views and video, "Gerhard Richter: Cage Paintings," Gagosian, Beverly Hills, December 3, 2020–April 3, 2021. Artwork © Gerhard Richter 2021 (70122020)
#GagosianQuarterly: "I think Meleko and I share a history of bringing together, and juxtaposing, and reworking the archive by this multi-visual approach." —Isaac Julien In a recent dialogue between artists Isaac Julien and Meleko Mokgosi, the two discuss narrative and montage strategies in their respective practices as filmmaker and painter. This conversation was moderated by Zoé Whitley, director of Chisenhale Gallery, London, and presented by Gagosian in partnership with the Decolonising Arts Institute of the University of the Arts London (UAL). Follow the link in our bio to watch. __________ #MelekoMokgosi #Gagosian @isaacjulien @zoe.whitley @mcevoyarts @unioftheartslondon @chisenhalegallery (1, 2) Installation views, "Isaac Julien: Lessons of the Hour," McEvoy Foundation for the Arts, October 14, 2020–April 24, 2021. Artwork © Isaac Julien. Photo: Henrik Kam; (3, 4) Installation views, "Meleko Mokgosi: Democratic Intuition," Gagosian, Britannia Street, London, September 29–December 12, 2020. Artwork © Me
Work by Tatiana Trouvé features in "Io dico Io – I say I," on view at Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, through May 23. This exhibition is loosely based on the writings of Italian art critic and feminist activist Carla Lonzi (1931–1982) and insists on the necessity of taking the floor and speaking for oneself in order to assert one’s subjectivity, by creating a single multitude, a multiplicity of “I” that resonates with consonances and dissonances. The show brings together a constellation of visions by Italian female artists of different generations, who, in diverse historical and social contexts, have expressed their own authentic ways of inhabiting the world. Follow the link in our bio to learn more. __________ #TatianaTrouve #Gagosian @tatianatrouve @lagallerianazionale Tatiana Trouvé, "Les indéfinis," 2017–18 © Tatiana Trouvé
"Il Disegno dello scultore," an exhibition of work by Henry Moore, is on view at Museo Novecento, Florence, Italy, through July 18. Presented in collaboration with the Henry Moore Foundation, this exhibition, whose title translates to "The Sculptor’s Drawing," explores the relationship between drawing and sculpture in Moore’s work and includes more than seventy drawings as well as graphics and sculptures. Through the analysis of recurring iconographic themes such as natural forms (rocks, pebbles, roots, and trunks), animals, skulls, and the artist’s hands, the exhibition seeks to deepen the conceptual and formal genesis of his work. Follow the link in our bio to learn more. __________ #HenryMoore #Gagosian @henrymoorestudios @museonovecento (1) Henry Moore, "Man Drawing Rock Formation," 1982 (detail); (2-4) Installation view, "Henry Moore: Il Disegno dello scultore," Museo Novecento, Florence, Italy, January 18–July 18, 2021. Artwork: Reproduced by permission of the Henry Moore Foundation. Photo: Serge Doming
#GagosianSpotlight: Work by Adriana Varejão is included in “Casa Carioca,” on view at Museu de Arte do Rio, Rio de Janeiro, through August. This exhibition, initially presented online due to the global health crisis, brings together an astonishing eight hundred works by local artists around themes related to the home and life in Rio de Janeiro and Brazil. It was conceived as part of the cultural program for the 27th World Congress of the International Union of Architects, which will be held in Brazil for the first time in July 2021. Follow the link in our bio to learn more. This is the last day of Varejão's Artist Spotlight. Keep an eye out for the next featured artist! __________ #AdrianaVarejao #Gagosian @adrianavarejao @museudeartedorio @uia2021rio Adriana Varejão, “Ruína Modernista II,” 2018 © Adriana Varejão. Photos: Eduardo Ortega
Today at 12pm EST, Sterling Ruby will speak with Tim Blanks, editor of the "Business of Fashion," about his artistic process and foray into haute couture, as well as how he has stayed creative during the pandemic. The haute couture collection was created in Ruby’s Los Angeles studio, expanding the idea of the artist’s studio as atelier. Garment construction—from pattern-drafting and 3-D draping to dyeing, washing, and rinsing—occurs under the same roof as metalworking, oil painting, and ceramic firing. Follow the link in our bio to register. __________ #SterlingRuby #BoFLive #Gagosian @sterlingruby @timblanks @bof Sterling Ruby. Photo: Melanie Schiff
#GagosianSpotlight: “A tile contains many stories.” —Adriana Varejão Head to IGTV to join Adriana Varejão at her studio in Rio de Janeiro as she prepares for her upcoming exhibition at Gagosian in New York. In this video, she reveals for the first time her unique process for creating these “tile” paintings. __________ #AdrianaVarejao #Gagosian #GagosianQuarterly @adrianavarejao Artwork © Adriana Varejão; directors: Pedro Buarque, Luisa Marques; producer: Pedro Buarque; executive producer: Cecília Fortes; director of photography: João Faissal; sound: JP; script: Luisa Marques, Ana Buarque; editing: Luisa Marques; soundtrack: Berna Ceppas; colorist: Sergio Pasqualino
#GagosianOnline: Gagosian is pleased to present “Printemps oublié” for the first online edition of FIAC. This curated presentation, now viewable at gagosian.com, reflects the dual character of springtime as a reminder of past trials and the harbinger of a vibrant new season to come. Drawing inspiration from the 1865 poem “Printemps oublié” (“Forgotten Spring”) by Sully Prudhomme, the presentation alludes to the duality inherent to spring: carrying forth the weight of the immediate past while presenting glimpses of a vibrant and prolific future to come. In 2021, recognizing the enduring magnificence of the natural world—in the face of both the previously unimaginable circumstances that defined the past year and the precarity of environmental futures—gains considerable urgency today. “Printemps oublié” celebrates the poignancy of these contradictions by presenting artworks that reflect on, investigate, or revel in the joys of spring as the new season both literally and metaphorically approaches. Follow the li
#GagosianSpotlight: This video documents the 2017 US premiere of Adriana Varejão’s four-channel video installation “Transbarroco” (2014) at the historic Lloyd Wright–designed John Sowden House in Los Angeles, coinciding with “Pacific Standard Time: LA/LA.” Follow the link in our bio to watch the full video. __________ #AdrianaVarejao #Gagosian @adrianavarejao Adriana Varejão, "Transbarroco," 2014 © Adriana Varejão
In this weekend's "Financial Times," Gagosian director Pepi Marchetti Franchi shares her recommendations for undiscovered places to visit in Italy and speaks about "Italics: Art and Landscape." Initiated by Marchetti Franchi and Galleria Continua’s Lorenzo Fiaschi, the new online editorial platform highlights the extraordinary cultural and artistic heritage of Italy through the country’s most celebrated gallerists. The project brings together sixty-three galleries to give readers behind-the-scenes access to contemporary, modern, and ancient art through storytelling and original imagery. Follow the link in our bio to read the piece. __________ #GiuseppePenone #Gagosian @financialtimes @ft_weekend @ft_howtospendit @italics.art @mariashollenbarger @165bleeckerstreet @theastergates (1) Giuseppe Penone, "Il Giardino delle Sculture Fluid (The Garden of Fluid Sculptures)," 2003-07, Parco Basso, La Venaria Reale, Turin. Artwork © Archivio Penone; (2) Gagosian director Pepi Marchetti Franchi in the Museo Nazionale R
“People ask me if I’m an artist or an architect. But I think they’re the same.” —Frank Gehry Happy birthday to Frank Gehry, born on this day, February 28, in Toronto, Canada. One of the most innovative architects working today, the designs of Gehry grace numerous metropolitan skylines around the world. In his 1999 exhibition “A Study,” Gehry constructed a sculpture specifically for Gagosian’s Los Angeles gallery: a vaulting structure of shaped wood ribs, clad with a “skin” constructed from 16,000 pounds of overlapping shaped sheets of gray lead. Follow the link in our bio to learn more. _____ #FrankGehry #Gagosian Frank Gehry, “A Study,” 1999 © Frank Gehry. Photo: Douglas M. Parker Studio
#GagosianSpotlight: “Adriana Varejão is one of Brazil’s most important living artists. She is primarily a painter, but she has worked in other mediums such as photography, video and sculpture. Her work is, in many ways, in dialogue with that of last century’s Italian painter Lucio Fontana. . . . If Fontana alluded to pain with his holes and cuts, then Varejão takes the symbolism one step further, illustrating violence through literal renderings of blood and gore.” —Thessaly La Force In a feature for “New York Times Style Magazine,” Thessaly La Force visits Adriana Varejão at her Oscar Niemeyer–designed home in Jardim Botânico, Rio de Janeiro, writing about the recently completed renovation and the “tile” paintings underway in Varejão’s nearby studio. Follow the link in our bio to read the article. __________ #AdrianaVarejao #Gagosian @adrianavarejao @tmagazine @nytimes @metmuseum (1, 2) Photos: @stefanruizphoto; (3-5) Adriana Varejão, “Parede com Incisões à la Fontana—Horizontal,” 2009-2011 (details
#GagosianSpotlight: “In Mexico City . . . I discovered Talavera. Unlike the Baroque azulejo tiling found in Brazil, which was imported from Portugal, in Mexico tiles were hand-molded by local artisans and became imbued with a unique characteristic. They are permeated with the Mexican tradition of manual labor, manufatura. . . . Geometry was present in the history of art in the Americas long before the arrival of Europeans. The history of art in the Americas does not begin with colonialism. The Talavera, like the Baroque, underwent a process of transculturation. As cultural colonization projects, they face certain tension in the encounter with the Indigenous and African diasporic communities who were ultimately responsible for shaping those materials.” —Adriana Varejão In a new video, Adriana Varejão reveals for the first time her unique process for creating these “tile” paintings. Visit IGTV to watch the video, or follow the link in our bio to view the artist’s Spotlight work on gagosian.com. __________ #Adr
#GagosianQuarterly: "Art, fashion, design all have the ability to transcend cultural barriers." —Hank Willis Thomas In a new piece for "Gagosian Quarterly," artist Hank Willis Thomas and Chitose Abe, the creative director and founder of Sacai, speak with Wyatt Allgeier about their recent collaboration. Follow the link in our bio to read the article. __________ #Gagosian @hankwillisthomas @sacaiofficial Rujeko Hockley in the “Love Over Rules” campaign for Sacai. Photo: Emmanuel Sanchez-Monsalve, courtesy Sacai
#GagosianSpotlight: Adriana Varejão’s highly inventive "Azulejão" or "big tile" paintings are directly inspired by "azulejos," the distinctive blue-and-white painted terracotta tiles whose provenance connects Brazil with Portugal through colonization and trade. In an article for "Gagosian Quarterly" about Varejão’s Rome exhibition in 2017, Louise Neri discusses the evolution of these works with the artist. Follow the link in our bio to read the conversation. __________ #AdrianaVarejao #Gagosian #GagosianQuarterly @adrianavarejao Adriana Varejão; (1) “Azulejão (Diagonal),” 2016; (2) “Azulejão (Neo- concrete),” 2016; (3) “Azulejão (Doric with Adornment),” 2016; (4) “Azulejão (Horizon),” 2016; (5) Installation view, “Adriana Varejão: Azulejão,” Gagosian, Rome, October 1, 2016–January 14, 2017. Artwork © Adriana Varejão. Photos: Matteo D’Elleto
#GagosianQuarterly: "The challenges we face in society are challenges that creative folks can take on. Creative folks can think of other possibilities. They can envision other ways of being." —Linda Goode Bryant Artists Linda Goode Bryant and Dan Colen are both founders of nonprofits devoted to food justice. In a piece for "Gagosian Quarterly," they speak about the work of Project EATS and Sky High Farm, how they arrived at farming, and the urgency of their projects’ missions during the current health crisis. Follow the link in our bio to read the article. In celebration of Black History Month, we’re sharing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. This week, we are posting conversations on social practice. Keep an eye out! __________ #BlackHistoryMonth #Gagosian @lindagoodebryant @projecteats @skyhighfarmhudsonvalley (1) Project EATS’s rooftop farm at Essex Crossing in Manhattan, New York. Ph
#GagosianSpotlight: “It’s all about the fragment.” —Adriana Varejão Gagosian is pleased to present “Green Disks” (2020) by Adriana Varejão for $400,000, now online for forty-eight hours only. This work is one of a new series of “tile” paintings by Varejão that draw motifs from the pre-Hispanic, colonial, and mid-century modern ceramics endemic to Mexico, where she studied them firsthand. Taking inspiration from a bold and dynamic Talavera tile from the 1970s that hints at a larger interlocking design, “Green Disks” brings the impulses of Brazilian modernism and hard-edge abstract painting into dialogue with pre-Hispanic artistic forebears. Through this conscious interweaving of time, culture, and place, Varejão resuscitates the dialogue between aesthetic systems once segregated by dominant master narratives, raising vital questions about the life and passage of forms in art. Follow the link in our bio for more information. __________ #AdrianaVarejao #Gagosian @adrianavarejao Adriana Varejão, “Green Disks,”
#GagosianSpotlight: “Adriana Varejão: Interiors” is available for online reading through March 25 as part of Artist Spotlight. This catalogue brings together images of the paintings and sculptures on view in Adriana Varejão’s 2017 exhibition “Interiors” at Gagosian, Beverly Hills, and her 2016–17 exhibition “Azulejão” at Gagosian, Rome; and views of the multichannel video installation “Transbarroco” (2014), which was shown in both cities at the time of these consecutive exhibitions. The catalogue features a preface by Gagosian director Louise Neri, an essay by scholar Luiz Camillo Osorio, and texts by Adriano Pedrosa, artistic director of the Museu de Arte de São Paulo. Tomorrow at 6am EST, a new work by the artist will be unveiled. Stay tuned! __________ #AdrianaVarejao #FromTheLibrary #Gagosian @adrianavarejao @adrianopedrosa @masp “Adriana Varejão: Interiors” (New York: Gagosian, 2017)
#GagosianSpotlight: "Tiles were used to cover the walls of spaces both sacred and mundane; they were objects of royal admiration from France to China, but they also claimed preferred space in train stations, bars, and butcher shops." —Lilia Moritz Schwarcz "Adriana Varejão: Interiors" was presented at Gagosian, Beverly Hills, in 2017 as a collateral exhibition to the Getty’s triennial initiative "Pacific Standard Time: LA/LA," which focused that year on Latin American and Latino art. On this occasion, Brazilian cultural historian and curator Lilia Moritz Schwarcz explores the complex cultural themes in Varejão’s oeuvre. Follow the link in our bio to read the "Gagosian Quarterly" article. __________ #AdrianaVarejao #Gagosian #GagosianQuarterly @adrianavarejao @liliaschwarcz Adriana Varejão; (1) "A diva," 2004 (detail); (2) "O obsessivo," 2004 (detail). Artwork © Adriana Varejão. Photo: @vicentedemello
Tune in tomorrow at 4pm EST for a conversation between Theaster Gates and Massimiliano Gioni, artistic director of the New Museum, New York, on the occasion of “Grief and Grievance: Art and Mourning in America,” an exhibition conceived by the late curator Okwui Enwezor. The exhibition brings together works by thirty-seven Black artists who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. This is the first program in a series of conversations highlighting the practices of artists participating in the New Museum exhibition. Follow the link in our bio to register. __________ #TheasterGates #Gagosian @theastergates @newmuseum Theaster Gates, "Gone Are the Days of Shelter and Martyr," 2014 (still) © Theaster Gates
#GagosianSpotlight: This week, Brazilian artist Adriana Varejão features in Artist Spotlight. Varejão uses the tactics of the Baroque—simulation, juxtaposition, and parody—to reflect on the mythic pluralism of Brazilian identity and the social, cultural, and aesthetic interactions that produced it. In various mediums, Varejão draws upon a potent visual legacy stemming from the histories of colonialism and transnational exchange to create a confluence of hybridized forms—paintings that are architectural or sculptural, theatrical painted sculptures, mesmerizing multichannel video—which expose the multivalent nature of history, memory, and representation. A new work by the artist will be unveiled on gagosian.com on Friday, February 26, at 6am EST. For updates or to learn more, follow the link in our bio. __________ #AdrianaVarejao #Gagosian @adrianavarejao Photo: @vicentedemello
#GagosianQuarterly: The Spring 2021 issue of "Gagosian Quarterly" is now available, featuring Gerhard Richter’s "Helen" (1963) on its cover. The painting, now in the collection of New York’s Museum of Modern Art, was part of a gift from UBS to the museum that was championed by Donald B. Marron—the subject of an in-depth profile by Jacoba Urist in this issue. Readers will also find a conversation between Richter and Hans Ulrich Obrist on the artist’s celebrated "Cage" paintings, and their presentation at Gagosian in Beverly Hills. We share Cleyvis Natera’s short story "Compass" to kick off our 2021 Fiction collaboration with PEN America; Nathaniel Mary Quinn and Gisele Castro speak about exalt, a New York nonprofit working with and advocating for court-involved youth; we introduce a new interview series, "An Eye on the Market"; and much more. Follow the link in our bio to read the issue online, or contact shop@gagosian.com to order your copy. __________ #GerhardRichter #Gagosian Gerhard Richter’s "Helen" (196
Join Gagosian on Thursday, February 25, at 1pm EST for a conversation with Azikiwe Mohammed, arts worker and founder of Black Painters Academy, and Joeonna Bellorado-Samuels, founder of We Buy Gold and director at Jack Shainman Gallery. The pair will discuss their models for exhibition and educational spaces in comparison to more traditional structures, why such alternatives are necessary, and how these spaces mirror the mental spaces Black people have had to create for themselves since time immemorial. Follow the link in our bio to register. This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics. __________ #BlackHistoryMonth #Gagosian @misterace12 @blackpaintersacademy @joeonna @_webuygold_ @jackshainman (1) Azikiwe Mohammed. Photo: Azikiwe Mohammed; (2) Joeonna Bello
#GagosianQuarterly: In a piece for "Gagosian Quarterly," Gagosian director Antwaun Sargent caught up with Roe Ethridge on a video call. The pair discussed everything from his early work for magazines in the 1990s to more recent projects with the designer Telfar Clemens. Follow the link in our bio to read the conversation. __________ #RoeEthridge #Gagosian @roeethridge @sirsargent @telfarglobal Roe Ethridge; (1) “Telfar in New York Harbour,” 2018; (2) “Football for Telfar,” 2018. Artwork © Roe Ethridge; (3) Audio clip of Roe Ethridge from a conversation with Antwaun Sargent for "Gagosian Quarterly," May, 2020
#GagosianQuarterly: "We’re always making something about what it is that we’re thinking about, what captivates us, what torments us, what we’re in dialogue with or trying to figure out." —Cynthia Oliver In a piece for "Gagosian Quarterly," legendary choreographers Bebe Miller and Cynthia Oliver discuss their history together, imposed boundaries on “Black dance,” and the choreographies of the pandemic. Follow the link in our bio to read the article. Last week, Miller spoke with Kyle Abraham as part of a series of live conversations and presentations in celebration of Black History Month. Stay tuned for more events! __________ #BlackHistoryMonth #BebeMiller #CynthiaOliver #Gagosian @danspaceproject @nylivearts (1) Poster for Parallels, Danspace Project, New York, 1982 (detail). Poster design: Fred Holland. Photo: Aaron Siskind; (2, 3) Leslie Cuyjet and Cynthia Oliver in "BOOM!," New York, 2014. Photo: © Yi-Chun Wu
#GagosianQuarterly: "Peggy Cooper Cafritz believed that great Black art actually has the potential to restore and even cure not only Black people but the nation itself of the disfiguring effects of racism." —Cullen Swinson In a piece for "Gagosian Quarterly," Cullen Swinson pays homage to the founder of the Duke Ellington School of the Arts, Washington, DC, and explores the intersections of her engagements as an educator, art collector, philanthropist, and civil rights activist. Follow the link in our bio to read the article. __________ #PeggyCooperCafritz #BlackHistoryMonth #Gagosian #Repost: @projectforemptyspace
#GagosianQuarterly: "If you want to know about Bob Kaufman, just look at the many remarkable photographs of him, as they really tell it all: the power of one man, small in stature, staring into you with dignity and defiance, tenderness and humor.” —Raymond Foye In 2019, City Lights Publishers released "Collected Poems of Bob Kaufman," the first comprehensive collection of the poet’s work. In a piece for "Gagosian Quarterly," Raymond Foye, the book’s coeditor, reminisces about his long friendship with Kaufman and reflects on the enduring power of the poems. Follow the link in our bio to read the article. In celebration of Black History Month, we’re sharing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Keep an eye out for posts over the next few days, which celebrate daring creative pioneers. __________ #BobKaufman #BlackHistoryMonth #Gagosian @raymondfoye @citylightsbooks (1) Bob Kaufman, City Ligh
#SpencerSweeney: "Queue," an exhibition of new paintings by Spencer Sweeney, is on view from tomorrow at Davies Street, London. The gallery is temporarily closed, but the exhibition will be fully visible through the gallery’s large windows from 8am to 8pm daily. In his paintings, Sweeney moves among art historical references, emulating the enigmatic tone and audacious palette of Surrealist and Russian Expressionist figures such as Alexej von Jawlensky. Deriving further inspiration from the drive of jazz improvisation, Sweeney allows faces and encounters from his subconscious to rise to the surface as he paints. The resulting works, which he describes as having been created through an instinctive, “automatic” process, are abstract topographies and dreamscapes as much as they are traditional portraits. Surpassing the simple objective recording of their subjects, they chart the subjective interiorities of the human psyche. Follow the link in our bio to learn more about the show. __________ #Gagosian @dirtyroomb
Work by Gregory Crewdson is included in "Le mauvais œil," which closes tomorrow 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. Follow the link in our bio to learn more about the show or to watch the artist's episode of "Gagosian Premieres." __________ #GregoryCrewdson #Gagosian @crewdsonstudio @frac_auvergne (1) Gregory Crewdson, "Untitled," 1992–97, C-Print, framed: 35 1/8 × 43 inches; (2) Installation view, "Le mauvais œil," FRAC Auvergne, Clermont-Ferrand, France, September 19, 2020–February 21, 2021. Photo: @frac_auvergne. Artwork © Gregory Crewdson
#GagosianQuarterly: In conversation with Adrienne Edwards, Ellen Gallagher discusses her formative experience in Martinique with the archive and library of French abolitionist Victor Schoelcher; the material dimensions of history; and her work with mid-century race magazines for artworks such as "eXelento." In celebration of Black History Month, we have been sharing a curated selection of new and existing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Stay tuned for more. __________ #EllenGallagher #Gagosian Ellen Gallagher, "eXelento," 2004 (details) © Ellen Gallagher
Join Gagosian on Monday, February 22, at 1pm EST for a conversation between artist Kevin Beasley, mezzo-soprano Alicia Hall Moran, and musician Jason Moran, in celebration of Black History Month. Drawing on the rich tradition of Black music, the trio will discuss how they each utilize sound in their respective practices. The conversation will consider the history of experimentation at the center of Black musical forms and how it informs an understanding of Black expressions, narratives, and communities. Follow the link in our bio to register. This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics. __________ #BlackHistoryMonth #Gagosian @kevinmbeasley @aliciahallmoran @thejasonmoran (1) Kevin Beasley. Photo: @david_schulze_studio; (2) Alicia Hall Moran; (3) Jason Moran.
#IdealLandscape: Gagosian is pleased to present "An Ideal Landscape," a group exhibition exploring contemporary approaches to the depiction of place. The show is on view by appointment only at Gagosian, 980 Madison Avenue, New York, through March 27. Throughout the history of art, landscape painting has functioned as an important locus of visual symbolism. By situating classical allegories in idyllic pastoral settings, for example, seventeenth-century European artists such as Annibale Carracci and Nicolas Poussin were able to present an idealized view of the world that provided visual theater while also reflecting cultural mores. "An Ideal Landscape" takes a parallel yet converse approach for our times, presenting the genre as a vehicle for critique of the flawed and fraught social and political landscapes of today’s world. Follow the link in our bio to learn more about the show. __________ #Gagosian @helenfrankenthalerfoundation @jenguidi @ursfischerstudio @theastergates @jonasbrwood @maryweatherford Insta
Work by Taryn Simon is featured in "Spaces of No Control," which closes today at the Austrian Cultural Forum New York. In this multifaceted exhibition, select contemporary artists based in Austria and the United States reflect on the concept of citizenship and public space through a close examination of the signifying dystopia of the modern city. In this photograph, Simon documented the set of the U.S. government-sponsored Arabic-language television network, which broadcasts to twenty-one million weekly viewers in twenty-two Arabic countries. Established in 2004, it is illegal for this program to air in the United States. Follow the link in our bio to learn more about the exhibition. __________ #TarynSimon #Gagosian @acfny Taryn Simon, "Alhurra TV, Broadcast Studio, Springfield, Virginia," 2006/07 © Taryn Simon
#RudolfPolanszky: An exhibition of new and recent paintings and sculptures by Rudolf Polanszky is on view at Gagosian in Paris. Polanszky’s handling of material is intuitive and improvisational; he often leaves the individual components of his works outdoors, letting the natural elements help determine his constructions’ final surfaces and forms. Yet these works also reveal his acute consideration of the properties and possibilities of materials. In Polanszky’s hands, industrial fragments are transformed into shimmering arrangements that transcend their mundane origins. Follow the link in our bio to schedule an appointment or to watch a recent studio visit with the artist on “Gagosian Quarterly.” __________ #Gagosian #GagosianQuarterly (1, 2) Installation views, "Rudolf Polanszky," Gagosian, Paris, January 16–March 20, 2021. Photos: @lannes.thomas; (3, 4) Views of Rudolf Polanszky's studio. Photos: Jorit Aust. Artwork © Rudolf Polanszky
"Ellen Gallagher’s 'DeLuxe' registers loss—the loss of Black identity, the marginalization of Black culture—even as it dances around the demotic idiom of old-style magazines." —Sebastian Smee In a recent piece for “Washington Post,” Sebastian Smee writes at length about Ellen Gallagher’s “Deluxe.” Part of the permanent collection of the Museum of Modern Art, the work consists of sixty prints involving materials from velvet to googly eyeballs. Each print is based on pages from old magazines aimed at African American readers: “Sepia,” “Our World” and “Ebony.” Read more about the work via the link in our bio. __________ #EllenGallagher #Gagosian @sebastian.smee @themuseumofmodernart Ellen Gallagher, "DeLuxe," 2004-05 (details) © Ellen Gallagher
#GagosianQuarterly: "In these walls we hear the tender sounds of a girl before she became the voice of a people and a nation still longing to be free." —Salamishah Tillet In a piece for "Gagosian Quarterly," Salamishah Tillet visits the Nina Simone’s birthplace home in Tryon, North Carolina, and explores the decision by Ellen Gallagher, Rashid Johnson, Julie Mehretu, and Adam Pendleton to purchase the home in 2017. Follow the link in our bio to read the article. In celebration of Black History Month, we’re sharing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Keep an eye out for posts over the next few days, which celebrate daring creative pioneers. __________ #NinaSimone #Gagosian #BlackHistoryMonth @salamishah #Repost: @ninasimone Nina Simone, October 1969. Photos: Jack Robinson
The first museum presentation dedicated to the late work of Helen Frankenthaler is now on view at New Britain Museum of American Art, Connecticut. This exhibition features twenty-two works on paper dating from 1990 to 2003, some measuring more than six feet. Through her invention of the soak-stain technique, Frankenthaler expanded the possibilities of abstract painting while referencing figuration and landscape in unique ways. In later years, her practice continued to evolve through her use of diverse media and processes, as she shifted from painting canvas on the floor to using larger sheets of paper that were laid out on the floor or on tabletops for easier accessibility. The continuity, in terms of content and execution, between the late work (post-1990) and what came before is striking. Graced with memorable encounters, a vast art historical image bank, and technical prowess, the aging artist moved in whatever direction suited her mood and imagination. Follow the link in our bio to find out more about F
"Grief and Grievance: Art and Mourning in America" opens today at New Museum, New York. Originally conceived by curator Okwui Enwezor (1963–2019), this intergenerational exhibition brings together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. Work by artists Jean-Michel Basquiat, Ellen Gallagher, and Theaster Gates is included. Tomorrow at 5pm EST, join Artforum and Sotheby’s for a conversation between professor Malik Gaines, curators Naomi Beckwith and Massimiliano Gioni, and artists Gates and Julie Mehretu about the exhibition. Follow the link in our bio register for the talk. __________ #TheasterGates #Gagosian @theastergates @newmuseum @artforum @sothebys @juliemehretu Theaster Gates, "Gone Are the Days of Shelter and Martyr," 2014 (still) © Theaster Gates
Ed Ruscha's first solo museum exhibition in his home state opens tomorrow at Oklahoma Contemporary, Oklahoma City. This exhibition, "OKLA," focuses on the artist’s Oklahoma roots—his family, his upbringing, and his discovery of his calling as an artist. Ruscha lived in Oklahoma City from the ages of five to eighteen—a formative period in both his life and his artistic sensibility. His Midwestern childhood had a profound impact on his art, which the show explores through around seventy-five works from all phases of his career. For the most recent episode of Gagosian Premieres, we celebrate Ruscha's exhibition at Gagosian New York with musicians Flea, Missy Mazzoli, Vernon Reid, and Eddie Ruscha and new music created in response to the work. Follow the link in our bio to watch now. __________ #EdRuscha #Gagosian @edruschaofficial @okcontemporary Ed Ruscha, "Mocha Standard," 1969 (details) © Ed Ruscha
“Using color is like a musical composition, like songs, like a melody. I have been working in papier mâché for many years. You can make it at home without too many complications. It doesn’t bleed. It doesn’t stink. And you can live with it without being afraid.” —Franz West Franz West was born on this day, February 16, in Vienna. Throughout his career, West manipulated everyday materials and imagery in order to examine art’s relation to life and collective experience. From collages and interactive sculptures to furniture and large abstract forms, his works focus on the tensions between public and private, considering the controlled behaviors and impulsive actions of the body. Despite their lighthearted ambiguity, West’s sculptures often flirt with philosophical archetypes, alluding to common myths, linguistic theories, and conceptual paradoxes. Follow the link in our bio for more on Franz West. __________ #FranzWest #Gagosian Franz West, “Verjüngung - ein sublimiertes Kaffeehausgespräch,” 1996 © Archiv F
#RichardArtschwager: "Rather than traditional canvas, Artschwager’s support of choice was Celotex, an antiquated fire-retardant building material made of sugarcane. He admired the insulation material’s variegated texture and characteristic patterns, which functioned to abstract his appropriated imagery. Muddled brushstrokes rendered forms without precise boundaries on the uneven surface, and the technique mimicked the blurred appearance of newsprint’s halftone-dot images on an enlarged scale." —Bob Monk and Maggie Dougherty An exhibition of works by the late Richard Artschwager from a key period in his career, 1964 to 1987, is on view at Gagosian, Rome. The early 1960s marked the beginning of Artschwager’s experiments with Celotex, a heavily textured compound board. He used this as a ground for his singular grisaille paintings, the waywardness of the industrial material obscuring his hand-drawn lines. Follow the link in our bio to read more about the artist’s work in a "Gagosian Quarterly" article or to sc