#PieroGolia: Piero Golia transforms everyday objects and commonplace events into exceptional works of art that defy established conventions and build narratives. His diverse practice includes both artworks that take physical form, often at an architectural scale, and others that are immaterial or conceptual. For his most recent project, Golia hired a painter to illustrate a set of eight porcelain plates with images from his past artistic output. Each is unique in terms of content, size, and shape; together, they become a self-portrait of the places, objects, and interventions constituting his life and work. Follow the link in our bio to view the works, now online for galleryplatform.la. __________ #Gagosian #GalleryPlatformLA @galleryplatform.la @new_atlantis (1) Piero Golia, “The Best Is Yet To Come,” 2020; (2) Piero Golia, “Venezia,” 2020; (3) Piero Golia, “Standard,” 2020; (4) Piero Golia, “That’s All Folks,” 2020; (5) Piero Golia, “La Stagione Romana,” 2020; (6) Piero Golia, “Unicorn,” 2020; (7) Piero G
#GagosianQuarterly: “Piero Golia’s practice seems influenced by a conviction that in a visual-art field where many norms remain to be challenged, it would be impossible to restrict oneself to the parameters of painting, sculpture, and the studio, traditions that he questions, often with a shade of irreverence. Golia does not keep a studio, and quite like the rogue gestures of Duchamp and Burden, his work is predicated on subversive play.” —Alexander Wolf In a piece for "Gagosian Quarterly," Alexander Wolf explores the economic, social, and methodological concerns of Piero Golia’s art practice, revealing the real-world implications of the artist’s experiments with form and process. “The Best Is Yet to Come,” a set of eight porcelain plates with images from Golia’s past artistic output, features on galleryplatform.la this week. Follow the link in our bio to learn more about the online presentation or to read the article. __________ #PieroGolia #Gagosian #GalleryPlatformLA @new_atlantis (1) Installation view,
#GagosianBroadcast: Gagosian is pleased to present the fourth and final chapter of “Broadcast: Alternate Meanings in Film and Video.” The online exhibition employs the innate immediacy of time-based art to spark reflection on the here and now. This last chapter features historical films and videos by artists who worked at the forefront of their respective mediums during the late 1960s and ’70s. In “Television Delivers People,” Richard Serra subverts familiar audio and video conventions in order to expose the ways in which audiences are exploited within the economics of broadcast television. In contrast, Hannah Wilke turns the camera onto herself in “Gestures” as she enacts hundreds of repetitive facial expressions and gesticulations, manipulating her face as sculptural material in order to emphasize the ways that such actions both defy and become coded within societal conventions of representation. In his 1969 film "Hard Core," Walter De Maria combines cinematographic methods drawn from experimental cinema
Tonight at 7pm EDT, Theaster Gates and special guests will perform the sound piece "Whoa de Whoa" as part of Gray Sound Sessions, a free streaming weekly music-and-sound series featuring concerts, happenings, and experiments with form and platform. The event is put on by the Gray Center for Arts and Inquiry at the University of Chicago. To watch the live performance, visit Theaster Gates’s Instagram (@theastergates). _________ #TheasterGates @graycenter Photo: courtesy Theaster Gates Studio
#CrushedCastConstructed: "Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray" closed today at Gagosian, Grosvenor Hill, London. The exhibition explored three divergent approaches to sculptural process, orchestrating a rich conversation around material and method. Urs Fischer's large sculptures were made by modeling fist-sized lumps of clay into amorphous solids, digitally scanning them in order to produce molds at approximately fifty times their original size, and casting the results in aluminum. Charles Ray took apart a rusting 1938 farming vehicle, cast each of its original components by hand in aluminum, and reassembled the machine in its newly pristine entirety. In contrast, John Chamberlain used galvanized steel boxes to create “crushed” sculptures, which juxtaposes pliant curves and sharp angles in an interplay of shadow, contour, and space. Follow the link in our bio to read more on "Gagosian Quarterly." _________ #Gagosian #GagosianQuarterly Installation views, "
#PieroGolia: Today is the last chance to see "Still life," an exhibition by Piero Golia at Gagosian, Britannia Street, in London. Golia is a sculptor of situations. His works—at times architecturally scaled, at others elusive or immaterial—are statements aimed at expanding the boundaries of art. His practice is heterogeneous and unpredictable, employing diverse mediums and methods to spark chain reactions that, even when they leave no objects or images behind, have the capacity to alter our perception. Golia’s exhibition regenerates itself from moment to moment, suggesting that repetition and renewal might give rise to heightened sculptural presence. Golia’s “The Best Is Yet to Come,” a set of eight porcelain plates with images from his past artistic output, features in an online presentation for galleryplatform.la this week. Follow the link in our bio to learn more about these bodies of work. __________ #Gagosian #GalleryPlatformLA @new_atlantis (1) Piero Golia, "Still Life (Ikebana)," 2020; (2) Piero Goli
#PieroGolia: “Sometimes you want to look back at what you did, and then you realize that you only care about the future.” —Piero Golia Gagosian is pleased to present “The Best Is Yet to Come,” an online presentation of recent work by Piero Golia for galleryplatform.la. Golia hired a painter to illustrate a set of eight porcelain plates with images from his past artistic output. Each is unique in terms of content, size, and shape; together, they become a self-portrait of the places, objects, and interventions constituting his life and work. From his celebrated sculpture “Untitled (My Gold Is Yours),” exhibited at the Venice Biennale in 2013, to a 2019 intervention involving the hiring of a landscape painter and an airplane, the set comprises a narrative retrospective of the artist’s career. Follow the link in our bio to view the works or make an inquiry. __________ #Gagosian #GalleryPlatformLA @galleryplatform.la @new_atlantis Piero Golia with his set of eight porcelain plates “The Best Is Yet to Come” (202
“Now I believe that sculpture, its main advantage or difference from painting, is that it can have hundreds of points of views. I now want to make sculpture which no one drawing could tell you what it’s like, that you’d have to have thirty or forty drawings, from above, from underneath, from the side, from everywhere—that is, I now want to make a sculpture which you can’t draw.” —Henry Moore Happy birthday to Henry Moore, born on this day, July 30, in Castleford, England. The Henry Moore Studios & Gardens reopened on July 4 in Perry Green, England. In a piece for “Gagosian Quarterly,” the artist’s grandson, Gus Danowski, and the Henry Moore Foundation’s director, Godfrey Worsdale, speak with Zoë Santa-Olalla about keeping vital research available, unveiling their latest initiatives, and welcoming more visitors to Henry Moore Studios & Gardens than ever before. Follow the link in our bio to read the article. _________ #Gagosian #GagosianQuarterly @henrymoorestudios Artwork © The Henry Moore Foundation. Phot
"Art has always been a reflection of our society, and I'm humbled by this moment and the idea of finding ways to improve things in the future." —Larry Gagosian In support of vital efforts to address the critical challenges we face today, from the devastating impacts of COVID-19 to the urgent need for progressive change in matters of racial justice, Gagosian has partnered with the nonprofit think tank Milken Institute to provide funding for key initiatives, from fast-tracking a cure for the virus to addressing racial inequities in medical access and treatment. In June, Larry Gagosian invited gallery artists to join him in donating proceeds from sales of works presented during Art Basel Online to support the Milken Institute’s programs. The response was overwhelming, with donations being made by Katharina Grosse, Jennifer Guidi, Hao Liang, Jia Aili, Albert Oehlen, Sterling Ruby, Ed Ruscha, Spencer Sweeney, Sarah Sze, Tatiana Trouvé, and Mary Weatherford. Follow the link in our bio to read a conversation betw
Work by Jia Aili and Hao Liang is featured in "On Sabbatical" at West Bund Museum, Shanghai, now on view through September 6. The exhibition includes more than a dozen works that nine contemporary Chinese artists created over the course of their respective “sabbaticals” during the COVID-19 outbreak in an attempt to convey their unique perspectives on the world, and to evoke a sense of affinity, solace, resonance, and reflection. Follow the link in our bio to learn more. __________ #JiaAili #HaoLiang @jiaaili_studio @hao___liang (1) Jia Aili, "Mountain and Line," 2020; (2) Installation view, "On Sabbatical," West Bund Museum, Shanghai, July 24–September 6. Photo: Yang Chao. Artwork © Jia Aili
Join Gagosian on Thursday, July 30, at 12pm EDT for "In Focus," a trio of online presentations delving into the work of three sculptors. Michael Craig-Martin will speak about his own sculptural practice, Pepi Marchetti Franchi will speak about Giuseppe Penone, and Max Teicher will discuss the work of Man Ray. Register now to learn more about the ways these three artists approach three-dimensional form and its potential to change the way we engage with the world. Follow the link in our bio. _________ #MichaelCraigMartin #ManRay #GiuseppePenone #Gagosian Michael Craig-Martin, "Sculpture," Gagosian, Britannia Street, London, May 31—August 3, 2019. Artwork © Michael Craig-Martin. Photo: Mike Bruce
#GagosianQuarterly: “I feel like I’m disappearing in the work, rather than trying to reveal anything. I’ve never thought of it as revealing fantasies or getting to feel this or that character. I’m hiding beneath the makeup, so it’s about obliterating, erasing myself and becoming something else.” —Cindy Sherman In a piece for "Gagosian Quarterly," Cindy Sherman sat down with Derek Blasberg to discuss her critically acclaimed exhibition at London’s National Portrait Gallery last year, her solitary process, and selfies. Follow the link in our bio. __________ #Gagosian #CindySherman @cindysherman @derekblasberg Cindy Sherman, "Untitled #425," 2004 © Cindy Sherman. Courtesy the artist and Metro Pictures, New York
Work by Sarah Sze is featured in "Critical Zones" at ZKM Center for Art and Media in Karlsruhe, Germany, on view through February 2021. This exhibition invites visitors to engage with the critical situation of the earth in a novel and diverse way and to explore new modes of coexistence between all forms of life. In order to remedy the generally prevailing disorientation and dissension in society, politics, and ecology with regard to the changing state of the planet, the exhibition project sets up an imaginary cartography, considering the earth as a network of “critical zones.” Follow the link in our bio for more info. _________ #Gagosian #SarahSze @zkmkarlsruhe @sarahszestudio Sarah Sze, "Flash Point (Timekeeper)," 2018 © Sarah Sze. Photo: Matteo D’Eletto, M3 Studio
#FromTheLibrary: “Harmony Korine: Young Twitchy” is available for online reading through August 25 as part of the From the Library series. This catalogue was published on the occasion of the 2019 exhibition at Gagosian, 980 Madison Avenue, New York, of new paintings by the artist. To make these works, Harmony Korine digitally painted different characters over iPhone photographs of his surroundings in Florida, and then re-created the compositions in oil paint on canvas. The publication includes a new text by Richard Prince. For our new series #FromTheLibrary, we're making Gagosian titles available online. Keep an eye out for upcoming posts. __________ #HarmonyKorine #FromTheLibrary #Gagosian “Harmony Korine: Young Twitchy” (New York: Gagosian, 2019)
#GagosianSpotlight: “Rembrandt is like a Beethoven, a Shakespeare. He’s that level of humanity, of someone that can turn that screw inside you.” —Jenny Saville Taking a raw and fragmented approach to figuration informed by the paintings of Francis Bacon, Willem de Kooning, and Pablo Picasso, and drawing upon the dramatic lighting of work by Diego Velázquez and Rembrandt, Jenny Saville melds disparate art historical sources with a deft handling of volume and luminosity. Rembrandt in particular has provided an enduring and profound source of inspiration for Saville; in the 2019 exhibition “Visions of the Self: Rembrandt and Now” at Gagosian, Grosvenor Hill, London, another of Saville’s self-portraits was featured as a counterpoint to his “Self-Portrait with Two Circles,” highlighting her impasto brushwork and lyrical representation of human flesh and bone. Follow the link in our bio to watch a video in which Saville details the extensive influence Rembrandt has had on her painting practice. __________ #Jen
#GagosianSpotlight: “It’s almost like a dance; you create things that you didn’t know were in you.” —Jenny Saville Jenny Saville’s engagement with Western art history permeates throughout her oeuvre. To create the vivid, impressionistic gradations of line and hue in her recent pastel portrait “Prism” (2020), she used a set of crayons purchased from Henri Roché’s La Maison du Pastel—a centuries-old shop in Paris once frequented by Edgar Degas—as a tribute to the French artist’s chromatic and atmospheric ingenuity. Another new work, “Virtual,” is presented on gagosian.com at part of Artist Spotlight. This oil-on-canvas self-portrait was made by the artist to commemorate her fiftieth birthday earlier this year. Follow the link in our bio to view the work. __________ #JennySaville #Gagosian (1–3) Jenny Saville, “Prism,” 2020 © Jenny Saville; (4) Jenny Saville’s studio, Oxford, England, 2020; (5) La Maison du Pastel, Paris
#GagosianSpotlight: “It’s as much about painting as about portraiture. Realism is what concerns me most—what can reality look like in twenty-first-century painting? I once read a quote by Georges Bataille about an upside-down head in which the mouth exists where the eyes should be—and how violent and disconcerting it is to see gleaming teeth and lips at the top of a head.” —Jenny Saville Gagosian is pleased to present “Virtual” (2020) by Jenny Saville, now available for forty-eight hours only. On the occasion of her fiftieth birthday, and inspired by her experience in a time of quarantine, Saville has created “Virtual,” a new oil-on-canvas self-portrait whose imagery looks to past and present in equal measure. Perched at the tipping point between realism and abstraction, this work registers a visual slippage, reflecting the multivalent images and identities inherent to an image-saturated world in which the real and the virtual maintain an uneasy coexistence. Follow the link in our bio for more information
Adriana Varejão is featured in “Acoustic Pinadecasa” an online program of the Pinacoteca Museum in São Paulo where guests share their favorite work of Brazilian art and an inspired Spotify playlist. Adriana’s artwork of choice is the magnificent church of Aleijadinho e Ataíde (1766–1801) in Ouro Preto, Brazil, built and decorated by Aleijadinho, the son of an African slave and a Portuguese slave owner. A jewel of the eighteenth century Brazilian Baroque, the walls and ceiling of Aleijadinho e Ataíde are embellished with marble sculptures, bas-relief carvings, gilding, and vibrant murals. At the apex of the cupola is Aleijadinho's famous painting of the Black Madonna. A subversive character in Brazilian history, Aleijadinho depicted the Madonna, as well as the cherubim and seraphim, as mestiça. Varejão featured the church in her four-channel video installation "Transbarroco" (2014), which explores the impact of mestiço in Brazilian Baroque culture. Follow the link in our bio to listen to the artist’
#GagosianSpotlight: In our “Shortlist” series, artists and writers talk about works of art, literature, film, or music that have influenced their work or are at the forefront of their minds today. Jenny Saville shares a selection of the books, films, and more that have been her companions amid the shutdown in recent months and as she looks ahead to a new exhibition next year. Follow the link in our bio. To conclude Artist Spotlight, a new self-portrait made by Jenny Saville to commemorate her fiftieth birthday earlier this year will be unveiled tomorrow at 6am EDT. Keep an eye out! _________ #JennySaville #GagosianQuarterly #Gagosian Jenny Saville, “Study for Pentimenti I,” 2011 © Jenny Saville
#GagosianQuarterly: "This is the central event in Hantaï’s post-Mariales practice, the one that drives pliage’s continued becoming as method." —Molly Warnock Molly Warnock shares an excerpt from "Simon Hantaï and the Reserves of Painting" (Pennsylvania State University Press in 2020) in which she explores the painter’s developments in the late 1950s and early 1960s. Follow the link in our bio to read the piece. __________ #Gagosian #SimonHantai (1) Simon Hantaï, "M.A.4 (Mariale)," 1960; (2) Simon Hantaï, "M.C.7 (Mariale)," 1962. Artwork © Archives Simon Hantaï/ADAGP, Paris
#GagosianSpotlight: Available for online reading through August 21, “Jenny Saville: Oxyrhynchus” features more than a dozen works from 2006 to 2014 in which the artist references the layer upon layer of discoveries at Oxyrhynchus, a city in upper Egypt that was established in 332 BCE and is considered one of the world’s most important archaeological sites. The final effect is a mysterious narrative of layered bodies and images, conveyed in a combination of oil, charcoal, and pastel. An essay by art historian John Elderfield, built around the observations of multiple past voices and the artist herself, captures the temporal culture of visual art to which the Oxyrhynchus canvases belong. Follow the link in our bio to read the publication. __________ #JennySaville #FromTheLibrary #Gagosian “Jenny Saville: Oxyrhynchus” (London: Gagosian, 2015)
#GagosianQuarterly: “Frank O’Hara aestheticized life and vivified art. And for either to be worthwhile for him, they had to be both immediate and action-filled. Vincent Warren, as both lover and dancer, embodied a quality that fed O’Hara’s appetite for a fresh union of life and art, a quality next to which the works of the great painters were found wanting.” —Gillian Jakab On the occasion of the sixtieth anniversary of Frank O’Hara’s celebrated poem “Having a Coke with You,” Gillian Jakab takes a look at the “poet among painters” and the poem’s “You.” Follow the link in our bio to read the article. _________ #Gagosian Vincent Warren, 1963. Photo: Jack Mitchell/Getty Images
#GagosianQuarterly: “Dance and video combine to leave the viewer with a playful yet profound sense of an endless past and a perpetual present.” —Gillian Jakab This week, we’re sharing a selection of "Gagosian Quarterly" articles on the art of dance. In a piece from last year, Gillian Jakab considers the role of choreography in Nam June Paik’s 1989 video installation "Fin de Siècle II." Follow the link in our bio. __________ #Gagosian #NamJunePaik Nam June Paik with "Fin de Siècle II," 1989. Artwork © Nam June Paik Estate. Photo: Mario Ruiz/The LIFE Images Collection/Getty Images
#GagosianSpotlight: This week, Jenny Saville features in our Artist Spotlight series. In her depictions of the human form, Saville transcends the boundaries of both classical figuration and modern abstraction. Oil paint, applied in heavy layers, becomes as visceral as flesh itself, each painted mark maintaining a supple, mobile life of its own. As Saville pushes, smears, and scrapes the pigment over her large-scale canvases, the distinctions between living, breathing bodies and their painted representations begin to collapse. We will share a range of features—including videos, interviews, and more—to provide insights into Saville’s artistic practice and influences. Artist Spotlight: Jenny Saville features a new self-portrait made by the artist to commemorate her fiftieth birthday earlier this year. It will be unveiled on the Gagosian website on Friday, July 24, at 6am EDT. Follow the link in our bio for more. __________ #JennySaville #Gagosian Photo: courtesy the artist
#FromTheLibrary “Rachel Feinstein: Secrets” is available for online reading through August 17 as part of the From the Library series. “Secrets” documents Rachel Feinstein’s 2018 exhibition at Gagosian, Beverly Hills, which included a series of oversize, flamboyantly colored sculptures of women inspired by the Victoria’s Secret “Angels,” as well as mirror paintings, majolica sculptures, and a panoramic wallpaper that allude to both the European decorative arts and West Coast modernist luxury. A sculptural object in its own right, the book unites these distinct bodies of work—along with an essay by curator Pamela Golbin and a conversation between Feinstein and designer Tom Ford—within a single volume bound in a Z-fold cover, embodying the dichotomies present in the artist’s work. For our new series #FromTheLibrary, we're making Gagosian titles available online. Keep an eye out for upcoming posts. __________ #RachelFeinstein #Gagosian @rachelfeinsteinstudio “Rachel Feinstein: Secrets” (Beverly Hills: Gagosian,
Work by Urs Fischer, Damien Hirst, Cindy Sherman, Andy Warhol, and Tom Wesselmann features in "Amuse-Bouche: The Taste of Art," which closes at Basel's Museum Tinguely this Sunday, July 26. This exhibition presents works—some with a participatory element—by more than forty-five international artists from the Baroque period to the present that explore taste as a dimension of aesthetic perception. Breaking with the usual museum practice of appealing primarily to the sense of sight, works in the exhibition offer art historical and phenomenological encounters with the sense of taste. Follow the link in our bio for more. _________ #Gagosian @museumtinguely Installation view, "Amuse-Bouche: The Taste of Art," Museum Tinguely, Basel, February 19–July 26, 2020. Artwork, left to right: © Opavivará!; © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photo: Gina Folly © 2020 Museum Tinguely, Basel
#GagosianQuarterly: “Alexander Calder’s mobiles move through time and space: that’s what dancers have done from time immemorial. It’s no wonder that all through his life Calder pursued any and all opportunities to embrace the art of dance.” —Jed Perl For "Gagosian Quarterly," Jed Perl takes a look at Alexander Calder’s lifelong fascination with dance and its relationship to his reimagining of sculpture. Follow the link in our bio to read the piece. As part of our Weekly Reading series, we’re sharing a selection of articles on the art of dance. Stay tuned for more! __________ #AlexanderCalder #Gagosian @calderfoundation (1) Set for "The Glory Folk," 1958, performed during the Festival dei Due Mondi in Spoleto, Italy © 2020 Calder Foundation, New York/Artists Rights Society (ARS), New York. Photo: courtesy Calder Foundation, New York/Art Resource, New York; (2) Finale of "Work in Progress," Teatro dell’Opera, Rome, 1968 © 2020 Calder Foundation, New York/Artists Rights Society (ARS), New York. Photo: Ugo Mula
“I wanted to create high art with new materials. I wanted to work with the temporal element of the popular arts, the rhythm which is so important in video art.” —Nam June Paik Nam June Paik was born on this day, July 20, 1932, in Seoul. In a piece for "Gagosian Quarterly," Alexander Wolf explores the intersection of life and technology as it exists in Paik's work, revealing the artist’s ability to balance technological concerns with humanity through music, performance, expressive painting, and images from nature. Follow the link in our bio for more. _________ #Gagosian #GagosianQuarterly #NamJunePaik Nam June Paik in Miami, c. 1990. Photo: Brian Smith
#FromTheArchive: “It’s almost impossible to choose one exhibition because there are so many that stand out, but one that I was deeply involved with was Glenn Brown’s 2014 show in New York. It was Glenn’s first commercial show in the US for almost seven years and some of the works had taken him almost five years to complete. Seeing those works hanging after being in Glenn’s studio for so long was thrilling—we all felt very attached to them. The show ended with Glenn’s tour de force ’Necrophiliac Springtime‘ (2013), arguably one of his most esteemed and enigmatic paintings. We were installing the show for ten days straight, starting at 10am and finishing at 10pm every evening. Of course, there were a couple of bumps along the way, but the end result was an incredible feat of paintings and sculptures that took the viewer on a powerful, enthralling journey into Glenn’s world.” —Hannah Freedberg, Director, Gagosian Read more about the exhibition “Glenn Brown” via the link in our bio. __________ #GlennBrown #Gag
Sarah Sze’s "Images in Debris" is on view at the Museum of Contemporary Art, Toronto, through October 4. This is the first installment in "The City Is a Collection," an exhibition series organized by the museum, that presents privately owned contemporary artworks from throughout the local community. Constellatory, monumental, intimate, and immersive, this work is one in a series of sculptures by the artist where light, movement, images, and architecture coalesce into a single, precarious equilibrium. Learn more via the link in our bio. __________ #SarahSze @sarahszestudio @mocatoronto Sarah Sze, "Images in Debris," 2018 (detail) © Sarah Sze
#CrushedCastConstructed: Join Gagosian on July 23 at 12pm EDT for a virtual tour of "Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray," an exhibition on view at Gagosian, Grosvenor Hill, London, through July 31. Gagosian’s Alice Godwin will discuss the three artists’ divergent sculptural processes, examining their individual approaches and identities with respect to materials and methods. Follow the link in our bio to register. _________ #Gagosian Installation views, "Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray," Gagosian, Grosvenor Hill, London, June 15–July 31, 2020. Artwork, left to right: © Urs Fischer; © 2020 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York
#GagosianQuarterly: “What are the ways in which asking these questions and demanding answers . . . can have real manifestations on the ground for the communities that are living the fallout of our broken systems?” —Allison Freedman Weisberg Sarah Hoover sat down with Allison Freedman Weisberg, founder and executive director of Recess, and Anaïs Duplan, Recess program manager, to discuss the community arts organization’s evolution, recent artist-led alternative to incarceration program, and dreams for the future. Follow the link in our bio to read the piece or to donate to Recess. __________ @recessart @an.duplan @sarahhoov Christopher Udemezue, “Standing over me,” 2019 © Christopher Udemezue
#GagosianBroadcast: Man Ray's "Emak Bakia" features in chapter three of "Gagosian Broadcast: Alternate Meanings in Film and Video," now online through July 20. "Emak Bakia" was financed by the retired American stockbroker Arthur Wheeler; the title, which is French Basque for “leave me alone,” is taken from the name of Wheeler’s villa near Biarritz where Man Ray stayed while he produced the film. Subtitled a “cinépoème,” Emak Bakia melds Dadaist and Surrealist imagery in a succession of seemingly unrelated scenes: a woman dancing the Charleston; fish swimming idly about; Man Ray’s own rotating sculptures; and his muse, Kiki de Montparnasse, opening and closing her eyes, with a second pair of eyes painted on her lids. Featuring concepts from his still photography, such as rayographs and double exposures, in addition to new cinematographic techniques such as stop-motion, "Emak Bakia" encapsulates many of Man Ray’s interests as an artist, filmmaker, and poet. Follow the link in our bio to watch the film, or read
#BaselitzYearsLater: "Art is visceral and vulgar—it’s an eruption." —Georg Baselitz "Years later," an exhibition of new paintings and works on paper by Georg Baselitz, closes tomorrow at Gagosian, Hong Kong. This exhibition is focused on a set of thirteen large oil paintings that Baselitz made using a “contact-printing” technique. These works incorporate a palpable sense of organic change and variation; they juxtapose traces of Baselitz’s haptic intervention with marks derived specifically from the contact-printing process. This lends their surfaces a specific tension, while the play of subtle similarities and differences from one panel to the next adds a dynamic rhythm to the series as a whole—a nod to the idea of the human frame in motion. Follow the link in our bio to learn more. __________ #GeorgBaselitz #Gagosian Installation video, "Baselitz: Years later," Gagosian, Hong Kong, May 21–August 8, 2020. Artwork © Georg Baselitz
#SarahSze: "Sculpture spills from its edge into the world in this very complex way that isn’t bound by the frame. In painting, the world spills into the frame, and sometimes we confuse that frame with the world." —Sarah Sze An exhibition of new works by Sze closes tomorrow at Gagosian Paris. A peerless bricoleur, Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia installations that prompt microscopic observation while evoking a macroscopic perspective on the infinite. Follow the link in our bio to learn more about the exhibition. __________ #SarahSze #Gagosian @sarahszestudio (1, 2, 3) Installation views, "Sarah Sze," Gagosian, Paris, May 23–July 18, 2020. Artwork © Sarah Sze. Photos: Rebecca Fanuele; (4) Sarah Sze, "Plein Air (Times Zero)," 2020 © Sarah Sze. Photo: Thomas Lannes
#GagosianQuarterly: “Institutions have one role, to question the status quo and strive for a better world. Period.” —Erlend Høyersten For a recent "Gagosian Quarterly" article, Georges Armaos speaks with Erlend Høyersten, the director of ARoS Aarhus Art Museum, Denmark, about the exhibition "Mythologies: The Beginning and End of Civilizations," the art of Anselm Kiefer, and the role of museums during times of crisis. Follow the link in our bio to read the interview. __________ #Gagosian #AnselmKiefer @arosartmuseum (1) Anselm Kiefer, "Sichelschnitt (Sickle Cut)," 2019 © Anselm Kiefer; (2) Anselm Kiefer, "böse Blumen (Flowers of Evil)," 2018 © Anselm Kiefer. Photos: courtesy ARoS Aarhus Kunstmuseum
#GagosianQuarterly: "Duino Elegies," a group exhibition that traces the resonance of Rainer Maria Rilke’s poetry through artworks spanning the past 150 years, was on view at Gagosian New York earlier this year. In a piece for "Gagosian Quarterly," Bobbie Sheng explores this symbiotic relationship between Rilke and visual artists of his time and the enduring influence of his poetry on artists working today. Follow the link in our bio to read the article. _________ #DuinoElegies #Gagosian Installation views, “Duino Elegies," Gagosian, 980 Madison Avenue, New York, March 5–April 11, 2020. (1) Artwork © 2020 Richard Serra/Artists Rights Society (ARS), New York; © Succession Alberto Giacometti (Fondation Giacometti Paris + ADAGP), Paris 2020; © 2020 Brice Marden/Artists Rights Society (ARS), New York; (2) Artwork: Medardo Rosso, Paul Cezanne, Auguste Rodin, © Cy Twombly Foundation; (3) Artwork © Anselm Kiefer. Photos: Rob McKeever
"The Cindy Sherman Effect: Identität und Transformation in der zeitgenössischen Kunst" closes at Kunstforum Wien, Vienna, this Sunday, July 19. Cindy Sherman’s work has long questioned issues of identity, including the ways in which it can be constructed and transformed, and elements of fiction. The exhibition, whose title translates to "Identity and Transformation in Contemporary Art," juxtaposes Sherman’s work with that of other contemporary artists, including Douglas Gordon, working in a variety of media. Learn more via the link in our bio. __________ #CindySherman #DouglasGordon @kunstforumwien Cindy Sherman, Untitled (#93), 1981, Astrup Fearnley Museet, Oslo © Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York
#GagosianQuarterly: "Warhol's 'Last Supper' paintings are a confession of the conflict he felt between his faith and his sexuality, and ultimately a plea for salvation." —Jessica Beck In 1984, the art dealer Alexander Iolas commissioned Warhol to create a series of paintings and prints based on Leonardo da Vinci’s iconic "Last Supper." Warhol spent two years, most of 1985 and 1986, producing additional renditions of "The Last Supper." The commission, the last of the artist’s career, became a near obsession for him. Head to “Gagosian Quarterly” via the link in our bio to read more about the works in a text by Jessica Beck, curator at the Andy Warhol Museum. __________ #AndyWarhol #Gagosian Andy Warhol’s studio in New York City with one of his "Last Supper" paintings in the background, 1987. Photo: Evelyn Hofer/Getty Images
#StanleyWhitney: As a preview of Stanley Whitney’s upcoming first exhibition with the gallery later this year, Gagosian Rome is presenting the "Bertacca" paintings, produced in the artist’s studio near Parma, Italy. These works are on view Monday to Friday, from 11am to 6pm, through July 31. Working vigorously with his full physical reach in the painting of the 72-by-72-inch canvases, Whitney traces thin layers of oil paint inspired by the warm hues of Emilia-Romagna. He partitions space with declarative chromatic chords that stake claims on territory. Variations of texture within each segment retain his active brushstrokes, breathing life into his personal rhythmic language and creating windows into a lifelong relationship with color. Learn more via the link in our bio. _________ #Gagosian @lafondazione_roma Stanley Whitney, "Bertacca 4," 2019 © Stanley Whitney. Photo: Giorgio Benni
"To me farming is another way to stay connected to the ancestral—to stay connected to the basic, core energies that drive the universe, which I think are the same energies that motivate the creative process." —Dan Colen Happy birthday to Dan Colen, who was born on this day, July 13, in New Jersey. In a "Gagosian Quarterly" interview, Dan Colen and Linda Goode Bryant—who both have founded nonprofits devoted to food justice—discuss art, food, and life, including how they arrived at farming and the urgency of their projects’ mission during the current health crisis. Follow the link in our bio for more. ________ #DanColen #Gagosian #GagosianQuarterly Sky High Farm, Columbia County, New York. Photos: @skyhighfarmhudsonvalley
#FromTheArchive: “Strange to think that an exhibition seen as recently as last summer should already be the stuff of archive and memory. Having spent the closing weeks of Jeff Wall’s first Gagosian exhibition in the hosting Chelsea gallery, I realized that what at first seemed a powerful gathering of recent images, was in fact a profound, lyrical, and coherent meditation on the nature of paradise. Some subjects were instantly apparent. Elaborately staged in a celebrated Italian garden, Wall’s great cinematic triptych 'I giardini' was explicit. Paradise lost indeed. So too was the astonishing image of paradise regained, 'Recovery.' This glorious panorama, filled with photographic and painted paradox, evoked earlier arcadias of Gauguin, Seurat, and Titian. Memories of childhood represented other kinds of paradise, both found and lost—found in 'Parent child'’s sun-filled street scene, and lost in the mystery and imagination of 'Mother of pearl.' The rules of the game become clear. The play is endless in a fie
"The candy-coloured palette of Titus Kaphar's latest series of paintings belies a haunting disquiet and an engulfing absence that makes space for grief, unspeakable pain and the quiet resolve to survive . . . his visual approach to what's been taken from us could also poetically create space for solace." —Zoé Whitley Artist and founder of NXTHVN Titus Kaphar will speak with Zoé Whitley, director at Chisenhale Gallery in London, live on the Design Emergency Instagram account tomorrow at 11am EDT. The pair will discuss Kaphar’s cover and accompanying written piece for the June 15, 2020, issue of Time, as well the artist’s use of absence as a form of visual expression. Founded by Paola Antonelli and Alice Rawsthorn, Design Emergency is an initiative that explores design’s impact on and role in the COVID-19 crisis. To watch the live conversation, visit Design Emergency’s Instagram. __________ #TitusKaphar @design.emergency @__nxthvn__ @zoe.whitley Titus Kaphar, "From a Tropical Space," 2019 © Titus Kaphar. Photo
#GagosianBroadcast: Gagosian is pleased to present the third chapter of “Broadcast: Alternate Meanings in Film and Video.” The online exhibition employs the innate immediacy of time-based art to spark reflection on the here and now. This third chapter presents presents five films and videos by artists who adopt experimental approaches to explore the unique potential of their respective mediums. William Forsythe’s “Alignigung II” treats the intertwined bodies of his two performers as tools for exploring the limits of the self and other. In “Guitar Grind,” Steven Parrino “turns on” to the possibility of using the bass guitar and amplifier atypically. Other artists in this chapter present works that complicate mass-media conventions. In his commercial for fashion brand Jun Ropé, Richard Avedon presents an exploration of the social performance of gender identity that deviates from the typical content found in the television advertisement genre at the time. In "Hiker," Sterling Ruby deploys various horror film t
#GagosianSpotlight: In a recent feature for “The Art Newspaper,” Damien Hirst spoke to Alison Cole about returning to the studio to paint, reflecting on his recent paintings of cherry blossoms and their connection to his earlier series, from the “Veils,” of 2017 and 2018, to the “Visual Candy” paintings of the early 1990s. Follow the link in our bio to read the article online. This week, Hirst features in our Artist Spotlight series. We have been sharing material that provides insights into his practice and influences. Keep an eye out for upcoming posts. __________ #DamienHirst #Gagosian @damienhirst @theartnewspaper.official Damien Hirst in his London studio, 2019. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photo: Prudence Cuming Associates
#CasaMalaparte: New editions of furniture pieces from the legendary Casa Malaparte in Capri, Italy, are on view at Gagosian, Davies Street in London, through September 19. For this special exhibition, Tommaso Rositani Suckert, Malaparte’s youngest descendant, has produced editions of the key pieces of furniture that grace the house to this day. Manufactured in Italy, each piece comprises a simple, elegant solid walnut slab with supports in different materials. Also on view is a suite of Baroque-styled porcelain pieces formerly owned by Malaparte. Combining Malaparte’s captivating designs with this personal effects, the exhibition pays homage to the life and spirit of one of the most complex and mysterious figures of the Italian avant-garde. Learn more via the link in our bio. _________ #Gagosian Installation video, "Casa Malaparte: Furniture," Gagosian, Davies Street, London, June 15–September 19, 2020. Artwork © Malaparte Design
The Whitney Museum of American Art is hosting an online screening of Theaster Gates’s "Do you hear me calling? Mama Mamama or What Is Black Power?" through Sunday, July 12. The two-channel video, originally produced for Gates’s 2018 exhibition, "Black Madonna," at the Kunstmuseum Basel, explores the cult of the Black Madonna. Originating from an eighth century votive statue in Extremadura during Moorish occupation of Spain, the Black Madonna was later reclaimed by Black and Indigenous populations in European colonies around the world. In this dynamic video, Gates reconciles her spiritual and political history through music and imagery. Gospel singing, spiritual gatherings, church testimonials, repeated refrains, and traditional African and contemporary music are synchronized with political speeches by historic Black leaders and archival images of Black American women in professional and domestic settings during the 1950s, ‘60s and ‘70s from the Johnson Publishing Company Archive; articulating the Black Madon
#SarahSze: An exhibition of new works by Sarah Sze is currently on view at Gagosian Paris through July 18. A peerless bricoleur, Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia installations that prompt microscopic observation while evoking a macroscopic perspective on the infinite. Sze’s large-scale panel paintings collapse multiple forms of picture making into an intricate but unified visual language. In some, photographic scraps are torn and visibly taped to the surfaces, resulting in abstracted tableaux that conjure pixelation while retaining the aura of the analog and the handmade. Sze layers paint over and under these jagged paper geometries, weaving them into each composition in sweeping arcs, thrumming lines, and shimmering gradients. In others, the textures are pure trompe l’oeil, achieved solely through photographic collage. Follow the link in our bio to learn more about the exhibition. __________ #SarahSze #Gagosian @sarahszestudio (1,
#GagosianSpotlight: “They may not actually depict anything, but as a field of messy marks on a surface each one stands for the most basic component in a traditional art of depiction—the simple act of applying a dollop of paint.” —Blake Gopnik In “Gagosian Quarterly,” Blake Gopnik examines Damien Hirst’s “dot” paintings in relation to the history of representation in Western art, in which dabs of paint have served as fundamental units of depiction and markers of objective truth. Follow the link in our bio to read the article. __________ #DamienHirst #Gagosian @damienhirst (1) Damien Hirst, Fruit Salad, 2016 © Damien Hirst and Science Ltd. All rights reserved, DACS 2020; (2) Paul Signac, “Le château des Papes,” 1909, Musée d’Orsay, Paris. Photo: Bridgeman Images
#GagosianSpotlight: “The first thing I did was paint all the canvases different colors. I have a selection of colors I love and use over and over again.” —Damien Hirst Gagosian is pleased to present “Veil of Hidden Meaning” (2017–18) by Damien Hirst for $1,500,000, now available for forty-eight hours only. In this work, bright dots of heavy impasto cover the entire surface of the canvas in shifting, pulsing layers. Emblematic of the artist’s “Veil” series, this immersive abstraction continues the artist’s examination of color and its effect on the eye, with a newly expressionistic, improvised effect. Color is given free reign—with exuberant, joyous results. Follow the link in our bio for more information or to make an inquiry. __________ #DamienHirst #Gagosian @damienhirst Damien Hirst, “Veil of Hidden Meaning,” 2017–18 © Damien Hirst and Science Ltd. All rights reserved, DACS 2020