Tune in tomorrow at 7:30pm CET (1:30pm EDT) for a conversation about Richard Artschwager with Richard Armstrong, director of the Solomon R. Guggenheim Museum and Foundation, and artist John Torreano, longtime friends of Artschwager’s. The event coincides with an exhibition of the artist's work at Gagosian in Rome. Alongside contemporaries such as Robert Rauschenberg and Cy Twombly, Artschwager was a key figure in twentieth-century American art, forging a maverick path by confounding the traditional limits of art and reconfiguring the visual comprehension of space. The pair will discuss the genre-defying and often cerebral work of the late artist, whose varied career demonstrates his ability to rearrange the structures of perception. Follow the link in our bio to register. __________ #RichardArtschwager #Gagosian @guggenheim (1, 2) Richard Artschwager, "Highrise," 1965; (3) Installation view, "Richard Artschwager," Gagosian, Rome, January 14–April 24, 2021. Photo: Matteo D'Eletto, M3 Studio. Artwork © 2021 Th
"As an artist you create a language, you create depth to a language, you change the language." —Rachel Whiteread Happy birthday to Rachel Whiteread, who was born on this day, April 20, in Ilford, United Kingdom. An exhibition of new work by the artist, "Internal Objects," is currently on view at Gagosian, Grosvenor Hill, London. The exhibition features two new cabin-like structures: "Poltergeist" (2020) and "Döppelganger" (2020–21). For the first time, in these works, Whiteread eschewed casting existing objects in favor of building original ones. The artist speaks about this in a recent interview for "The Guardian." Follow the link in our bio to read the piece, or to schedule an appointment to visit the exhibition. __________ #RachelWhiteread #Gagosian @rachelwhitereadofficial @theguardian (1) Rachel Whiteread. Photo: Jill Mead/Guardian/eyevine/Redux; (2) Installation view, "Rachel Whiteread: Internal Objects," Gagosian, Grosvenor Hill, London, April 12–June 6, 2021. Artwork © Rachel Whiteread. Photo: Pru
#RudolfStingel: Now open at Gagosian, 980 Madison Avenue, New York, through May 15. __________ #Gagosian Rudolf Stingel, "Kirchner Amselfluh 1922," 2020 © Rudolf Stingel. Photo: courtesy the artist
Kappo Masa restaurant in New York is a collaboration between legendary chef Masayoshi Takayama, known as Masa, and Larry Gagosian. The pair developed a friendship more than thirty years ago in Los Angeles when Gagosian frequented Masa's renowned restaurant, Ginza Sushi-ko. Kappo Masa is a realization of their desire to collaborate creatively and to offer a sophisticated dining experience with a contemporary perspective on traditional Japanese ingredients and materials. The restaurant is currently open for lunch from Tuesday to Friday, 12–3pm, and for dinner from Tuesday to Saturday, 5–10:30pm. Visit kappomasanyc.com for more info. __________ #KappoMasa #Gagosian @chefmasanyc (1, 3) Kappo Masa, 976 Madison Avenue, New York. Photos: Naho Kubota. Artwork, left to right: (1) Cy Twombly, "Lepanto III," "Lepanto II," and "Lepanto I" (all 1996); (3) Cy Twombly, "Leaving Paphos Ringed with Waves (IV)," 2009; Artwork © Cy Twombly Foundation; (2, 4) Dishes from the Kappo Masa menu
Tomorrow at 1pm EDT, join the American Folk Art Museum for a conversation between Gagosian director Antwaun Sargent and curator and art historian Horace D. Ballard about the rich histories and contemporary practices of emerging and established self-taught Black photographers. Looking in particular at the genre of portrait photography, Sargent and Ballard will examine notions of gender, power, position, gaze, and representation, as well as questions of legacy and influence. This talk is organized in conjunction with the museum’s exhibition "PHOTO | BRUT: Collection Bruno Decharme & Compagnie." Follow the link in our bio to register for the event. __________ #Gagosian @afamuseum @sirsargent @horaceballard Steve Ashby, "Untitled," n.d., Collection of Robert A. Roth⁠. Photo: John Faier
#GerhardRichter: "One can see, or rather hear, a great example in John Cage’s work of how extensively, cleverly, and sensitively he treats coincidence in order to make music out of it." —Gerhard Richter An exhibition of Gerhard Richter’s "Cage" paintings opens tomorrow, April 19, at Gagosian, 541 West 24th Street, New York. The exhibition has travelled from Gagosian, Beverly Hills. The series was a highlight of the artist’s recent retrospective, "Gerhard Richter: Painting After All," at the Metropolitan Museum of Art, 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 learn more or to schedule an appointment. __________ #Gagosian Gerhard Richter; (1) "Cage 1," 2006; (2) "Cage 4," 2006. Artwork © Gerhard Richter 2021 (05102020)
#HelenMarden: "Bitter Light a Year," an exhibition of new paintings by Helen Marden, is on view at Gagosian, 976 Madison Avenue, New York, through May 8. Marden’s compositions combine vivid color with gesture in a joyful affirmation of life’s energies. Using resin to bind neon bright acrylics and raw powdered pigments with natural substances and found objects, she invests the aesthetics and techniques of expressive abstraction with renewed variety and purpose. Yesterday, "Vulture" published a piece on the exhibition. Follow the link in our bio to read the article or to schedule an appointment to see the show. __________ #Gagosian @goldenrock @vulture Helen Marden; (1) "Future," 2020; (3) "Forward," 2020; (2, 4) Installation views, "Helen Marden: Bitter Light a Year," Gagosian, 976 Madison Avenue, New York, April 6–May 8, 2021. Artwork © Helen Marden. Photo: Rob McKeever
Tune in today at 12pm EDT for an online conversation between Michael Craig-Martin and Anoka Faruqee, professor and co-director of Graduate Studies, Yale School of Art. This talk is part of the Yale Center for British Art’s series "at home: Artists in Conversation," which brings together curators and artists to discuss various artistic practices and insights into their work. Follow the link in our bio to register for the event. __________ #MichaelCraigMartin #Gagosian @anokafaruqee @yaleschoolofart @yalebritishart Michael Craig-Martin; (1) "Untitled (laptop magenta)," 2018; (2) "Untitled (bulb)," 2014. Artwork © Michael Craig-Martin
#RachelWhiteread: Rachel Whiteread features on the latest episode of the Talk Art podcast with Robert Diament and Russell Tovey, which was recorded in the artist’s studio before she began installing “Internal Objects,” her current exhibition at Gagosian, Grosvenor Hill, London. They discuss childhood, experimenting as a student, and Whiteread's early works such as “House” (1993) and 'Ghost' (1990). They also speak about the new works she created during lockdown, including two cabin-like structures “Poltergeist” (2020) and “Döppelganger” (2020–21). These sculptures, which occupy the two main rooms of the Grosvenor Hill gallery, are made of found wood and metal that has been meticulously overpainted in white household paint. Follow the link in our bio to listen now or book an appointment to see the exhibition! __________ #RachelWhiteread #TalkArtPodcast @rachelwhitereadofficial @talkart @russelltovey @robertdiament (1) Installation view, “Rachel Whiteread: Internal Objects,” Gagosian, Grosvenor Hill, London,
#GagosianQuarterly: "I remember this feeling of camaraderie and friendship as we fired the kiln, and I remember thinking, 'Clay made it possible for us to have to spend twenty-four hours with each other.'" —Theaster Gates Head to "Gagosian Quarterly" to watch a recent studio visit with Theaster Gates, filmed as he prepared for his exhibition “Black Vessel” at Gagosian, New York. Gates promotes the vessel as a container of the concrete, the symbolic, and the spiritual—a metaphor for embodied existence or a means by which to gather communities together in time and space. For him, the clay vessel is a universal object of ritual significance. In a diverse group of unique large-scale works in glazed and fired clay, his evident formal virtuosity unites ancient traditions with modernist aesthetics, and draws elective affinities between Eastern, Western, and African techne. Follow the link in our bio to watch the video or message us for info on Gates's ceramic vessels. __________ #TheasterGates #Gagosian @theasterg
#HirstTakeover: The first phase of Damien Hirst’s yearlong takeover of Gagosian, Britannia Street, London, is now open. The exhibition "Fact Paintings and Fact Sculptures" sees Hirst as both artist and curator, presenting this deeply personal series of work created between 1993 and 2021 through his own eyes. Mimicking color photographs, the Fact Paintings are rendered in oil on canvas, sometimes with meticulous fidelity, at others reveling in the physicality of mark making. Their verisimilitude recalls the historical role of painting as a tool to represent the visible world and lead the viewer to believe that a two-dimensional image is, in fact, the three-dimensional object it portrays. In the Fact Sculptures, Hirst moves beyond the readymade, instead constructing detailed replicas of real objects. Follow the link in our bio to schedule an appointment. __________ #DamienHirst #Gagosian @damienhirst Installation views, "Fact Paintings and Fact Sculptures," Gagosian, Britannia Street, London, 2021. Artwork ©
Tomorrow at 2pm EDT, Sarah Sze will discuss her recent exhibition catalogue "De nuit en jour/Night into Day"—featuring contributions by Bruno Latour, Jean Nouvel, and Leanne Sacramone—with Anselm Kiefer and philosopher Emanuele Coccia, as part of the Fondation Cartier pour l’art contemporain’s Art Book Series. Sze will join from her studio in New York, while Kiefer and Coccia will speak from inside the exhibition "Night into Day" at Foundation Cartier. The trio will talk about "Twice Twilight" and "Tracing Fallen Sky", two works Sze created specifically for the Paris exhibition, and about Kiefer’s recently installed work at the Panthéon in Paris. To attend the online event, visit www.fondationcartier.com. __________ #SarahSze #AnselmKiefer #FondationCartier #Gagosian @sarahszestudio @fondationcartier Sarah Sze, "Tracing Fallen Sky," 2020 (detail), installation view, "Sarah Sze: Night into Day," Fondation Cartier pour l’art contemporain, Paris © Sarah Sze
#AlbertOehlen: "Tramonto Spaventoso," an exhibition by Albert Oehlen comprising the second part of his version of the Rothko Chapel in Houston as well as other new paintings, opens on April 22 at Gagosian, Beverly Hills. The first part of the project—consisting of four paintings that mirror the imposing scale of the Color Field compositions in the Chapel while opposing Rothko’s contemplativeness with their frenetic energy—was exhibited at the Serpentine Galleries, London, in 2019–20. Both parts make up the work "Tramonto Spaventoso." In these large-scale canvases, Oehlen employs acrylic, spray paint, charcoal, and patterned fabric to interpret and transform John Graham’s painting "Tramonto Spaventoso" (1940–49), a work by the Russian-born American modernist painter that he discovered in the 1990s and has been fascinated with ever since. Using Graham’s puzzle-like painting as a vehicle for repeated interpretation, Oehlen reconfigures elements in diverse and absurdist ways across multiple compositions. Follow
#HongKongExchange: One of Katharina Grosse's paintings is featured in "Hong Kong Exchange," an exhibition of works by some of the gallery’s most esteemed artists, on view at Gagosian, Hong Kong, through April 30. Grosse approaches painting as an experience in immersive subjectivity. With a spray gun, she distances the artistic act from the hand, stylizing gesture as a propulsive mark. The resulting works on canvas are distinct, but never predetermined. Spatial tensions rise through shifts in chromatic temperature. Challenging boundaries, she reintroduces her body as an active agent within a vision of contemporary existence that is at once physically isolated and densely networked. Follow the link in our bio to learn more about the show. __________ #KatharinaGrosse #Gagosian @katharina_grosse Katharina Grosse, "Untitled," 2019 (detail) © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2021
“When We Fell,” Kyle Abraham’s third work for New York City Ballet, is available to watch online at nycballet.com through April 22. The work was choreographed during a three-week COVID-compliant residency bubble at the Kaatsbaan Cultural Park in upstate New York. During his residency, Abraham recorded an online conversation with Bebe Miller, reflecting on pivotal moments in their careers and current artistic considerations. They discuss coded expectations around race from their generational perspectives, and delve into music, movement syntax, and dance history. Follow the link in our bio to watch now on "Gagosian Quarterly". __________ #KyleAbraham #BebeMiller #GagosianQuarterly #Gagosian @aimbykyleabraham @nycballet @kaatsbaan Still from Kyle Abraham's "When We Fell". Image: courtesy New York City Ballet and the artist
#GagosianQuarterly: "The architecture is powerful but the focus is nevertheless always on the art, and on the dialogue between the two: the architecture provides a setting that is simultaneously imposing, enlivening, and respectful." —Paul Goldberger In a piece for "Gagosian Quarterly," Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018. Follow the link in our bio to read the article. __________ #JeffKoons #GlenstoneMuseum #Gagosian @glenstonemuseum @jeffkoons @thomasphiferandpartners (1) Jeff Koons, "Split-Rocker," 2000 © Jeff Koons. Photo: courtesy Glenstone Museum; (2, 3) Glenstone Museum. Photo: Thomas Phifer
#GagosianSpotlight: In a recent video, Hans Ulrich Obrist, artistic director of the Serpentine Galleries, London, and Joseph Constable, assistant curator, discuss the inspirations behind the works in Albert Oehlen’s 2019–20 exhibition at the Serpentine, and the ensemble Steamboat Switzerland performs a newly configured soundtrack inside the exhibition, shown here. Follow the link in our bio to watch the full video, or to read a conversation between Oehlen and Obrist on "Gagosian Quarterly". __________ #AlbertOehlen #Gagosian @oehlenalbert @hansulrichobrist @serpentineuk (1, 2) Installation view, "Albert Oehlen," Serpentine Galleries, London, October 2, 2019–February 2, 2020. Artwork © Albert Oehlen. Photo: readsreads.info; (3) Clip from “Albert Oehlen: Endless Possibilities of Interpretation.” Video: courtesy Serpentine Galleries
“There are sculptures I’ve made that are really trying to emphasize the idea of space as a magical entity that’s full of possibility and gives you numerous ways to look and think and feel and experience.” —Thomas Houseago Happy birthday to Thomas Houseago, born on this day, April 12, in Leeds, England. In recent years, Houseago’s exploration of bodies in space has shifted to include increasingly abstract and immersive forms. These structures incorporate an architectural quality that calls to mind ancient environments, but also point to science fiction and the future. "Beautiful Wall (Open Wall)," the sculpture pictured, is currently in development in Houseago’s studio. It references aspects of the human figure, cycles of the moon and sun, but also the shapes of Los Angeles—its freeway systems, the frontality of its billboards, architecture and geography, and the city’s moments of fused artifice and physicality. Follow the link in our bio to learn more about the artist. __________ #ThomasHouseago #Gagosian @
#SpencerSweeney: "Queue," an exhibition of new paintings by Spencer Sweeney, reopened today at Gagosian, Davies Street, London. In a series of new paintings made in his Manhattan studio over the past year, Sweeney turns his attention to the human face, enlarging the head beyond life-size. This body of work unites the artist’s psychological musings with images of contemporary urban life. Follow the link in our bio to learn more about the show or to schedule an appointment. __________ #Gagosian @dirtyroomba Installation views, "Spencer Sweeney: Queue," Gagosian, Davies Street, London, February 22–May 1, 2021. Artwork © Spencer Sweeney. Photo: Lucy Dawkins
#GagosianSpotlight: “We are technicians of freedom, and it is our duty to make use of this privilege.” —Albert Oehlen Albert Oehlen delivered the commencement address at the School of the Art Institute of Chicago in 2015. In his humorous and insightful speech, he considers the importance of freedom to artistic practice. Follow the link in our bio to watch the full video. __________ #AlbertOehlen #Gagosian @oehlenalbert Clip from “School of the Art Institute of Chicago 2015 Commencement Address: Albert Oehlen”
#RachelWhiteread: "Internal Objects," an exhibition of new work by Rachel Whiteread, opens today at Gagosian, Grosvenor Hill, London. In this exhibition, the suggestion of haunting, or ghostliness, is manifested in a new way. In "Detached 1," "Detached 2," and "Detached 3" (all 2012), which she installed at Gagosian London in 2013, Whiteread rendered the empty interiors of three garden sheds in concrete and steel. Now, in "Internal Objects," she has again created cabin-like structures but has, for the first time, eschewed casting existing objects in favor of building original ones. "Poltergeist" (2020) and "Döppelganger" (2020–21), which occupy the two main rooms of the gallery, are made of found wood and metal that has been meticulously overpainted in white household paint. The exhibition also features a new body of sculptures in resin and new works on paper, as well as recent cast sculptures in bronze. Follow the link in our bio to learn more or to schedule an appointment. __________ #Gagosian @rachelwhite
#GagosianSpotlight: This new film by Albert Oehlen, with music by Tim Berresheim, takes us inside the artist’s studio in Switzerland as he works on a new painting. Watch the full video on our IGTV channel. __________ #AlbertOehlen #Gagosian @oehlenalbert Clip from “In the Studio: Albert Oehlen.” Video: Albert Oehlen; music: Tim Berresheim; artwork by Albert Oehlen © Albert Oehlen
#HirstTakeover: "I like to say something and deny it at the same time." —Damien Hirst "Fact Paintings and Fact Sculptures," an exhibition of rarely seen works by Damien Hirst created between 1993 and 2021, opens today at Gagosian, Britannia Street, London. The exhibition marks the first phase of Hirst’s yearlong takeover of the Britannia Street gallery, and sees Hirst as both artist and curator, presenting this deeply personal series of work through his own eyes. Throughout his storied career, Hirst has confronted the systems of belief that define human existence, from common trust in medicine to the seduction of consumerism. At a moment when the idea of "truth" has never been more tenuous, Hirst’s "Fact Paintings and Sculptures" question the obduracy of “fact” as a governing principle of society. Follow the link in our bio to schedule an appointment. __________ #DamienHirst #Gagosian @damienhirst Installation view, "Fact Paintings and Fact Sculptures," Gagosian, Britannia Street, London, 2021. Artwork © D
#RachelWhiteread: “I’ve extended my vocabulary, which is a very nice feeling. It feels like there’s a whole new thing I can do.” —Rachel Whiteread "Internal Objects," an exhibition of new work by Rachel Whiteread, opens tomorrow at Gagosian, Grosvenor Hill, London. In addition to two large new sculptures—”Poltergeist” and “Döppelganger”—the exhibition will feature new works on paper and a new body of sculptures in resin, as well as recent cast sculptures in bronze. The latter are similar to works in bronze Whiteread made in 2000–10, and exhibited at a major retrospective at Tate Britain in 2017. Follow the link in our bio to find out more to schedule an appointment. __________ #Gagosian @rachelwhitereadofficial @theeconomist Rachel Whiteread; (1, 2) "Untitled (Night Drawing)," 2018; (3, 4) "Untitled," 2018. Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates
"'Limits' is a relative term. Like beauty, it is often in the eye of the beholder." —Chris Burden Chris Burden was born on this day, April 11, in Boston. The daring spirit of Burden's early performances evolved into compelling large-scale sculptures that embody technical feats on an imposing scale. In "1 Ton Crane Truck," the Ford is painted bright orange and the custom-made cube suspended from its crane boom announces its weight—“1 TON”—in recessed lettering, forcing the viewer to consider the physical capacities of the familiar American vehicle. This work featured in "Measured," Burden's most recent exhibition with the gallery. Follow the link in our bio for more. __________ #ChrisBurden #Gagosian @yayoi_shionoiri (1, 2) Installation view, "Chris Burden: Measured," Gagosian, Britannia Street, London, September 29, 2018–January 26, 2019. Photo: Lucy Dawkins; (3) Chris Burden, "Don't Drink and Drive! 1954 international T6 crawler #6," 2007 (detail). Artwork © Chris Burden / Licensed by the Chris Burden Est
#GagosianSpotlight: "I didn’t intend to make anything new—it was an experiment, rather, and about the employment of different materials." —Albert Oehlen In a piece for "Gagosian Quarterly," Albert Oehlen met with art historian Christian Malycha to discuss a group of paintings he made in Los Angeles in 2019. Follow the link in our bio to read the conversation. __________ #AlbertOehlen #Gagosian #GagosianQuarterly @oehlenalbert (1) Maya Oehlen and Albert Oehlen in Los Angeles, 2019; (2) Ernst Oehlen and Julian Oehlen in Los Angeles, 2019. Photo: © Esther Freund. Artwork © Albert Oehlen
#HirstTakeover: The exhibition “Damien Hirst: Fact Paintings and Fact Sculptures” opens on Monday, April 12, at Gagosian, Britannia Street. This exhibition is the first in Hirst’s yearlong takeover of the Britannia Street gallery. Since the late 1980s, Hirst has challenged conventional belief systems that lie at the heart of human experience. At a moment when “truth” has never been more scrutinized, Hirst’s "Fact" paintings and sculptures question the nature of “fact”—perhaps the essential structure of faith that governs society. Follow the link in our bio to schedule an appointment. __________ #DamienHirst #Gagosian @damienhirst Damien Hirst. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2021. Photo: courtesy the artist
#SterlingRuby: Gagosian is pleased to present "THAT MY NAILS CAN REACH UNTO THINE EYES," an exhibition of new paintings and ceramics by Sterling Ruby, opening May 13 at Gagosian, Athens. In this new body of work inspired by William Shakespeare’s "A Midsummer Night’s Dream," Ruby makes allusions to theater, likening the vantage of a window frame to the proscenium. Taking a cue from the play’s contrasting settings of judicial ancient Athens and the mystical forest beyond, Ruby bisects each canvas vertically with a strip of painted cardboard, introducing a pillar-like barrier that bright pigments rebound against or cower behind. Concurrently, a selection of ceramic sculptures by Ruby will be exhibited within the permanent collections of the Museum of Cycladic Art in Athens, opening May 12. Follow the link in our bio to learn more about the exhibition or to schedule an appointment. __________ #Gagosian @sterlingruby @cycladic_museum Sterling Ruby, "WIDW. KNACKS. TRIFLES. NOSEGAYS. SWEETMEATS.," 2020 © Sterling
#GagosianSpotify: Head to Gagosian’s Spotify channel to listen to a new curated playlist by Albert Oehlen featuring fourteen tracks ranging in genres from free jazz to techno. Titled "Tramonto Spaventoso," the playlist shares the title of his upcoming exhibition at Gagosian, Beverly Hills, opening April 22. Scan the Spotify code or follow the link in our bio to listen now! __________ #AlbertOehlen #GagosianSpotlight #Gagosian @oehlenalbert Albert Oehlen’s studio, Ispaster, Spain, 2020. Artwork © Albert Oehlen. Photo: Esther Freund
#GagosianQuarterly: In the first of a two-part feature, John Elderfield recounts his experiences at "The Lightning Field" (1977), Walter De Maria’s legendary installation in New Mexico. Elderfield considers how this work requires our constantly finding and losing a sense of symmetry and order in shifting perceptions of space, scale, and distance, as the light changes throughout the day. Follow the link in our bio to read the article. Our next "Quarterly" newsletter features articles on outdoor installations. To sign up, visit gagosian.com/subscribe! __________ #WalterDeMaria #Gagosian Walter De Maria, "The Lightning Field," 1977; (1) sunset from southwest exterior looking northeast, July 1979; (2) pole base detail from southeast interior looking northwest, summer 1978. Artwork © Estate of Walter De Maria; photos: John Cliett, courtesy Dia Art Foundation, New York, and © Estate of Walter De Maria
#GagosianSpotlight: “Akademisch,” a new work by Albert Oehlen, is currently presented on gagosian.com for Artist Spotlight. In a recent conversation, Oehlen spoke to Mark Godfrey about the painting, “academic” art, reversing habits, and questioning rules. Here is a video clip from their call. Follow the link in our bio to read the article. __________ #AlbertOehlen #Gagosian #GagosianQuarterly @oehlenalbert @markgodfrey1973 (1) Albert Oehlen, “Akademisch,” 2020 (detail) © Albert Oehlen; (2) Video clip of a conversation between Albert Oehlen and Mark Godfrey for "Gagosian Quarterly," February, 2021
#GagosianSpotlight: “If it’s a nice composition, a balance of colors and weights, that’s kind of been done a couple of times. So I’m not satisfied with that and I want more, I want problems.” —Albert Oehlen Gagosian is pleased to present Albert Oehlen’s 2020 painting “Akademisch,” now online for forty-eight hours only. The tongue-in-cheek title of “Akademisch” reflects Oehlen’s skepticism in relation to orthodox approaches to the history and production of art, and his self-awareness of his effect as an innovator and teacher. In this work, he aims to confront and break various painterly “habits,” consciously upending routine strategies in order to confound the viewer’s expectations around aesthetic taste and formal logic. The painting is typical of Oehlen’s approach in its embrace of raw painterly energy, an element that he has likened to “a base note of hysteria.” Follow the link in our bio for more information. __________ #AlbertOehlen #Gagosian @oehlenalbert Albert Oehlen, “Akademisch,” 2020 © Albert Oehl
#GagosianSpotlight: “Albert Oehlen: New Paintings” is available for online reading through May 6 as part of Artist Spotlight. Published on the occasion of the artist’s first exhibition in Asia, this volume presents a series of new paintings in watercolor on canvas. Emphasizing the importance of spontaneity within his artistic method, Oehlen’s decision to use watercolor marks a stylistic return to his hazy, blended, almost impressionistic oil paintings dating from 2016 and earlier. The catalogue features a text by Christian Malycha, as well as photographs of the works in process, and is bilingual, in English and Chinese. Follow the link in our bio to read the book. Tomorrow at 6am EDT, a new work by the artist will be unveiled. Stay tuned! __________ #AlbertOehlen #Gagosian @oehlenalbert “Albert Oehlen: New Paintings” (Hong Kong: Gagosian, 2019). Artwork © Albert Oehlen
#GagosianSpotlight: “I was thinking about these habits that one has, and I was trying to reverse them all. Whenever I find something, it makes me think, What if I don’t do that, or what if I do the opposite?” —Albert Oehlen In a new piece for "Gagosian Quarterly," Albert Oehlen speaks to art historian and curator Mark Godfrey about a recent group of abstract paintings, “academic” art, reversing habits, and questioning rules. Follow the link in our bio to read the piece. __________ #AlbertOehlen #Gagosian #GagosianQuarterly @oehlenalbert @markgodfrey1973 Albert Oehlen's studio, Ispaster, Spain, 2020. Photo: © Esther Freund
#RachelWhiteread: "I knew I wanted it to be ephemeral, to be like skin and bones." —Rachel Whiteread "Internal Objects," an exhibition of new work by Rachel Whiteread, opens April 12 at Gagosian, Grosvenor Hill, London. While Whiteread’s sheds of a decade ago were closed, the new sculptures in this show are open, inverting the formal system of their predecessors. They suggest that something catastrophic has occurred, allowing nature to take over. Whiteread was inspired by her reading of John Steinbeck, and by her experience of driving through the Mojave Desert and Death Valley in California after installing two sculptures in Joshua Tree National Park in 2017. Although the new works represent a departure from her established sculptural process, they continue her overall project in considering the intimate haptic qualities of the spaces that surround us. Follow the link in our bio to schedule an appointment. __________ #Gagosian @rachelwhitereadofficial Rachel Whiteread, “Doppelgänger,” 2021 (details) © Rac
#GeorgBaselitz: Gagosian is pleased to present "Springtime," an exhibition of new paintings by Georg Baselitz, opening May 4 at 555 West 24th Street, New York. Just as the exuberant provocations of Dada emerged out of the catastrophes of the First World War, so does Baselitz’s title herald a spirited reawakening from the ravages and restrictions of the current pandemic. In this new series, he has, for the first time, introduced the idea of collage by gluing pairs of nylon stockings onto canvases and painting over and around their diaphanous forms in white, black, or gold. In some paintings, these stocking-figures remain distinct from their backgrounds, while in others the printed impressions of paint-soaked nylons replace the hosiery themselves, their stretched forms snaking from multihued “skirts” of expressive splatters, like plants from undergrowth. "Springtime" overlaps with the exhibition "Archinto" at the Museo di Palazzo Grimani, Venice, and anticipates Baselitz’s retrospective at the Centre Pompido
#HelenMarden: "Bitter Light a Year," an exhibition of new paintings by Helen Marden, is now on view at Gagosian, 976 Madison Avenue, New York. The exhibition’s poetic title suggests hard-won wisdom and anticipates collective emergence from a profoundly challenging time for the planet. In works of endearing and unrestrained vitality, Marden offers an optimistic vision of a world in which environmental forces and human culture might be reconciled and reunited. Follow the link in our bio to learn more about the show or to schedule an appointment. __________ #Gagosian @goldenrock Installation views, "Helen Marden: Bitter Light a Year," Gagosian, 976 Madison Avenue, New York, April 6–May 8, 2021. Artwork © Helen Marden. Photo: Rob McKeever
#GagosianSpotlight: This week, Albert Oehlen features in Artist Spotlight. Through expressionist brushwork, surrealist methodology, and self-conscious amateurism he engages with the history of abstract painting, pushing the basic components of abstraction to new extremes. Oehlen is perhaps best known for his embrace of “bad” painting. Alongside his many rules, he allows a certain awkwardness to enter his work, introducing unsettling gestures, crudely drawn figures, visceral smears of artificial pigments, bold hues, and flesh tones. In this way, he attests to the infinite combinations of form made possible through painting, and shows that these combinations can be manipulated at the artist’s will to produce novel perceptual challenges for the viewer. A new work by the artist will be unveiled on gagosian.com on Friday, April 9, at 6am EDT. For updates or to learn more, follow the link in our bio. __________ #AlbertOehlen #Gagosian @oehlenalbert Photo: Alejandro Ernesto/EPA/Shutterstock
Tune in today at 6pm EDT to hear authors Mark Stevens and Annalyn Swan discuss their new book, "Francis Bacon: Revelations," with Gagosian director Michael Cary in a conversation presented by 192 Books and Paula Cooper Gallery. A decade in the making, the book offers the first comprehensive look at the life and art of Francis Bacon, who produced indelible images of humankind and played an outsized role in both twentieth-century art and life. Bacon was a witty free spirit and unabashed homosexual at a time when many others remained closeted, and his exploits were as unforgettable as his paintings. "Relevations" offers a more complete, nuanced, and international portrait than ever before of this singularly private, darkly funny, eruptive man and his equally extraordinary art. Follow the link in our bio to learn more about the event, or to read an interview with Stevens and Swan on "Gagosian Quarterly". __________ #FrancisBacon #Gagosian #GagosianQuarterly @francisbaconartist @192books @paulacoopergallery Franc
As part of New Art from Wall to Wall, the Museum of Modern Art, New York, is presenting never-before and rarely shown works in themed, reimagined collection galleries. The gallery “Touching the Void” explores an important artistic tendency of the 1960s: a shift away from the idea that art should express the artist’s interior life. Works in this vein, such as Simon Hantaï’s "Untitled (Suite 'Blancs')," searched for a poetics of bare form and focused on structural elements such as line, plane, and volume. Whether strict or playful, the work of these artists tested the meditative possibilities of objectivity, challenging viewers to heighten their sensory perception. Follow the link in our bio to learn more. __________ #SimonHantai #Gagosian @themuseumofmodernart (1) Installation view, "Touching the Void," Museum of Modern Art, New York, November 14, 2020–November 1, 2023. Artwork, left to right: © Archives Simon Hantaï/ADAGP, Paris, 2021; © Carlos Rojas; © 2021 Robert Ryman; © 2021 Fundación Gego; © Liliana Port
#GagosianQuarterly: "Artschwager takes the ordinary and peels away a layer from around it, and thereby releases the ordinary. So the ordinary becomes something much more loaded than you were able to sense at first sight." —Adam McEwen In a new piece for "Gagosian Quarterly," artist Adam McEwen and Gagosian's Bob Monk discuss Richard Artschwager's creative practice. An exhibition of work by the artist is currently on view at Gagosian, Rome. This work, “AT&T Building in the Year 2000,” is presented in the show. Artschwager is looking to the future in this painting, depicting the iconic Philip Johnson building in a fictional New York skyline. Follow the link in our bio to read the conversation, or to find out more about the exhibition. __________ #RichardArtschwager #AdamMcEwen #Gagosian (1) Installation view, "Richard Artschwager," Gagosian, Rome, January 14–April 24, 2021; (2) Richard Artschwager, “AT&T Building in the Year 2000,” 1987; Artwork © 2021 The Estate of Richard Artschwager/Artists Rights Society
Giuseppe Penone’s "Abete (Fir)" was recently installed in the Piazza della Signoria in Florence, Italy, to celebrate Dante Day, the day dedicated to the poet Florentine poet Dante Alighieri, and the 700th anniversary of his death. The trunk and branches are made of cast stainless steel, encircled by a lattice with eighteen cast bronze elements. At just over 72 feet high, Penone’s sculpture is the largest ever installed in a public space in Florence and anticipates an upcoming exhibition of his work at the Gallerie degli Uffizi entitled "Alberi In-versi,” opening June 1. Follow the link in our bio to learn more. __________ #GiuseppePenone #Uffizi #Gagosian @uffizigalleries @ela.bialkowska Giuseppe Penone, "Abete (Fir)," 2013, installation views, Piazza Signoria, Florence, Italy. Photos: Ela Bialkowska, OKNOstudio, courtesy Associazione Arte Continua APS. Artwork © Archivio Penone
#HelenMarden: "Bitter Light a Year," an exhibition of new paintings by Helen Marden, opens on Tuesday, April 6, at Gagosian, 976 Madison Avenue, New York. In works of endearing and unrestrained vitality, Marden offers an optimistic vision of a world in which environmental forces and human culture might be reconciled and reunited. These new paintings combine vivid color with gesture in a joyful affirmation of life’s energies. In "Noon Tide," Marden adds shells and fragments of glass to a biomorphic form rendered in acid pink, generating a dynamic fusion of the organic and the artificial. The appended elements follow looping skeins of paint traced on the surface of the canvas, suggesting a fluid, symbiotic relationship between the two distinct sets of materials. Follow the link in our bio to learn more about the exhibition. __________ #Gagosian @goldenrock Helen Marden, “Noon Tide," 2020. Artwork © Helen Marden. Photo: Rob McKeever
"Vera Lutter: Museum in the Camera" has just reopened at Los Angeles County Museum of Art. Between February 2017 and January 2019, Vera Lutter documented LACMA using a camera obscura, creating photographs that examine the museum’s exterior architecture, gallery interiors, and permanent collection. This exhibition features the photographs made during this two-year residency. Follow the link in our bio to watch a video featuring rare behind-the-scenes footage filmed during the artist’s residency. __________ #VeraLutter #Gagosian @veralutterstudio @lacma (1, 3) Stills from "Vera Lutter photographs the museum with her camera obscura | Artist Profiles," courtesy Los Angeles County Museum of Art; (2) Vera Lutter, "Rodin Garden, I: February 22, 2017," 2017; (4) Vera Lutter, "Ludovico Mazzanti, The Death of Lucretia, c. 1735–37: February 10–March 16, 2017," 2017 (detail). Artwork © Vera Lutter
"The veins of water that pour from the earth flow in trickles that merge, like the branches in the trunk, like the fingers in the palm of a hand, like the bronze in the matrix of a tree." —Giuseppe Penone Happy birthday to Giuseppe Penone, born on this day, April 3, in Garessio, Italy. Throughout his over fifty-year career, Penone has employed a wide range of materials and forms in an exploration of the fundamental language of sculpture, as well as the relationship between man and nature. A protagonist of Arte Povera—the seminal postwar movement that emerged in Italy in the late 1960s, under the leadership of the late Germano Celant—Penone explores respiration, growth, and aging to create an expansive body of work including sculpture, performance, works on paper, and photography. Head to "Gagosian Quarterly" via the link in our bio to watch a video on the artist's recent installation at Fort Mason, San Francisco. __________ #GiuseppePenone #Gagosian Giuseppe Penone; (1) "Alpi Marittime - L'albero ricorderà
#GagosianQuarterly: "Movies are the first thing I fell in love with, and I became known as a movie director, but really I’ve never thought of myself in such a singular way. I write books and poems, make paintings, and take photographs. For me, it was never about mastering a medium." —Harmony Korine Head to "Gagosian Quarterly" to read a wide-ranging discussion between Harmony Korine and film critic Emmanuel Burdeau. In the interview, Korine reflects on the rewards and challenges of filmmaking, and speaks about his work across media. Follow the link in our bio to read the article. __________ #HarmonyKorine #Gagosian Harmony Korine, "Panda Twitchy," 2020 © Harmony Korine
Chris Burden features in the most recent issue of "Modern Matter." The magazine focuses on Burden's artistic practice, and includes artworks such as "L.A.P.D. Uniform," an edition of thirty powerful and politically charged oversize replicas of the L.A.P.D.’s standard wool uniform. The work reflects on the Rodney King trial and the Los Angeles riots of 1992, serving as commentary on the complicated relationship between the public and authority. The issue, titled "It’s Time to Listen," includes an accompanying vinyl that features the artwork on its cover. Follow the link in our bio to find out more. __________ #ChrisBurden #Gagosian @modernmattermagazine @yayoi_shionoiri (1) Chris Burden, "L.A.P.D. Uniform," 1993 © Chris Burden / Licensed by the Chris Burden Estate; (2) Issue 18, "Modern Matter"
#GagosianQuarterly: Venetian Heritage, a philanthropic organization dedicated to the restoration and preservation of Venice’s cultural treasures, has pursued its mission for two decades. In a piece for "Gagosian Quarterly," the architect Peter Marino, the organization’s chairman, joins Toto Bergamo Rossi, director of the Venice office, to tell Gagosian director Jason Ysenburg about the history and future of the organization. Follow the link in our bio to read the article. __________ #Gagosian @petermarinoarchitect @toto_bergamo_rossi @jysenburg Repost: @venetianheritage (1, 2) Luca Giordano, "Deposizione di Cristo," 1671 (detail), during and after restoration; (3, 4) Van Dyck's portrait of Marcello Durazzo, c. 1621–27 (detail), during and after restoration
#AdrianaVarejao: “My work is always in the territory of hybridity. My content forms in terms of decolonizing subjectivities because it deals with countless cultural references—not only from official history, but also from many other hidden or obscured histories that lie at the margins." —Adriana Varejão Gagosian is pleased to present new paintings and sculptures by Adriana Varejão, opening May 3 at West 21st Street, New York. This is her first exhibition with the gallery in New York, following presentations in Rome in 2016, and Los Angeles in 2017. Varejão’s rich and diverse artistic oeuvre embodies the mythic pluralism of Brazilian identity and the fraught social, cultural, and aesthetic interactions that engendered it. Living and working in Rio de Janeiro, she draws upon the potent visual legacy of colonial histories and transnational exchange, creating confluent forms that expose the multivalent nature of memory and representation. Follow the link in our bio to learn more about the exhibition. __________
#SpencerSweeney: "Queue," an exhibition of new paintings by Spencer Sweeney, is on view at Davies Street, London, through the gallery’s large windows from 8am to 8pm daily. These works are portraits that push the limits of figuration, reducing each facial feature to a set of geometric forms and free-flowing lines, all rendered in distinctive impasto. Some evoke theatrical masks or makeup: one has the plaintive furrowed brows of a mask from a Greek tragedy; another, painted in high contrast with stark crimson shadows, conjures both the whiteface of Pierrot and the smoothly inscrutable visages of Noh theater. Certain images—such as a darkened left eye, or a triangular nose outlined in vivid red and pink—resurface in multiple instances throughout "Queue," challenging various notions of social identity and individuality. Follow the link in our bio to learn more about the exhibition. __________ #Gagosian @dirtyroomba (1) Spencer Sweeney, "Salacious Demon," 2021; (2, 4) Installation view, "Spencer Sweeney: Queue,"