#GagosianSpotlight: “I’ve always talked about captivating breath or fossilizing air or fossilizing surface, from the very sort of ephemeral to the very hard and distinct.” —Rachel Whiteread Rachel Whiteread’s “US Embassy (Flat pack house)” was permanently installed at the American embassy in Nine Elms, London. In a piece for “Gagosian Quarterly,” Virginia Shore, the curator for the London embassy project who worked with Whiteread to realize this site-specific commission, reflects on the history of prefabricated housing, the power of “home,” and the connecting force of art. Follow the link in our bio to read the article. __________ #RachelWhiteread #Gagosian #GagosianQuarterly @rachelwhitereadofficial Rachel Whiteread, “US Embassy (Flat pack house),” 2013–15, installation at the US Embassy, London © Rachel Whiteread. Photos: Mike Bruce
#DesertPainters: "Desert Painters of Australia: Two Generations" is on view at Gagosian, Hong Kong, through November 7. It is the third in a series of critically acclaimed exhibitions presented by the gallery, following New York and Los Angeles in 2019. Organized in collaboration with D’Lan Davidson, a leading Melbourne-based consultant in the Indigenous Australian art market, this exhibition is designed to introduce the local audience for the first time to rare works by some of Australia’s most renowned Indigenous artists from remote regions of the continent. The intergenerational selection includes the late Emily Kame Kngwarreye, Makinti Napanangka, and Bill “Whiskey” Tjapaltjarri, and living artists such as Yukultji Napangati, George Tjungurrayi, and Warlimpirrnga Tjapaltjarri. Follow the link in our bio to learn more. _________ #Gagosian (1) Emily Kame Kngwarreye, "Desert Ceremony," 1994 (detail); (3) Emily Kame Kngwarreye, "Yam Dreaming," 1995; © Emily Kame Kngwarreye/Copyright Agency. Licensed by Artis
#GagosianSpotlight: “This painting may tell a very particular story, but Piero’s translation of it into a series of lines, colors, and shapes has transfixed me for more than thirty-five years.” —Rachel Whiteread In a piece for “Gagosian Quarterly” Rachel Whiteread writes about Piero della Francesca’s “Baptism of Christ” and what has drawn her to this painting, from her first experience of it at a young age to the present day. Follow the link in our bio to read the article. __________ #RachelWhiteread #Gagosian #GagosianQuarterly @rachelwhitereadofficial @thenationalgallery (1) Piero della Francesca, “The Baptism of Christ,” after 1437 (detail), National Gallery, London. Photo: © National Gallery, London/Art Resource, New York; (2) Rachel Whiteread, “Ghost,” 1990 © Rachel Whiteread
#GagosianSpotlight: “Implicit memories allow us to type or write, drive a car, or deal with familiar objects. The unfamiliar familiarity of Rachel Whiteread’s sculptures often jolts such memories into our consciousness.” —James Lawrence In a piece for “Gagosian Quarterly,” James Lawrence explores the quiet power and critical role of memory in Rachel Whiteread’s public works. Follow the link in our bio to read the piece. __________ #RachelWhiteread #Gagosian #GagosianQuarterly @rachelwhitereadofficial (1) Rachel Whiteread, “Water Tower,” 1998. Photo: Marian Harder; (2) Rachel Whiteread, “Monument,” 2001; Artwork © Rachel Whiteread
#NathanielMaryQuinn: An exhibition of new paintings and works on paper by Nathaniel Mary Quinn is on view at Gagosian, Davies Street, London, through November 21. This is his first solo presentation with the gallery in London. In these new larger-than-life portraits, Quinn turns his attention to the subtle social shifts that accompany life in a time of crisis and isolation. In "Pig Target" and "Mr. Nightmare," the artist portrays his subjects as seen through the eyes of racist aggressors; they are dehumanized and transformed through the strategies of distortion and fragmentation into a red-clad target for slaughter, or a bestial mutant from the pages of a comic book. Follow the link in our bio to learn more about the exhibition or to schedule an appointment. __________ #Gagosian @nathanielmaryquinn (1) Nathaniel Mary Quinn, "Mr. Nightmare," 2020. Photo: Rob McKeever; (2, 4) Installation view, "Nathaniel Mary Quinn," Gagosian, Davies Street, London, October 1–November 21, 2020. Photo: Prudence Cummings Associ
#GagosianSpotlight: “If I go to a cathedral I will probably hunt out the small places alongside the nave, the quieter more contemplative spaces where people pause.” —Rachel Whiteread Gagosian is pleased to present Rachel Whiteread’s “Untitled (Pinboard)” for $375,000, now available for forty-eight hours only. Part of a new body of work, Whiteread’s "Untitled (Pinboard)" is cast from a studio bulletin board that holds images, notes, sketches, and other information. Whiteread has likened this type of visual arrangement to “looking out of a window.” In sculptures such as this, her use of casting subverts the technique’s usual role as a replicative process; the works differ from their originals and bear the haptic traces of human intervention, evoking narratives and memories belonging to the source objects. Follow the link in our bio for more information or to make an inquiry. __________ #RachelWhiteread #Gagosian @rachelwhitereadofficial Rachel Whiteread, “Untitled (Pinboard),” 2019, resin and cement compoun
Congratulations to Sally Mann, who has been awarded the Centenary Medal by the Royal Photographic Society (RPS) of Great Britain, in recognition of her sustained, significant contribution to the field of photography. Head to "Gagosian Quarterly" to read a conversation between Mann and Jenny Saville. The two artists discuss their work, being drawn to difficult subjects, and the effects of motherhood on their practice. Follow the link in our bio. __________ #SallyMann #GagosianQuarterly #Gagosian @a_thousand_crossings @royalphotographicsociety Sally Mann, "Georgia, Untitled (Kudzu)," 1996 © Sally Mann
#GagosianSpotlight: “These drawings are very mesmeric, I think. I have used a net motif before, sometimes even nets themselves, but I thought I would again because it seems right when we are all feeling trapped. Although I was in the countryside, it felt very claustrophobic sometimes. Making them was calming. It is a form of meditation.” —Rachel Whiteread In a recent piece for “The Guardian,” Rachel Whiteread describes how she found comfort in drawing during the lockdown and urges young people to hold on to their dreams. Follow the link in our bio to read the article. Tomorrow at 6am EDT, a recent cast sculpture from a new body of work by Whiteread will be unveiled on the Gagosian website. Keep an eye out. __________ #RachelWhiteread #Gagosian @rachelwhitereadofficial Rachel Whiteread (1) “Blood Red and Pink Triangles (March - Sept),” 2020; (2) “Turquoise (March - Sept),” 2020; (3) “Green, Green, and Khaki (March - Sept),” 2020. Artwork © Rachel Whiteread
#GagosianSpotlight: “Rachel Whiteread: Detached” is available for online reading through November 19 as part of Artist Spotlight. Published on the occasion of Whiteread’s 2013 exhibition at Gagosian, Britannia Street, London, this catalogue features in situ images of “Detached 1,” “Detached 2,” and “Detached 3” (all 2012), along with documentary photographs of the works in progress. Also included are vitrines incorporating found objects, small casts, and maquettes; a series cast from doors and windows in delicate shades of rose, eau de Nil, or steely resin; and works on paper. A text by Briony Fer examines the materiality of Whiteread’s work. Follow the link in our bio to read the book. __________ #RachelWhiteread #Gagosian @rachelwhitereadofficial “Rachel Whiteread: Detached” (London: Gagosian, 2013)
To celebrate the release of "Zeng Fanzhi: Catalogue Raisonné 1984–2004," the Fanzhi Foundation for Art and Education is hosting an online conversation and exhibition of early works made by the artist, in his hometown of Wuhan, China. Tune in on October 22 at 2am EDT (2pm HKT) to hear three of Zeng’s former professors from Hubei Institute of Fine Art—Pi Daojian, Wei Guangqing, and Fang Shaoh—and Shanghart founder Lorenz Helbling speak about the artist’s practice. The online conversation will be conducted in Chinese. The event is free and open to the public on WeChat and Zaiyi. Follow the link in our bio to learn more. __________ #ZengFanzhi #Gagosian @zfz_studio Zeng Fanzhi. Photo: Guo Shaoming
#GagosianQuarterly: "More than ever, as the dreamers of musicals and the second-wave gangsters die away, we study the legacy they left behind—and we must choose to conjure up their spirit in new forms of expression, not to trot out the old dependable classics, unchanged, unchallenged, and declare humanity a lost cause." —Carlos Valladares In a piece for "Gagosian Quarterly," Carlos Valladares explores the gangster film genre, tracing the conventions and evolutions in the form from the exuberance of Raoul Walsh’s "The Roaring Twenties" to the heavy silence of Martin Scorsese’s "The Irishman." Follow the link in our bio to read the article. __________ #Gagosian @cvall96 (1) Robert De Niro in "The Irishman" (2019), directed by Martin Scorsese. Photo: courtesy Netflix; (2) Humphrey Bogart and James Cagney in "The Roaring Twenties" (1939), directed by Raoul Walsh. Photo: Bettmann Collection/Getty Images
Contemporary artists are often invited by museums to create site-responsive work, or to inhabit the role of artist-as-curator. As museums begin the important work of reevaluating their display practices, what part can artists play in this process? Using "Vera Lutter: Museum in the Camera"—an exhibition at the Los Angeles County Museum of Art—as a starting point, artists Liz Glynn and Ken Gonzales-Day will join Vera Lutter in conversation, moderated by Jennifer King, associate curator of contemporary art at LACMA. Tune in today at 7pm EDT. Follow the link in our bio to register. __________ #VeraLutter #Gagosian @veralutterstudio @lacma @lzglynn @kengonzalesday Vera Lutter, "European Old Masters: December 7, 2018–January 9, 2019," 2018–19 © Vera Lutter
Today at 11am EDT, join Marina Cashdan, vice president of editorial and creative at Artsy; Alison McDonald, director of publications at Gagosian; Neil Wenman, partner and director of brand at Hauser & Wirth; and Alex Gilbert, associate director at Friedman Benda, for an online conversation on digital storytelling and content strategy for galleries. The speakers will share their expertise and perspectives on building brands and crafting compelling digital narratives. Follow the link in our bio to register. __________ #Gagosian #GagosianQuarterly @artsy @shreejinews The Fall 2020 issue of "Gagosian Quarterly" at Shreeji Newsagent, London
#GagosianSpotlight: This week, Rachel Whiteread features in Artist Spotlight. In her sculptures and drawings, everyday settings, objects, and surfaces are transformed into ghostly replicas that are eerily familiar. Through casting, she frees her subject matter—from beds, tables, and boxes to water towers and entire houses—from practical use, suggesting a new permanence, imbued with memory. Whiteread’s Artist Spotlight features a recent cast sculpture from a new body of work by the artist. The work will be unveiled on the Gagosian website on Friday, October 23, at 6am EDT. For updates, please contact the gallery at collecting@gagosian.com. Follow the link in our bio to learn more. __________ #RachelWhiteread #Gagosian @rachelwhitereadofficial Rachel Whiteread. Photo: Anita Corbin, from the series “First Women UK”
"Edward Hopper and the American Hotel" closes at Newfields, Indianapolis, this Sunday, October 25. The exhibition explores the artist’s images of hospitality settings showcasing more than sixty of the artist’s paintings, drawings, watercolors, and illustrations. Also included are thirty-five works by American artists that similarly explore the visual culture of hotels, travel, and mobility from the early twentieth century to the present, including work by Gregory Crewdson, Ed Ruscha, and Cindy Sherman. __________ #EdwardHopper #GregoryCrewdson #Gagosian @newfieldstoday @crewdsonstudio Installation view, "Edward Hopper and the American Hotel, "Newfields, Indianapolis, July 17–October 25, 2020. Artwork © Gregory Crewdson
"What I wanted to do is be able to have things that don’t exist.” ーMarc Newson Happy birthday to Marc Newson, born on this day, October 20, in Sydney. Newson’s experimental and exacted designs touch every field, spanning from footwear and watches to aircraft interiors, glass and enamel furniture, surfboards, and swords. Trained as an industrial designer, silversmith, and watchmaker, Newson’s concepts transcend an object’s function into technically-precise and aesthetically-seamless original works of art. Follow the link in our bio to watch an interview with the artist about the technical process behind his designs. __________ #MarcNewson #Gagosian @marcnewsonofficial Marc Newson. Photo: Affa Chan/Hong Kong Tatler
#GagosianPremieres: Tune in now for the second episode of Gagosian Premieres on the gallery's YouTube channel! We celebrate “An Eclipse of Moths”—his new exhibition at Gagosian, Los Angeles—with author Malcolm Gladwell, film critic Elvis Mitchell, musician and author Jeff Tweedy, and the artist. While the episode is airing, Crewdson will answer questions on live chat and present a signed and numbered limited-edition book, published by Aperture, with a personal inscription to one randomly selected viewer who participates in the conversation. Follow the link in our bio now. __________  #GregoryCrewdson #Gagosian @crewdsonstudio @wilco @jefftweedy @theelvismitchell @malcolmgladwell @aperturefnd Artwork © Gregory Crewdson. Behind-the-scenes material © Crewdson Studio. Video: Little Dot Studios
#GagosianQuarterly: "I painted models as required by the curriculum in class, but after class I adopted a totally different style. I loved drawing people around me, like my friends and people in the street." —Zeng Fanzhi The first two decades of Zeng Fanzhi’s career offer great insights into the artist’s trajectory. In a piece for "Gagosian Quarterly," Gladys Chung, editor of the artist’s catalogue raisonné, investigates these formative years. Follow the link in our bio to read the piece. __________ #ZengFanzhi #Gagosian @zfz_studio The artist and friends in his studio, Wuhan, 1989. Artwork © Zeng Fanzhi
#TheasterGates: "In the past, the tar paintings have been a kind of conceptual work, equating vernacular labor with high art. I wanted to move past that and let the tar be art, be itself, be part of artistic vocabulary." —Theaster Gates Theaster Gates’s first-ever solo exhibition in New York, “Black Vessel,” is on view at Gagosian, 555 West 24th Street, through December 19. In 2012, Gates began to formalize his knowledge of roofing techniques into a new territory of experimental painting, working with tar to make the invisible roof legible. In a new suite of individually titled paintings completed this year, Gates has intensified his approach, crafting painted torch down into taut, conjoined backdrops for the interplay of archeological tarred fragments. Entry to the exhibition is by appointment only. Follow the link in our bio to reserve your place. __________ #Gagosian @theastergates (1) Still from "Theaster Gates: Black Vessel." Video: Chris Strong; Video editing and postproduction: Parallax Postproductio
#GagosianPremieres: Tune in for the second episode of Gagosian Premieres on October 20, at 2pm EDT! We celebrate “Gregory Crewdson: An Eclipse of Moths”—a new exhibition at Gagosian, Los Angeles—with author Malcolm Gladwell, film critic Elvis Mitchell, musician and author Jeff Tweedy, and the artist. While the episode is airing on Gagosian's YouTube channel, Crewdson will answer questions on YouTube LiveChat and present a signed and numbered limited-edition book, published by Aperture, with a personal inscription to one randomly selected viewer who participates in the conversation. To sign up for updates about Gagosian Premieres, visit gagosian.com/premieres via the link in our bio. __________ #GregoryCrewdson #Gagosian @crewdsonstudio @wilco @jefftweedy @theelvismitchell @malcolmgladwell @aperturefnd Artwork © Gregory Crewdson. Behind-the-scenes material © Crewdson Studio. Video: Little Dot Studios
#GagosianQuarterly: Urs Fischer’s solo exhibition "The Lyrical and the Prosaic" is on view at Aïshti Foundation, Beirut, through October 31. This exhibition brings together a selection of recent works by Fischer, which are shown alongside works by the artist from the Aïshti Collection and a series of new installations, paintings, and interventions. Evident everywhere in the exhibition is Fischer’s fascination with subversions of scale and with shifts from the monumental to the minuscule, and, as the show’s title suggests, from the sublime to the prosaic. In his introduction to the exhibition catalogue, curator Massimiliano Gioni traces the material and conceptual tensions that reverberate throughout Fischer’s work. Follow the link in our bio to read the text on "Gagosian Quarterly." __________ #UrsFischer #Gagosian #Repost: @aishtifoundation
#KatharinaGrosse: "The philosopher Leibniz had a theory of the so-called 'separatrix,' the 'between' two things that are contradictions. There’s always a line. On one side this is blue, and [on the other] this is red. In reality, red has embassies in the blue, and blue has embassies in the red. And Leibniz says fifty percent of this line, this structure 'between,' is order, and fifty percent is anarchy." —Alexander Kluge Gagosian is pleased to present "Separatrix," an exhibition of new paintings and works on paper by Katharina Grosse, opening October 31 at Gagosian, Rome. Coinciding with Grosse’s major installation "It Wasn’t Us," currently on view at Hamburger Bahnhof–Museum für Gegenwart, Berlin, this is her first solo exhibition in Rome. Grosse embraces the events that occur as she paints, opening up surfaces and spaces to chance. In massive in situ paintings—where she uses a spray gun to propel unmixed color over objects, rooms, buildings, and even entire landscapes—and autonomous works on canvas, paper
Following their February 2020 partnership, Sky High Farm and Dover Street Market are launching an ambitious yearlong project featuring merchandise collaborations across the industries of fashion, art, film, food, and design. For the first iteration, launching today, Sky High Farm founder Dan Colen has selected twelve independently minded brands allied by a shared sense of civic responsibility to create exclusive garments or accessories bearing the farm’s signature artwork—created by Joana Avillez—to be sold online at Dover Street Market’s New York and Los Angeles locations. Raising both funds and awareness, the collaboration will support Sky High Farm’s commitment to standing up against inequity in our food systems and to providing sustenance, nutrition, healing, and new opportunities for underserved communities. Follow the link in our bio for more. __________ #DanColen #SkyHighFarm @skyhighfarmhudsonvalley @doverstreetmarketnewyork @doverstreetmarketlosangeles @joanaavillez Photo: @quillemons
#MelekoMokgosi: There are just a few days left to see Meleko Mokgosi's new digital work on the Flannels flagship store at 161–167 Oxford Street in Soho, London. The project comprises an algorithmic sequence of image fragments and text panels from the artist's narrative paintings, digitally adapted to the full scale on a ten-minute loop across the building’s facade. Presented by W1 Curates, the outdoor installation coincides with Mokgosi’s solo exhibition, "Democratic Intuition," at Gagosian, Britannia Street, London. Follow the link in our bio to find out more, or to read Adrian Searle's dazzling review in "The Guardian." __________ #Gagosian #W1Curates #FlannelsLondon @w1curates @flannelsman @theguardian Meleko Mokgosi's work installed at Flannels, London. Artwork © Meleko Mokgosi. Photos: W1 Curates
"What is propitious is the number six. It has to do with my birth date: you get the propitious number by adding these other numbers together, and I was born on the fifteenth, so one plus five, that’s a six.” ーBrice Marden Happy birthday to Brice Marden, born on this day, October 15, in Bronxville, New York. Marden unites the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. In 1981, while summering on the island of Hydra, Marden began painting on small fragments of marble from local quarries. Since that time, Marden has continued to make marble paintings, describing his strategy of “taking an accident and turning it into form.” His exhibition “Marbles and Drawings,” is now on view at Gagosian, Athens, his first solo show in Greece in four decades. Follow the link in our bio to learn more. __________ #BriceMarden #Gagosian @planeimage Brice Marden in Hydra, Greece, 1990 © Brice Marden Stu
Today at 2pm EDT, tune in for a conversation between Stanley Whitney and author Matthew Jeffrey Abrams. In the context of Whitney’s current exhibition of recent paintings, on view at Gagosian, Rome, through October 17, the pair will discuss Abram’s new monograph on the artist and the diverse formative influences on the artist’s imagination. Follow the link in our bio to register. _________ #StanleyWhitney #Gagosian @stanley.whitney Stanley Whitney. Photo: EFE/Alamy
#LouiseBonnet: "The Hours," an exhibition of new oil paintings by Louise Bonnet, is now viewable exclusively through the storefront windows of Gagosian, Park & 75, New York, twenty-four hours a day. These paintings were inspired by medieval illuminated manuscripts such as the "Très Riches Heures du Duc de Berry,” the books of hours that functioned as time planners through the depiction of daily prayers and seasonal activities. However, rather than honest labors, Bonnet’s “Hours” foregrounds a series of impossibly distorted, ambiguously gendered figures engaged in nightmarish variations on mundane routines, such as eating and sleeping. Reflecting the nature of human experience during the crisis of the current pandemic, Bonnet’s figures, with their bloated extremities and faces devoid of features, are uncanny embodiments of emotional tension. Follow the link in our bio to read a recent conversation between the artist and Miranda July. __________ #Gagosian #GagosianQuarterly @louisebonnetstudio (1, 3) Install
#GregoryCrewdson: Work by Gregory Crewdson features in "Home: Live > In Room," on view at Whitechapel Gallery, London, through January 2021. Considering the ways in which lockdown has affected experiences of art and culture, Whitechapel Gallery’s youth forum, Duchamp & Sons, presents a virtually curated display featuring artworks drawn from the Hiscox Collection. Confined to their homes and communicating virtually, the youth collective asked, “How do we imagine a space where we have spent so much time over the past months? What does it mean to curate an exhibition from our kitchens and bedrooms, with our laptops and screens?” The selected artworks transport us to faraway destinations or compel us to look closer to home. Crewdson's "An Eclipse of Moths" is on view at Gagosian, Beverly Hills, through November 21. Follow the links in our bio to learn more about the exhibitions. __________ #Gagosian @crewdsonstudio @whitechapelgallery Gregory Crewdson, "Untitled," 2004, digital pigment print, image: 57 × 88 inc
#NathanielMaryQuinn: New works by Nathaniel Mary Quinn are now on view on the Gagosian website and in the Frieze Viewing Room for the online edition of Frieze London. Quinn’s “enhanced performance drawings” are created simultaneously with both hands and “enhanced” with colorful swipes and swaths of gouache and soft pastels. For the ambidextrous Quinn, the technique behind these works is a full-body performance in itself that expands upon his already spontaneous act of rendering visions—yet the end result is surprisingly representational. Depicting complete faces rather than patchwork body parts, these haunting portraits slip in and out of focus through a murky haze of black charcoal. Drawing is a foundational aspect of Quinn’s practice; raw, visceral, and intimately scaled, his works on paper inform the affective power and compositional rhythm of his larger paintings. In addition, a presentation of paintings and a large-scale work on paper by Quinn is concurrently on view at Gagosian, Davies Street, London,
Today at 12pm EDT, Jeff Wall will speak with Nicholas Cullinan, the director of the National Portrait Gallery, London, as part of Frieze Talks, a program where artists, writers, and scholars partake in informal, wide-ranging conversations with their peers. The pair will discuss the artist’s practice. Follow the link in our bio to register. __________ #JeffWall #Gagosian #FriezeArtFair #FriezeLondon #FriezeTalks @nicholascullinan Jeff Wall. Photo: James O’Mara
#DesertPainters: "Desert Painters of Australia: Two Generations" is now on view at Gagosian, Hong Kong, through November 7. It is the third in a series of critically acclaimed exhibitions presented by the gallery, following New York and Los Angeles in 2019. Organized in collaboration with D’Lan Davidson, a leading Melbourne-based consultant in the Indigenous Australian art market, this exhibition is designed to introduce the local audience for the first time to rare works by some of Australia’s most renowned Indigenous artists from remote regions of the continent. The intergenerational selection includes the late Emily Kame Kngwarreye, Makinti Napanangka, and Bill “Whiskey” Tjapaltjarri, and living artists such as Yukultji Napangati, George Tjungurrayi, and Warlimpirrnga Tjapaltjarri. Follow the link in our bio to learn more. _________ #Gagosian Installation views, "Desert Painters of Australia: Two Generations," Gagosian, Hong Kong, September 24–November 7, 2020. (1) Artwork, left to right: © Emily Kame Kng
#GagosianQuarterly: "What I did get to see was what it’s like to be someone important, because that person wasn’t me at all." —Allen Midgette In a new piece for "Gagosian Quarterly," Raymond Foye speaks with the actor who impersonated Andy Warhol during the great Warhol lecture hoax in the late 1960s. The two also discuss Midgette’s earlier film career in Italy and the difficulty of performing in a Warhol film. Follow the link in our bio to read the article. __________ #AndyWarhol #AllenMidgette #Gagosian Allen Midgette in front of the Chelsea Hotel, New York, 2000. Photo: Rita Barros
Today at 12pm EDT, a prerecorded conversation between Takashi Murakami and Tobias Berger, head of art at Tai Kwun Contemporary in Hong Kong, will be released as part of Frieze Talks. The pair discuss the artist’s practice and personal art collection, as well as his thoughts on communicating art and the power of collaboration. Follow the link in our bio to watch. __________ #TakashiMurakami #Gagosian #FriezeArtFair #FriezeLondon #FriezeTalks @takashipom Takashi Murakami. Photo: Ricardo Miyada
#GerhardRichter: “I am delighted to have the opportunity to show Gerhard Richter’s extraordinary ‘Cage’ paintings in Los Angeles and New York. Richter, like John Cage himself, has changed the history of art and has had such an enormous influence on subsequent generations of artists. To present this important series alongside new drawings is a great honor for me.” —Larry Gagosian Gagosian is pleased to present Gerhard Richter’s "Cage" paintings (2006) in Los Angeles and New York. 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 earlier this 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 read more about the exhibition in the "Financial Times." __________ #Gagosian @mgerlis @financialtimes Gerhard Richter; (1) "Cage (1)," 20
#FromTheLibrary: “Brice Marden” is available for online reading through November 9 as part of the From the Library series. This catalogue was published on the occasion of the artist’s 2017 exhibition at Gagosian, Grosvenor Hill, London, and focuses on Marden’s terre verte paintings. For the series of ten identically sized paintings measuring eight by six feet, he has employed ten different brands of terre verte oil paint—from his favored Williamsburg to Holbein and Sennelier, among others—each a variation on the indefinable hue. The slow-drying paint is thinned and applied gradually to the canvas in many successive veils, building a surface of transparent yet intense color. New texts by Paul Hills and Noah Dillon, and a conversation between Marden, Gary Hume, and Tim Marlow examine this new body of work from multiple perspectives. For our series #FromTheLibrary, we're making Gagosian titles available online. Keep an eye out for upcoming posts. __________ #BriceMarden #Gagosian “Brice Marden” (London: Gago
“The object of art is not to reproduce reality, but to create a reality of the same intensity.” ーAlberto Giacometti Happy birthday to Alberto Giacometti, born on this day, October 10, in Borgonovo, Switzerland. In drawing, painting, and sculpture, Giacometti’s works perceive the grace in form’s most minimal, reducing his subjects to the truth of what they embody. Over the course of his lifetime, against the shifting backdrop of two world wars, and closely involved with the poets, writers, and philosophers of his generation, Giacometti’s figures evolved from Post-Cubism to Surrealism to postwar realism, opening into themes of light and darkness, destruction, and truth. In “L’Homme Qui Marche: Une icône de l’art du XXè siècle,” currently on view at the Institut Giacometti in Paris, all the life-size models of Giacometti’s most famous work, “The Walking Man,” are gathered together in the same exhibition for the first time. Follow the link in our bio to learn more. __________ #AlbertoGiacometti #Gagosian @fond
#LouiseBonnet: "I often refer to movies in my head, and they are probably how I learned to understand the world. As a child in cloistered Geneva, I did not have a TV and we rarely went to the movies . . . If you grow up without that kind of window on the world outside, when it comes in, it’s revelatory." —Louise Bonnet In our Shortlist series, we invite artists and writers to tell us about works of art, literature, film, or music that have influenced their work or are at the forefront of their minds today. For this installment, Los Angeles painter Louise Bonnet reminisces about the films that influenced her development as an artist. Follow the link in our bio to read the article on "Gagosian Quarterly." __________ #Gagosian #GagosianQuarterly @louisebonnetstudio (1) Still from "Vertigo" (1958), directed by Alfred Hitchcock. Photo: Paramount Pictures/Ronald Grant Archive/Alamy Stock Photo; (2) Still from "Vagabond" (1985), directed by Agnès Varda. Photo: Moviestore Collection Ltd/Alamy Stock Photo; (3) Spike
#TheasterGates: "I always find myself returning to the vessel. It is part of the intellectual life force of my practice and precedes all other forms of making." —Theaster Gates Today we celebrate the reopening of our 24th Street galleries after seven months of closure with "Theaster Gates: Black Vessel." This is Gates's first-ever solo exhibition in New York. More than two years in the making, it occupies every gallery, the largest of which is a radically elegant architectural transformation for which the exhibition itself is named. Gates brings together intensively developed new bodies of work in clay, tar, brick, and sound with two key library works previously seen only in museums, the elegiac "Walking Prayer" and the towering "New Egypt Sanctuary for the Holy Word and Image," which chronicle and celebrate Black life. In the interests of public health, advance appointments are required. To schedule an appointment, follow the link in our bio to visit gagosian.com. __________ #Gagosian @theastergates Thea
#TitusKaphar: An exhibition of new paintings by Titus Kaphar, is on view at Gagosian, West 21st Street, New York, through December 19. This is Kaphar’s first exhibition with the gallery and inaugurates his representation. In "From a Tropical Space," Kaphar presents a haunting narrative of Black motherhood wherein collective fear and trauma crescendo in the disappearance of children, literalized through the physical excision of their images from the canvases themselves. The absence of each juvenile figure—whether seated in a stroller or held in a woman’s arms—reveals only the blank gallery wall beneath. The intense coloration of the suburban environments in which the figures are set only heightens a pervasive tension—these are images for uncertain times. Follow the link in our bio to learn more or to schedule an appointment. __________ #Gagosian @__nxthvn__ Installation views, "Titus Kaphar: From a Tropical Space," Gagosian, West 21st Street, New York, October 1–December 19, 2020. Artwork © Titus Kaphar. Phot
#StanleyWhitney: There is just one week left to visit Gagosian, Rome, see Stanley Whitney's new paintings, produced both in New York and in the artist’s studio near Parma, Italy. Whitney’s vibrant abstract paintings unlock the linear structure of the grid, imbuing it with new and unexpected cadences of color, rhythm, and space. Deriving inspiration from sources as diverse as Piet Mondrian, free jazz, and American quilt making, Whitney composes with blocks and bars that articulate a chromatic call-and-response within the bounds of each canvas. Follow the link in our bio to learn more about the exhibition. __________ #Gagosian @stanley.whitney Stanley Whitney; “Stay Song 69," 2020. Artwork © Stanley Whitney. Photos: Rob McKeever
#BustesdeFemmes: "Bustes de Femmes: Paris 10th Anniversary Exhibition" opens today at Gagosian, Paris. Spanning a breadth of stylistic and conceptual approaches, the paintings, sculptures, and photographs on view demonstrate how the female figure has been reimagined and reconfigured by modern and contemporary artists of diverse backgrounds and traditions. Expanding upon the theme and format of the gallery’s first booth at FIAC, in 2010, "Bustes de Femmes" is presented in environments both real and virtual designed by India Mahdavi, an architect known for her vibrant interiors that combine free forms with unexpected bursts of color. Follow the link in our bio to learn more about the exhibition. __________ #UrsFischer #Gagosian @indiamahdavi Urs Fischer, "Parade," 2020 © Urs Fischer
#GagosianPremieres: Live now at gagosian.com/premieres! We celebrate “Mary Weatherford: Train Yards”—a new exhibition at Gagosian, London—with the first episode of Gagosian Premieres, featuring an exclusive performance by Thurston Moore inside the gallery and a conversation between Mary Weatherford and Hunter Drohojowska-Philp in the artist’s Los Angeles studio.  Best known as one of the founders of the alternative rock band Sonic Youth, Moore will translate the American folk and blues music that inspired the Train Yard paintings in a special performance including a new composition. Critic and journalist Drohojowska-Philp will speak with Weatherford about the influence and wide-ranging effects the transcontinental railroad had on American histories, her process and approach to the “Train Yard” series, and the challenges of trying to paint an experience. __________ #MaryWeatherford #Gagosian @maryweatherford @thurstonmoore58 @hunterdphilp Artwork © Mary Weatherford. Video: Little Dot Studios
#JayDeFeo: Work by Jay DeFeo is presented on 8-bridges, a newly launched online platform created to highlight artists and galleries in the San Francisco Bay Area. Honoring the rich history of the Bay Area art scene, the inaugural presentation features selected works from the exhibition "Transcending Definition: Jay DeFeo in the 1970s," on view at Gagosian, San Francisco, through December 11. DeFeo spent most of her life in the San Francisco Bay Area and remains an influential figure in the region. The 8-bridges presentation focuses on the artist’s output in the decade following the completion of her pivotal work "The Rose" (1958–66), when she was based in Marin County, just north of San Francisco. Follow the link in our bio to view the works or to learn more about the exhibition. __________ #Gagosian @8bridges_galleries @jaydefeofoundation (1, 2) Jay DeFeo, "Untitled," c. 1975; (3, 4) Jay DeFeo, “Untitled," 1971; (5, 6) Jay DeFeo, “Untitled" ("Jewelry" series), 1977. Artwork © 2020 The Jay DeFeo Foundation/A
#NathanielMaryQuinn: "I try to find ways to articulate visually that which is often unseen." —Nathaniel Mary Quinn Gagosian is presenting new works by Nathaniel Mary Quinn for the online edition of Frieze London. A suite of drawings by Quinn are now featured on the Gagosian website and in the Frieze Viewing Room. In addition, a selection of paintings and a large-scale work on paper are on view at Gagosian, Davies Street, London. With its wide plate glass window, this storefront exhibition space will act as the artist’s “solo booth” for Frieze London. In a piece for "Gagosian Quarterly," Anderson Cooper speaks with the artist at his Brooklyn studio about his childhood and the visionary nature of his art. Follow the link in our bio to read the article or to view the works. __________ #Gagosian #GagosianQuarterly #FriezeArtFair #FriezeLondon #FriezeViewingRoom @nathanielmaryquinn Nathaniel Mary Quinn. Photo: @edeani
#RudolfPolanszky: "Hypotetic," an exhibition of new and recent paintings and sculptures by Rudolf Polanszky, is on view at Gagosian, Basel, through November 28. In this exhibition, Polanszky continues to evolve the series "Reconstructions" (1991–) by introducing copper foil into his material repertoire. Interspersed between fields of white corrugated cardboard and silvery aluminum, these gently creased, gleaming metal sheets add an entirely new tonal and textural dimension to the surface of each painting. Also on view are sculptures where Polanszky translates the rough-hewn edges of these repurposed materials into three dimensions. In two large freestanding sculptures, he shapes segments of flexible ribbed aluminum tubing into gently curving forms, while in a suite of smaller tabletop works, he deftly manipulates angular strips of metal and acrylic glass into dynamic abstractions. Follow the link in our bio to learn more. __________ #Gagosian Installation views, "Rudolf Polanszky: Hypotetic," Gagosian, Basel
#GagosianPremieres: Tune in for the first episode of Gagosian Premieres tomorrow, October 9, at 5pm EDT! We celebrate “Mary Weatherford: Train Yards”—a new exhibition at Gagosian, London—with an exclusive performance by Thurston Moore inside the gallery and a conversation between Mary Weatherford and Hunter Drohojowska-Philp in the artist’s Los Angeles studio.  To sign up for updates about Gagosian Premieres, visit gagosian.com/premieres via the link in our bio. __________ #MaryWeatherford #Gagosian @maryweatherford @thurstonmoore58 @hunterdphilp Artwork © Mary Weatherford. Video: Little Dot Studios
#GregoryCrewdson: "Ninety-nine percent of all of us experience photographs through social media. It’s an interesting challenge to maintain the idea that a photograph—physical, on a wall—has a prominence and a permanence unlike how we experience almost all of our pictures, today . . . The challenge is to make pictures that mean something." —Gregory Crewdson Gregory Crewdson's "An Eclipse of Moths" is on view at Gagosian, Beverly Hills, through November 21. In a new piece for "Vanity Fair," the artist speaks with Cate Blanchett about capturing a movie’s worth of storytelling in every image. Follow the link in our bio to read the article. __________ #Gagosian @crewdsonstudio @vanityfair Gregory Crewdson, "Cherry Street," 2018-19, digital pigment print, image: 56 1/4 × 94 7/8 inches (142.9 × 241cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm) © Gregory Crewdson
#GerhardRichter: “I am very happy that finally the 'Cage' paintings will be shown in Los Angeles and in New York in Larry Gagosian’s galleries, after all. And I thought adding eight recent drawings would make sense.” —Gerhard Richter Gagosian is pleased to present Gerhard Richter’s "Cage" paintings (2006) in Los Angeles and New York. 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 earlier this 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 read more about the exhibition in the "Financial Times." __________ #Gagosian @mgerlis @financialtimes Gerhard Richter working on one of his "Cage" paintings, Cologne, Germany, 2006. Artwork © Gerhard Richter 2020 (05102020). Photo: © Hubert Becker
Damien Hirst's "End of a Century" opened yesterday at Newport Street Gallery, London. This exhibition features over fifty early works by Hirst, spanning his formative years as a student in the 1980s through the 1990s, when he became one of Britain’s leading contemporary artists. Featuring installations, sculpture, and paintings, some of which have not been seen before, the exhibition surveys a selection of the artist's most iconic series. Follow the link in our bio to learn more. __________ #DamienHirst #Gagosian @damienhirst @newportstreetgallery_london Installation views, "End of a Century," Newport Street Gallery, London, October 7, 2020–March 7, 2021. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photos: Prudence Cuming Associates
#NathanielMaryQuinn: Gagosian is pleased to present new works by Nathaniel Mary Quinn for the online edition of Frieze London. The works are now on view on the Gagosian website and in the Frieze Viewing Room. Quinn’s “enhanced performance drawings” are created simultaneously with both hands and “enhanced” with colorful swipes and swaths of gouache and soft pastels. For the ambidextrous Quinn, the technique behind these works is a full-body performance in itself that expands upon his already spontaneous act of rendering visions—yet the end result is surprisingly representational. Depicting complete faces rather than patchwork body parts, these haunting portraits slip in and out of focus through a murky haze of black charcoal. Drawing is a foundational aspect of Quinn’s practice; raw, visceral, and intimately scaled, his works on paper inform the affective power and compositional rhythm of his larger paintings. In addition, a presentation of paintings and a large-scale work on paper by Quinn is concurrently o