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“Think of Them as Spaces: Brice Marden’s Drawings” opens today at the Menil Collection in Houston. The exhibition is an exploration of Brice Marden’s draftsmanship and of the catalytic role the medium plays within his practice. The show presents six series of drawings that span nearly the entirety of Marden’s ongoing career, highlighting the processes of invention and permutation that occur as he works and thinks on paper. On the ocassion of the opening, Marden will discuss his drawing practice with curator Kelly Montana tonight at 7pm. The event is free and open to the public. Find out more via the link in our bio. __________ #BriceMarden #MenilDrawingInstitute #Gagosian @menilcollection (1) Brice Marden, "15 × 15 10," 2015–17 (detail); (2) Brice Marden, "15 × 15 10," 2015–17 © 2020 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson
#DavidReed: Tomorrow is the last chance to visit "David Reed: New Paintings" at Gagosian, 980 Madison Avenue, New York. This is David Reed's first exhibition of new work with the gallery, following a 2017 presentation of mid-1970s paintings in "Painting Paintings (David Reed) 1975." The works in this exhibition, with their outsize dimensions, intentionally maximize the fifth- and sixth-floor gallery spaces at 980 Madison Avenue. The works are painted in either intense, otherworldly colors or primarily blacks and grays. Their graphic and glazed foundations are built up, and carved into, using a variety of seemingly spontaneous—though sometimes highly manipulated—painterly gestures, in layers of transparent paint that create a visual tension with the underlying structure. Find out more via the link in our bio. __________ #Gagosian (1) David Reed, "#715 (For Beccafumi—His Fall of the Rebel Angels)," 2017–19 (detail) © 2020 David Reed/Artists Rights Society (ARS), New York. Photo: Rob McKeever; (2) Installation
#AmericanPastoral: Join us for a tour of “American Pastoral,” at Gagosian, Britannia Street, London, on Thursday, March 5, at 6:30pm The group show juxtaposes modern and contemporary works with historical American landscapes ranging from Albert Bierstadt’s depiction of the sublime in “Sunset over the River” (1877) to Edward Hopper’s tranquil seaside scene, “Gloucester Harbor” (1926). Gagosian’s Alice Godwin will focus on a select grouping of exhibited works that seek to challenge the idealized vision of the American Dream that has long been a rich topic of inquiry for artists in the United States. To attend the free event, RSVP to londontours@gagosian.com. Learn more via the link in our bio. __________ #Gagosian Installation view, “American Pastoral,” Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins
#GagosianQuarterly: Inspired by a visit to the Fondation Louis Vuitton’s exhibition "Charlotte Perriand: Inventing a New World," William Middleton explores the life of this modernist pioneer and her impact on the worlds of design, art, and architecture. The show pays tribute to Perriand as an architect and a visionary, and marks the twentieth anniversary of her death. Visit the exhibition before it closes next Monday. Follow the link in our bio to read the feature on “Gagosian Quarterly.” __________ #Gagosian #CharlottePerriand @fondationlv Charlotte Perriand in the "Chaise longue basculante," B306 (1928, Le Corbusier, P. Jeanneret, C. Perriand) © F.L.C./ADAGP, Paris 2019; © ADAGP, Paris 2019; © Archives Charlotte Perriand
Work by Brice Marden and David Reed is currently on view in “Marking Time: Process in Minimal Abstraction” at the Guggenheim Museum, New York, through August 2. During the 1960s and 1970s, many artists working with abstraction rid their styles of compositional, chromatic, and virtuosic flourishes. As some turned toward such minimal approaches, a singular emphasis on their interaction with materials emerged. The resulting pieces invite viewers to imaginatively reenact aspects of the creative process. Featuring paintings and works on paper, “Marking Time” explores how drawing attention to the creative process fosters a distinctively empathetic mode of engagement. Learn more via the link in our bio. __________ #BriceMarden #DavidReed #Gagosian #Guggenheim @guggenheim Installation view, “Marking Time: Process in Minimal Abstraction,” Solomon R. Guggenheim Museum, New York, December 18, 2019–August 2, 2020. Artwork, left to right: © 2020 David Reed/Artists Rights Society (ARS), New York; © Park Seo-Bo; © Chryss
“Steven Parrino: Nihilism Is Love” opens tomorrow at the Kunstmuseum Liechtenstein in Vaduz. This exhibition is the first comprehensive retrospective of Parrino’s work in the German-speaking world. The presentation includes early drawings and collages and several installations, and is accompanied by photographs of his concerts and videos. Learn more via the link in our bio. __________ #StevenParrino #Gagosian @kunstmuseum_liechtenstein Steven Parrino, “Candy Stevens (Pink Disaster),” 1988, Kunstmuseum Liechtenstein, Vaduz © Steven Parrino
Work by Douglas Gordon is on view in “Time Machine: To See and to Experiment the Time,” now open at Palazzo del Governatore in Parma, Italy. The exhibition is a reflection on how cinema and other media based on moving images have transformed our perception of time throughout history. Learn more via the link in our bio. __________ #DouglasGordon #Gagosian @parma2020official Douglas Gordon, “24 Hour Psycho,” 1993 © Studio lost but found/VG Bild-Kunst, Bonn 2020. Photo: Bert Ross. “Psycho” (1960), USA. Directed and Produced by Alfred Hitchcock. Distributed by Paramount Pictures. © Universal City Studios
#GagosianViewingRoom: “#721 (For Hitchcock and del Sarto),” a new painting by David Reed, features in Gagosian’s Frieze Los Angeles Online Viewing Room, which closes in less than 12 hours. Since the outset of his career, Reed’s central preoccupation has been to challenge and reinvent how to make a painting. Consistently, his paintings present a compelling tension between the gestural and the impersonal; in recent times this has been characterized by fluid, torquing, extended marks that reveal the viscosity of paint and the speed of color and light in a flattened manner that looks photographic or filmic. In “#721 (For Hitchcock and del Sarto),” Reed began by painting multiple strips in a gradient of tonal hues that shift from medium pink to deep red from left to right across the canvas. On top of this, he built up the surface with sweeping gestural marks in layers of lilac pink and cobalt turquoise. Reed’s palette in “#721” is far from incidental. It is informed by both “cangiante,” the Renaissance technique
On Saturday, March 7, Gagosian will host a conversation on Piero Manzoni with Urs Fischer and curator Francesco Bonami at Greene Space, New York, from 5 to 7pm. The talk celebrates the English-language release of Flaminio Gualdoni’s biography of the iconic Italian Conceptual artist, published by the gallery. Manzoni’s brief career was one of the most radically inventive of the twentieth century, producing a body of work that continues to challenge definitions of artistic sovereignty and virtuosity. To attend the free event, RSVP to nytalks@gagosian.com. Find out more via the link in our bio. __________ #PieroManzoni #UrsFischer #FrancescoBonami #Gagosian #TheGreeneSpace @greenespacenyc (1) Piero Manzoni preparing an "Uovo scultura" ("Egg Sculpture") for Filmgiornale Sedi, Milan, 1960; (2) Piero Manzoni devours an “edible sculpture,” Copenhagen, 1960. Artwork © 2019 Fondazione Piero Manzoni, Milan/Artists Rights Society (ARS), New York/SIAE, Rome. Photos: © Giuseppe Bellone, courtesy Fondazione Piero Manzoni
Gagosian is pleased to announce that it has joined forces with Acquavella Galleries and Pace Gallery to handle the sale of the Donald B. Marron Family Collection. The collaboration will pay homage to Don Marron’s (1934–2019) legacy as one of the twentieth and twenty-first centuries' most passionate and erudite collectors, a pioneer of corporate collections, a family man, and a dedicated philanthropist. In May 2020, the three galleries will organize a joint exhibition in New York to showcase the breadth of the Marron Family Collection. The exhibition will chronicle Marron’s collecting activities, including his work as a young collector in the 1960s and 1970s, as a museum steward, and as a pioneer in reinventing how corporations build art collections around a singular vision. Marron enjoyed long personal relationships with Bill Acquavella, Larry Gagosian, and Arne Glimcher, who each contributed to shaping this significant collection over the course of several decades. The collaboration between the three galle
Work by Roe Ethridge is included in “New Visions: The Henie Onstad Triennial for Photography and New Media,” opening this Friday at the Henie Onstad Kunstsenter in Høvikodden, Norway. An exhibition of photographs by Ethridge spanning the past twenty years, titled "Old Fruit," opens at Gagosian, 976 Madison Avenue, New York, next Wednesday, 6–8pm. The show focuses primarily on his output from the early 2000s, offering a valuable chance to revisit many highly regarded and widely reproduced images that embody new ways of understanding the medium of photography in the context of emergent technological and social currents. Learn more via the link in our bio. __________ #RoeEthridge #HenieOnstad #Gagosian @henieonstad @roeethridge Roe Ethridge, “Cat with Yarn Ball,” 2017 © Roe Ethridge
#DuinoElegies: "For beauty is nothing but the beginning of terror, that we are still able to bear, and we revere it so, because it calmly disdains to destroy us." —Rainer Maria Rilke Gagosian, 980 Madison Avenue, New York is pleased to present "Duino Elegies," a group exhibition that traces the resonance of Rainer Maria Rilke’s poetry through artworks spanning the past 150 years. The show opens on Thursday, March 5, 6–8pm. In 1912, Rilke was invited to stay at Duino Castle—a fortress just north of Trieste, Italy. There, while standing atop a cliff overlooking the Adriatic Sea, he claimed to hear the following line: “Who, if I cried out, would hear me among the Angelic Orders?” Rilke eventually used these words to open the "Duino Elegies," a 1923 collection of ten intensely religious metaphysical poems. Forging a direct, powerful connection to the "Elegies," Cy Twombly’s painting "Duino" (1967) marries the artist’s geometric investigations with his consistent interest in literature. In addition to Twombly,
#RichardPrince: Visit Gagosian, Beverly Hills, to see an exhibition of new works by Richard Prince, currently on view through March 21. This exhibition presents works from Prince’s “New Portraits” series. Since the 1970s Prince has redefined the concepts of authorship and ownership, transforming images from mass media, advertising, and popular culture. Learn more via the link in our bio. __________ #Gagosian Installation views, “Richard Prince: New Portraits,” Gagosian, Beverly Hills, February 6–March 21, 2020. Photos: Jeff McLane
#GagosianViewingRoom: “Silicon Valley,” a monumental 2016 painting by Alex Israel and Bret Easton Ellis, features in Gagosian’s current Online Viewing Room, now open through February 19. For Israel and Easton Ellis, the star of their collaborative paintings is their shared hometown―Los Angeles, where the pair met in the late 2000s. After speaking with Israel for “Purple” magazine, Ellis went on to be featured in Israel’s deadpan web series interviewing prominent Angelenos, “AS IT LAYS” (2011–12). United by their shared memories of and connection to the city, the two then began collaborating on a series of works. In these large-scale paintings, stock-photographic views of Los Angeles, selected for maximum impact and purchased online by Israel, are overlaid with Ellis’s evocative writings, whittled down from longer narratives to just a few lines, each a distinct vignette but with a shared mood. The paintings speak to a rich cultural tradition of combining words and images by local artists such as Ed Ruscha an
#ManRay: Join us for a tour of "Man Ray: The Mysteries of Château du Dé," an exhibition focusing on Man Ray’s films of the 1920s, on view at Gagosian, San Francisco, through February 29. The event takes place on Saturday, February 22, at 3pm. Gagosian’s Graham Dalik will discuss the multidisciplinary artist’s foray into filmmaking during this period, as well as the interrelationships between the films, objects, drawings, and photographs on view. To attend the free event, RSVP to sftours@gagosian.com. Space is limited! __________ #Gagosian Installation views, “Man Ray: The Mysteries of Château du Dé,” Gagosian, San Francisco, January 14–February 29, 2020. Artworks © May Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris 2019. Photos: Johnna Arnold, Impart Photography
#RoeEthridge: "It’s more about harmony and disharmony than making meaning or illustrating a thesis. It’s synesthesia. It’s a feeling. It’s a sound. It’s a vibration." —Roe Ethridge Gagosian, 976 Madison Avenue, New York, is pleased to present “Old Fruit,” an exhibition of photographs by Roe Ethridge spanning the past twenty years, opening Wednesday, February 26, 6–8pm. This is the artist's first solo exhibition with the gallery in New York, following exhibitions in Beverly Hills, Hong Kong, and San Francisco. Since the turn of the century, Ethridge has exercised a significant influence over young artists in particular, yet opportunities to see groupings of his early work have been rare. “Old Fruit,” which focuses primarily on his output from the early 2000s, offers a valuable chance to revisit many highly regarded and widely reproduced images that embody new ways of understanding the medium of photography in the context of emergent technological and social currents. Learn more via the link in our bio. ____
Y.Z. Kami will sign copies of his new monograph on Tuesday, February 25, 6–8pm, at Gagsoian, Paris. Copublished by Skira and Gagosian, “Y.Z. Kami: Works 1985–2018” presents more than three hundred of Kami’s artworks in color, from his early figure studies and photographic works to his portraits, “Dome” paintings, sculpture, and works on paper. The publication features essays by curator and critic Robert Storr, “Guardian” art critic Laura Cumming, and curator Elena Geuna. To attend the free event, RSVP to kamirsvp@gagosian.com. Visit the link in our bio to learn more. __________ #YZKami #Gagosian @skiraeditore Y.Z. Kami’s studio, c. 2018. Artwork © Y.Z. Kami. Photo: Rob McKeever
#GagosianViewingRoom: ”Montreuil,” a new large-scale drawing by Tatiana Trouvé, features in Gagosian’s current Online Viewing Room, now open through February 19. Trouvé’s drawings are made up of visual fragments from the studio, the surrounding urban environment, or her personal archive of found and original images. She projects these disparate object-moments onto the picture plane and captures them there in graphite, resurrecting the intangible spaces of thought and memory alongside references to so-called reality. Her most recent series of drawings, “The Great Atlas of Disorientation,” continues this process. This ink-and-graphite drawing on pale yellow-gray paper, “Montreuil” (2019), is from the “Great Atlas” series. Included in Trouvé’s recent exhibition at Gagosian, Beverly Hills, it was displayed in a metal armature along with other new works. Trouvé’s sculptures and drawings often fool the viewer through their uncanny ability to capture the appearance of soft materials in stone, or the hardness of m
On February 20 and March 5, Gagosian and Yale University will host screenings of Richard Serra’s films and videos at the university's Whitney Humanities Center. These works are drawn from the collections of the Museum of Modern Art, New York; Anthology Film Archives, New York; and the artist Joan Jonas. Chrissie Iles, curator at the Whitney Museum of American Art in New York, will introduce the presentation on February 20, which will be followed by a post-screening discussion between Iles and Joanna Fiduccia from Yale’s Department of the History of Art. Both events begin at 7pm. They are free and open to the public. The program was organized in collaboration with Gagosian and Yale University’s Film & Media Studies Program, Department of the History of Art, School of Art, and Films at the Whitney supported by Barbakow Fund for Innovative Film Programs at Yale.  __________ #RichardSerra #AnthologyFilmArchives #Gagosian @yale @themuseumofmodernart @anthologyfilmarchives Richard Serra and Clara Weyergraf, “Stee
Jonas Wood has collaborated with RxART to create unique and playful privacy curtains for the pediatric intensive care unit at the Children’s National Hospital in Washington, DC. Wood based the design on his ongoing "Facetime Doodle" series, which is inspired by drawings made by his own children. RxART is a nonprofit organization whose mission is to help children heal through the power of visual art, commissioning contemporary artists to transform sterile healthcare facilities into engaging and inspiring environments. __________ #JonasWood #RxARTProjects @jonasbrwood @rxart Artwork © Jonas Wood. Photo: Sean Shanahan Photography
Work by Taryn Simon is on view in “Measure Your Existence,” now open at the Rubin Museum of Art in New York. The group exhibition questions and expands the Buddhist concept of impermanence through artworks by six contemporary artists who explore duration, survival, memory, fate, history, loss, disappearance, and reappearance. Learn more via the link in our bio. __________ #TarynSimon #Gagosian #RubinMuseum @rubinmuseum Installation view, “Measure Your Existence,” Rubin Museum of Art, New York, February 7–August 10, 2020. Photo: Jason Wyche, courtesy Rubin Museum of Art
Albert Oehlen and Jens-Uwe Beyer have created a limited-edition collaborative album, “Yellow Book.” Join us for the London launch this Wednesday, 5–11pm, hosted by Iklectik. The event will include music from the album and visuals by Oehlen. The eight vinyl records of Beyer’s atmospheric, melodic tech-house music are stored in full cover sleeves inside a slipcase, each featuring silkscreened artwork by Oehlen. To attend the free event, register at www.tickettailor.com. Visit the link in our bio to learn more. __________ #AlbertOehlen #JensUweBeyer #Gagosian @iklectikartlab Jens-Uwe Beyer and Albert Oehlen’s collaborative album, "Yellow Book" (2019)
#FriezeArtFair: One of John Chamberlain’s distinctive metal sculptures, “Anteambulo Quincunx,” is currently on view in Gagosian’s booth at Frieze Los Angeles. The presentation, titled “How to Shrink L.A.,” explores the transformation of car culture from a metaphor for freedom and possibility to a symbol of violence and stagnation. This 1992 work was created from contorted and intertwined strips of steel, sourced from salvaged cars and trucks. Using an instinctual process akin to those of the Abstract Expressionists, Chamberlain fitted the twisted metal parts together, discovering a harmony between their fragments. To receive a PDF with detailed information on this work or others in the booth, please contact the gallery at inquire@gagosian.com or via direct message. __________ #JohnChamberlain #FriezeLA #Gagosian @friezeartfair (1) Installation view, “Frieze Los Angeles 2020: How to Shrink L.A.,” booth C06, Paramount Picture Studios, Los Angeles, February 14–16, 2020. All artworks copyrighted. Photo: Sebasti
#GagosianViewingRoom: Chris Ofili’s “Rara and Mala” features in Gagosian’s current Online Viewing Room, which presents artwork to collectors around the world for Frieze Los Angeles. The 1994 painting exemplifies the iconic patterning and inventive use of media upon which Ofili built his oeuvre. Exuberantly colored layers of gestural brushstrokes, meandering lines, and luminous dots produce an energized atmosphere that is at once flora-filled and abstract. Two shellacked spheres of elephant dung are affixed to the lower left corner of the composition, giving it weight and depth. Instead of hanging from a wall, the canvas rests atop two additional balls of shellacked dung, grounding it in the viewer’s space. A testament to Ofili’s wide-ranging references, in its formal and material qualities, “Rara and Mala” simultaneously evokes contemporary Indigenous Australian art by practitioners such as Bill Whiskey Tjapaltjarri and iconoclastic gestures by Conceptualists such as Piero Manzoni. The work—ostensibly titl
#FriezeArtFair: Work by Robert Therrien is currently featured in Gagosian's presentation "How to Shrink L.A." at Frieze Los Angeles. Often finding beauty in elements from the everyday, Therrien started noticing the sidewalks around his first studio in Los Angeles. "There were certain sidewalks that seemed special for some reason," the artist explained, "or to me became significant." The artist became intrigued with the concept of displacing those sidewalks and displaying them indoors—leading him to create "No title (sidewalk)" (2011). In preparation, Therrien studied sidewalks in depth—from their production to the minute differences that distinguished each one. Nothing if not precise, the artist spent months searching for dirt that had the color and consistency that he considered perfect. To receive a PDF with detailed information on this work or others in the booth, please contact the gallery at inquire@gagosian.com or via direct message. __________ #RobertTherrien #FriezeArtFair #Gagosian @friezeartfair
#JenniferGuidi: "Colors charge us externally and internally. I translate these colors into works every day. On an intuitive level, I am guided by the colors in nature." —Jennifer Guidi Gagosian is pleased to present "Gemini," an exhibition of new paintings by Jennifer Guidi at Gagosian, West 24th Street, New York, opening February 28. This is her first exhibition with Gagosian in New York, following a 2018 exhibition, "Heliocentric," at the gallery’s Hong Kong location. Guidi’s radiant, mandala-like paintings are characterized by patterns and subtle textural and chromatic shifts, forging a connection with Minimalism while evoking metaphysical themes that transcend Western traditions. In "Gemini"—named for her own astrological sign—Guidi explores dualities: light and darkness, abstraction and figuration, science and mysticism. Find out more via the link in our bio. __________ #Gagosian @jenguidi Jennifer Guidi, "My Thoughts Emerge from a Mingling of Light and Darkness (Crown)," 2019 (detail), sand, acrylic
#FriezeArtFair: Adam McEwen’s 2019 piece, “Sudden Vision,” is currently on view in Gagosian’s booth at Frieze Los Angeles. This new work combines McEwen’s series of inkjet prints on cellulose sponge with his sculptural graphite works. Here a life-size graphite drum cymbal is fixed to the surface of an image of a tunnel, which has been turned on its side. Titled “How to Shrink L.A.,” the presentation explores the transformation of car culture from a metaphor for freedom and possibility to a symbol of violence and stagnation. To receive a PDF with detailed information on this work or others in the booth, please contact the gallery at inquire@gagosian.com or via direct message. __________ #AdamMcEwen #FriezeLA #Gagosian @friezeartfair (1) Installation view, “Frieze Los Angeles 2020: How to Shrink L.A.,” booth C06, Frieze Los Angeles, February 14–16, 2020. All artworks copyrighted. Photo: Sebastiano Pellion; (2) Adam McEwen, “Sudden Vision,” 2019, inkjet print on cellulose sponge, graphite, 84 x 58 5/8 x 4 1/4
#GagosianViewingRoom: Ed Ruscha’s “Cosmo, Selma, Vine” features in Gagosian’s current Online Viewing Room, which presents artwork to collectors around the world for Frieze Los Angeles. This 2000 painting is an exemplar of Ruscha’s “Metro Plots,” one of two major series that he began in the late 1990s and pursued for the better part of a decade. The “Metro Plots” distill the streets of Los Angeles—one of the artist’s central and abiding interests—into maplike diagrams whose scale renders their abstractions all the more striking. The atmospheric, stippled field of the painting conjures the pervasive smog of Los Angeles, and its austere tonality intimates a futuristic, perhaps apocalyptic, vision. Spanning almost twelve feet, “Cosmo, Selma, Vine” is one of the three largest paintings in the series; a second, “Hollywood to Pico” (1998), is in the permanent collection of the Whitney Museum of American Art, New York. Visit gagosianviewingroom.com to view all available works, or to contact a gallery staff member f
#FriezeArtFair: Visit Gagosian's booth at Frieze Los Angeles to see "How to Shrink L.A.," a presentation exploring the transformation of car culture from a metaphor for freedom and possibility to a symbol of violence and stagnation. Taking Los Angeles’s system of highways as a literal and figurative backdrop, the selection includes Richard Prince’s full-scale car sculpture "Untitled" (2008) and Chris Burden’s ominously oversize "L.A.P.D. Uniform" (1993). The presentation also includes works by Jean-Michel Basquiat, John Chamberlain, Urs Fischer, Theaster Gates, Piero Golia, Alex Israel, Sally Mann, Adam McEwen, Cady Noland, Sterling Ruby, Ed Ruscha, Taryn Simon, Robert Therrien, Andy Warhol, Tom Wesselmann, and others. To receive a PDF with detailed information on the works in the booth, please contact the gallery at inquire@gagosian.com or via direct message. __________ #FriezeLA #Gagosian @friezeartfair Installation views, “Frieze Los Angeles 2020: How to Shrink L.A.,” booth C06, Frieze Los Angeles, Feb
#GagosianViewingRoom: Albert Oehlen’s 2016 painting “Untitled (Baum 64)” is featured in Gagosian’s Online Viewing Room for Frieze Los Angeles. Since 1989, when he made his first paintings incorporating their spindly forms, trees have become an iconic element in Oehlen’s work. He paints branches, trunks, and roots as vehicles for a methodical deflation of content. Oehlen's treatment of motifs such as trees often allows his works to hover somewhere between figuration and abstraction, one of the many reasons his work is highly desirable in the current marketplace. This particular work is part of Oehlen’s series of “Baum” paintings, begun in 2013. Work from this series has been exhibited at Gagosian London and Gagosian New York, as well as in recent solo shows at major institutions including the Palazzo Grassi, Venice. They are also featured in the current exhibition “Carroll Dunham / Albert Oehlen: Bäume / Trees” at the Kunsthalle Düsseldorf, Germany. Visit gagosianviewingroom.com to view all available works,
#FriezeArtFair: Frieze Los Angeles opens to the public tomorrow at Paramount Picture Studios. Gagosian's presentation, titled "How to Shrink L.A.," explores the transformation of car culture from a metaphor for freedom and possibility to a symbol of violence and stagnation. The title takes inspiration from a 1999 speculative drawing by Chris Burden that reimagines the L.A. freeway system to combat the city’s notorious traffic congestion. A longtime Topanga Canyon resident, Burden envisions a  computer-controlled highway system in which vehicles are electronically assigned a slot in lanes of varying speeds—ranging from 40 m.p.h. to 250 m.p.h.—based on the distance to their final destination. Yet as the artist wittily shows, this efficiency ultimately comes at the cost of individual autonomy. The presentation also includes works by Jean-Michel Basquiat, John Chamberlain, Urs Fischer, Theaster Gates, Piero Golia, Alex Israel, Sally Mann, Adam McEwen, Cady Noland, Richard Prince, Sterling Ruby, Ed Ruscha, Taryn
Tonight from 6:30–8pm, Rachel Feinstein will speak at the Jewish Museum in New York on the occasion of her survey exhibition, “Maiden, Mother, Crone,” currently on view through March 22. The artist will discuss the inspirations for her art, which weaves together and deconstructs binaries, underscoring that there is no reality without fantasy, lightness without darkness, or perfection without chaos. The talk will be followed by a book signing of the companion monograph published by Rizzoli Electa. Follow the link in our bio to learn more and to purchase tickets. __________ #RachelFeinstein #Gagosian @thejewishmuseum @rachelfeinsteinstudio (1, 2) Installation views, “Rachel Feinstein: Maiden, Mother, Crone,” Jewish Museum, New York, November 1, 2019–March 22, 2020. Artwork © Rachel Feinstein. Photos: Tom Powel Imaging; (3) “Rachel Feinstein” (New York: Rizzoli Electa, 2019)
#DanColen: "I’m interested in the fragility of the moment. When painting, each brushstroke is an opportunity to consider and preserve that moment. Each mark is a decision, from the moment the brush collides with the canvas, and each one can go in so many different directions." —Dan Colen Gagosian is pleased to present "HELP," an exhibition of new paintings by Dan Colen at Gagosian, Park & 75, New York, opening February 26. Moving between diverse styles and subjects, Colen investigates the conceptual stakes of materiality and mark making. In the seven new canvases on display in "HELP," Colen uses the motif of the message in a bottle—bobbing on an open sea or washed up on a distant shore—to stage the practice of painting as an act of faith, and as a tool for communication with the unknown. These works represent the final entries in Colen’s cycle of “Disney paintings,” which derive their imagery from animated films made by the famous studio. Find out more via the link in our bio. __________ #Gagosian Dan Col
#GagosianViewingRoom: An exemplary painting from Neil Jenney’s “Bad Paintings” series, titled “Media and Man,” is currently presented in Gagosian’s Frieze Los Angeles Online Viewing Room. This body of work, begun in 1969 and capped in 1970, searched for a new “realism,” one built around pertinent arrangements made through a direct engagement with the canvas. To Jenney’s mind, Pop, and its evolution into photorealism, portrayed “a bad idea, done pretty,” and he set out to do “a good idea, done terribly.” While true to the nature of this series, "Media and Man" holds a singular position in Jenney’s oeuvre. It is a work that the artist has held on to for fifty-one years since its creation, owing to its unique color scheme and solemn content. As Jenney recently stated, it is “the deepest painting I did in the 1960s.” Visit gagosianviewingroom.com to view all available works, or to contact a gallery staff member for live assistance.  __________ #NeilJenney #FriezeArtFair #FriezeLA #Gagosian @friezeartfair 
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#AlexIsrael: Join us on Wednesday, February 26, at 6:15pm, for a tour of “Alex Israel: Always On My Mind,” at Gagosian, Grosvenor Hill, London. The tour will be led by Gagosian director Millicent Wilner. The exhibition, currently on view through March 14, presents new "Self-Portraits" by Israel. In this ongoing series of photorealistic paintings, the artist frames quintessential Los Angeles scenery and snippets from his daily life inside crisp cut-out silhouettes of his own profile. Israel addresses the effortless visual gloss that twenty-first-century image culture and social media demand of their participants. To attend the free event, RSVP to londontours@gagosian.com. Space is limited. Learn more via the link in our bio. __________ #Gagosian @alexisrael Installation views, "Alex Israel: Always On My Mind," Gagosian, Grosvenor Hill, London, January 16–March 14, 2020. Artwork © Alex Israel. Photos: Lucy Dawkins
#RudolfPolanszky: “When we say that something makes sense—that is interesting. But I do not want to make sense, because this sense is a definition made by somebody else.” —Rudolf Polanszky Gagosian is pleased to present paintings and sculptures by Rudolf Polanszky dating from 2014 to 2019. This exhibition inaugurates his representation by the gallery and opens on Tuesday, March 3, 6–8pm at 541 West 24th Street, New York. An important contributor to the artistic landscape of Vienna, Polanszky makes cerebral multidisciplinary works that embrace chance occurrence. In the early 1990s, Polanszky turned his attention to the formal potential of sculpture and mixed-media painting with the series “Reconstructions“ (1991–). To make these shimmering, richly textured works, he uses salvaged industrial materials such as acrylic glass, aluminum, mirrored foil, resin, silicone, and wire, recombining them into purely aesthetic forms divorced from their original contexts. The "Reconstructions” in this exhibition demonstrate
Alberto Di Fabio’s aerial installation, "I Quanti" (2019) has been permanently installed in the Palazzo Koch in Rome. Commissioned by Banca d’Italia, the work consists of sixteen paintings on rice paper suspended above the grand staircase. Learn more via the link in our bio. __________ #AlbertoDiFabio #Gagosian Albert Di Fabio's “Quanti” (2019) installed in the Bank of Italy, Palazzo Koch, Rome. Photo: Giorgio Benni
#GagosianViewingRoom: “Rockholes near the Olgas,” a contemporary Indigenous Australian painting by Bill Whiskey Tjapaltjarri, is featured in Gagosian’s latest Online Viewing Room for Frieze LA. In May 2019 Gagosian presented the critically acclaimed exhibition "Desert Painters of Australia" in New York, featuring three generations of contemporary Indigenous Australian painting from the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia and the collection of Steve Martin and Anne Stringfield. A sequel exhibition followed in Los Angeles later that summer. Indigenous Australian art soon experienced a major boom—evidenced by the enthusiastic sales and new records set at the first New York auction of Aboriginal contemporary art at Sotheby’s in December 2019—which Eileen Kinsella of Artnet posited as the “Gagosian effect”. Visit gagosianviewingroom.com to view all available works, or to contact a member of gallery staff for live assistance. __________ #FriezeArtFair #FriezeLA #Gagosian @friezeartf
#GagosianQuarterly: In a recent feature for “Gagosian Quarterly,” Hans Ulrich Obrist visits Rudolf Polanszky at his studio outside Vienna to discover more about the origins of his practice, his experiments in freedom, and the importance of drifting. An exhibition of work by Polanszky opens on March 3 at Gagosian, 541 West 24th Street, New York. Visit the link in our bio to read the interview online. __________ #RudolfPolanszky #Gagosian @hansulrichobrist Rudolf Polanszky, Vienna, 2018. Photo: Horst Stasny
#MarcNewson: Gagosian is pleased to present a special installation of limited-edition furniture by Marc Newson, opening this Thursday at Tarmak 22, Gstaad Saanen private airport. The current presentation includes works from several recent series—the Chinese cloisonné, as well as the cast glass and “Murrina” works produced in the former Czech Republic—all entirely new formal experiments. The cloisonné works, produced by hand in Beijing, employ on an unprecedented scale the intricate enameling technique more often used for figurines and vases, applying it to copper chairs, lounges, and desks in diverse allover patterning, including traditional Chinese peony motifs and a signature amoebic “orgone” design. Learn more via the link in our bio. __________ #Gagosian @marcnewsonofficial @tarmak22 (1) Marc Newson, "Cloisonné White Magnolia Chair," 2017 (detail); (2) Marc Newson, "Cloisonné White Magnolia Chair," 2017 © Marc Newson. Photo: Xiangzhe Kong
#GagosianViewingRoom: Chris Burden’s powerful and politically charged oversize “L.A.P.D. Uniform,” which reflects on the Rodney King trial and the Los Angeles riots of 1992, is included in Gagosian’s Frieze LA Online Viewing Room. Created in 1993, the work is one of thirty larger-than-life replicas of the L.A.P.D.’s standard wool uniform, each equipped with a regulation belt, holster, baton, handcuffs, 92F Beretta handgun, and meticulously copied police badge. Burden’s “L.A.P.D Uniforms” serve as commentary on the complicated relationship between the public and authority even today. Gagosian was the first to exhibit “L.A.P.D Uniforms” in 1994, less than two years after the incidents that inspired it. The show marked an important and particularly political period in Burden’s career that was reflective of the social unrest across the nation at the time. In 2000–01, all thirty uniforms were exhibited in “Made in California: Art, Image, and Identity, 1900–2000” at the Los Angeles County Museum of Art. The first
Brice Marden is collaborating with choreographer Pam Tanowitz and composer Kaija Saariaho to present “Four Quartets,” a dance performance based on T. S. Eliot’s modernist masterpiece published in 1943. The event takes place this Saturday, 8pm, and Sunday, 3pm, at the Center for the Art of Performance, University of California Los Angeles. The evocative stage design centers on paintings by Marden, their exquisite colors and imagery making connections to the geographical locations of the poem cycle’s four individual parts. Follow the link in our bio purchase tickets, or to read an interview with Marden about the canvases that form the set design on "Gagosian Quarterly." __________ #BriceMarden #Gagosian #GagosianQuarterly @cap_ucla Premiere of “Four Quartets” at the Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York, July 6–8, 2018. Photo: Maria Baranova
#AmericanPastoral: Join us tonight, from 6 to 8pm, for the opening reception of “American Pastoral” at Gagosian, Britannia Street, London. The exhibition presents a range of modern and contemporary works juxtaposed with historical American landscapes. From nineteenth-century industrialization to contemporary patterns of immigration, the pursuit of the American Dream has long been a rich topic of inquiry for artists in the United States. "American Pastoral" seeks to challenge this idealized vision by delving into the cultural, political, and economic tensions that lie beneath its surface. Learn more via the link in our bio. __________ #Gagosian Installation view, “American Pastoral,” Gagosian, Britannia Street, London, January 23–March 14, 2020. Photo: Lucy Dawkins. Artwork, left to right: © Estate of Jack Goldstein; © Mark Tansey; © Jeff Koons; © Richard Prince; Thomas Moran
Visit Copenhagen Contemporary to see “Carsten Holler: Reproduction,” currently on view through April 13. In this exhibition Höller examines the theme of reproduction, adopting an approach that is at once scientific and artistic. The museum is transformed into a large, biology-based playscape where, for example, the visitors are encouraged to crawl through the pips of a die, and where slow-moving merry-go-rounds and corridors of mirrors affect their sensory perceptions. Learn more via the link in our bio. __________ #CarstenHoller #Gagosian #CCArt #Repost: @copenhagen_contemporary
“Ideally, less could indicate more.” —Adam McEwen Happy birthday to Adam McEwen who was born on this day, February 9, in London, England. Work by McEwen is currently on view in the group show, “American Pastoral,” at Gagosian, Britannia Street, London. The exhibition seeks to challenge the idealized vision of the American Dream by delving into the cultural, political, and economic tensions that lie beneath its surface. Find out more via the link in our bio. __________ #AdamMcEwen #AmericanPastoral #Gagosian (1) Installation view, “American Pastoral,” Gagosian, Britannia Street, London, January 23–March 14, 2020. Photo: Lucy Dawkins. Artwork, left to right: © Adam McEwen; © Richard Prince; © Banks Violette; (2) Adam McEwen, "Deepwater Horizon," 2020 (detail) © Adam McEwen
#GagosianViewingRoom: Our Frieze Los Angeles 2020 Online Viewing Room is now open through February 19. The virtual presentation features important works by Chris Burden, Alex Israel & Bret Easton Ellis, Neil Jenney, Albert Oehlen, Chris Ofili, David Reed, Ed Ruscha, Bill Whiskey Tjapaltjarri, Tatiana Trouvé, and Jonas Wood. Many of the artworks included consider the political, geographical, and social landscapes of Los Angeles. 
Visit gagosianviewingroom.com for informational texts and videos on each work, or to contact a member of gallery staff for live assistance.  __________ #FriezeArtFair #FriezeLA #Gagosian @friezeartfair
"I can make no statement about reality clearer than my own relationship to reality." —Gerhard Richter Happy birthday to Gerhard Richter who was born on this day, February 9, in Dresden, Germany. An exhibition of editioned works by Richter spanning fifty years is currently on view at Gagosian, 976 Madison Avenue, New York. Divergent in medium, scale, and style, the editions mirror Richter’s mercurial artistic processes and explore the dynamic relationship between source image and pictorial representation. Visit the exhibition before it closes on Saturday, February 15. Find out more via the link in our bio. __________ #GerhardRichter #Gagosian Installation views, “Gerhard Richter: Prints,” Gagosian, 976 Madison Avenue, New York, November 8, 2019–February 15, 2020 © Gerhard Richter 2019 (20112019)
#BlancsurBlanc: The group exhibition, “Blanc sur Blanc,” is currently on view at Gagosian, Paris, through March 7. A century ago, Kazimir Malevich’s Suprematist paintings heralded a revolutionary new interpretation of white, in which total abstraction suggests the utopian and the infinite. Since then, artists have deployed the achromatism of whiteness in an endless range of formal and symbolic ways, evoking states of emptiness and effacement, and summoning the raw potential of the blank page. Working in different contexts and with different ends in mind, the artists in “Blanc sur Blanc” find unexpected power and substance in what appears at first to be an absence or lack. Learn more via the link in our bio. __________ #Gagosian Installation views, “Blanc sur Blanc,” Gagosian, Paris, January 16–March 7, 2020. Photos: Thomas Lannes. Artwork, left to right: (1) © Fondation Lucio Fontana, Milano/by SIAE/ADAGP, Paris, 2020; © Cy Twombly Foundation; © Imi Knoebel/ADAGP, Paris, 2020; (2) © Bertrand Lavier/ADAGP, P
#GagosianViewingRoom: Gagosian’s latest Online Viewing Room for Frieze Los Angeles opens in 24 hours. Collectors all over the world will have the opportunity to access desirable and important works by Chris Burden, Alex Israel & Bret Easton Ellis, Neil Jenney, Albert Oehlen, Chris Ofili, David Reed, Ed Ruscha, Bill Whiskey Tjapaltjarri, Tatiana Trouvé, and Jonas Wood. Many of the artworks included consider the political, geographical, and social landscapes of Los Angeles. For instance, a key example from Ed Ruscha’s series “Metro Plots” (1998–), depicting a Los Angeles intersection from an elevated viewpoint in a neutral palette, will be offered. The Frieze Los Angeles 2020 Online Viewing Room will open at 12:00am on Monday, February 10, in Hong Kong, and close at 11:59pm on Wednesday, February 19, in Los Angeles and San Francisco. For more information about the Online Viewing Room or the works to be featured, subscribe for updates at gagosianviewingroom.com or contact the gallery via inquire@gagosian.com.
Tomorrow is the last chance to visit “Nam June Paik” at London’s Tate Modern. This major exhibition brings together more than two hundred works from throughout Nam June Paik’s five-decade career—from robots made from old TV screens, to his innovative video works, and all-encompassing room-size installations. In a "Gagosian Quarterly" feature, 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. Read the piece via the link in our bio. __________ #NamJunePaik #TateModern #Tate #Gagosian #GagosianQuarterly @tate Installation views, "Nam June Paik,” Tate Modern, London, October 17, 2019–February 9, 2020. Artwork © Estate of Nam June Paik. Photos: Andrew Dunkley, Tate (1) "One Candle (also known as Candle TV)," 2004; (2) "Internet Dream," 1994. Courtesy: ZKM Centre for Art and Media, Karlsruhe