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#GagosianQuarterly: "Art, fashion, design all have the ability to transcend cultural barriers."
—Hank Willis Thomas

In a new piece for "Gagosian Quarterly," artist Hank Willis Thomas and Chitose Abe, the creative director and founder of Sacai, speak with Wyatt Allgeier about their recent collaboration. Follow the link in our bio to read the article.
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#Gagosian @hankwillisthomas @sacaiofficial
Rujeko Hockley in the “Love Over Rules” campaign for Sacai. Photo: Emmanuel Sanchez-Monsalve, courtesy Sacai

#GagosianSpotlight: Adriana Varejão’s highly inventive "Azulejão" or "big tile" paintings are directly inspired by "azulejos," the distinctive blue-and-white painted terracotta tiles whose provenance connects Brazil with Portugal through colonization and trade. In an article for "Gagosian Quarterly," Louise Neri discusses the evolution of the series with the artist. Follow the link in our bio to read the conversation.
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#AdrianaVarejao #Gagosian #GagosianQuarterly @adrianavarejao
Adriana Varejão; (1) “Azulejão (Diagonal),” 2016; (2) “Azulejão (Neo- concrete),” 2016; (3) “Azulejão (Doric with Adornment),” 2016; (4) “Azulejão (Horizon),” 2016; (5) Installation view, “Adriana Varejão: Azulejão,” Gagosian, Rome, October 1, 2016–January 14, 2017. Artwork © Adriana Varejão. Photos: Matteo D’Elleto

#GagosianQuarterly: "The challenges we face in society are challenges that creative folks can take on. Creative folks can think of other possibilities. They can envision other ways of being."
—Linda Goode Bryant

Artists Linda Goode Bryant and Dan Colen are both founders of nonprofits devoted to food justice. In a piece for "Gagosian Quarterly," they speak about the work of Project EATS and Sky High Farm, how they arrived at farming, and the urgency of their projects’ missions during the current health crisis. Follow the link in our bio to read the article.

In celebration of Black History Month, we’re sharing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. This week, we are posting conversations on social practice. Keep an eye out!
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#BlackHistoryMonth #Gagosian @lindagoodebryant @projecteats @skyhighfarmhudsonvalley
(1) Project EATS’s rooftop farm at Essex Crossing in Manhattan, New York. Ph

#GagosianSpotlight: “It’s all about the fragment.”
—Adriana Varejão

Gagosian is pleased to present “Green Disks” (2020) by Adriana Varejão for $400,000, now online for forty-eight hours only.

This work is one of a new series of “tile” paintings by Varejão that draw motifs from the pre-Hispanic, colonial, and mid-century modern ceramics endemic to Mexico, where she studied them firsthand. Taking inspiration from a bold and dynamic Talavera tile from the 1970s that hints at a larger interlocking design, “Green Disks” brings the impulses of Brazilian modernism and hard-edge abstract painting into dialogue with pre-Hispanic artistic forebears. Through this conscious interweaving of time, culture, and place, Varejão resuscitates the dialogue between aesthetic systems once segregated by dominant master narratives, raising vital questions about the life and passage of forms in art. Follow the link in our bio for more information.
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#AdrianaVarejao #Gagosian @adrianavarejao
Adriana Varejão, “Green Disks,”

#GagosianSpotlight: “Adriana Varejão: Interiors” is available for online reading through March 25 as part of Artist Spotlight.

This catalogue brings together images of the paintings and sculptures on view in Adriana Varejão’s 2017 exhibition “Interiors” at Gagosian, Beverly Hills, and her 2016–17 exhibition “Azulejão” at Gagosian, Rome; and views of the multichannel video installation “Transbarroco” (2014), which was shown in both cities at the time of these consecutive exhibitions. The catalogue features a preface by Gagosian director Louise Neri, an essay by scholar Luiz Camillo Osorio, and texts by Adriano Pedrosa, artistic director of the Museu de Arte de São Paulo.

Tomorrow at 6am EST, a new work by the artist will be unveiled. Stay tuned!
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#AdrianaVarejao #FromTheLibrary #Gagosian @adrianavarejao @adrianopedrosa @masp
“Adriana Varejão: Interiors” (New York: Gagosian, 2017)

#GagosianSpotlight: "Tiles were used to cover the walls of spaces both sacred and mundane; they were objects of royal admiration from France to China, but they also claimed preferred space in train stations, bars, and butcher shops."
—Lilia Moritz Schwarcz

"Adriana Varejão: Interiors" was presented at Gagosian, Beverly Hills, in 2017 as a collateral exhibition to the Getty’s triennial initiative "Pacific Standard Time: LA/LA," which focused that year on Latin American and Latino art. On this occasion, Brazilian cultural historian and curator Lilia Moritz Schwarcz explores the complex cultural themes in Varejão’s oeuvre. Follow the link in our bio to read the "Gagosian Quarterly" article.
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#AdrianaVarejao #Gagosian #GagosianQuarterly @adrianavarejao @liliaschwarcz
Adriana Varejão; (1) "A diva," 2004 (detail); (2) "O obsessivo," 2004 (detail). Artwork © Adriana Varejão. Photo: @vicentedemello

Tune in tomorrow at 4pm EST for a conversation between Theaster Gates and Massimiliano Gioni, artistic director of the New Museum, New York, on the occasion of “Grief and Grievance: Art and Mourning in America,” an exhibition conceived by the late curator Okwui Enwezor. The exhibition brings together works by thirty-seven Black artists who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. This is the first program in a series of conversations highlighting the practices of artists participating in the New Museum exhibition. Follow the link in our bio to register.
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#TheasterGates #Gagosian @theastergates @newmuseum
Theaster Gates, "Gone Are the Days of Shelter and Martyr," 2014 (still) © Theaster Gates

#GagosianSpotlight: This week, Brazilian artist Adriana Varejão features in Artist Spotlight. Varejão uses the tactics of the Baroque—simulation, juxtaposition, and parody—to reflect on the mythic pluralism of Brazilian identity and the social, cultural, and aesthetic interactions that produced it. In various mediums, Varejão draws upon a potent visual legacy stemming from the histories of colonialism and transnational exchange to create a confluence of hybridized forms—paintings that are architectural or sculptural, theatrical painted sculptures, mesmerizing multichannel video—which expose the multivalent nature of history, memory, and representation.

A new work by the artist will be unveiled on gagosian.com on Friday, February 26, at 6am EST. For updates or to learn more, follow the link in our bio.
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#AdrianaVarejao #Gagosian @adrianavarejao
Photo: @vicentedemello

Join Gagosian on Thursday, February 25, at 1pm EST for a conversation with Azikiwe Mohammed, arts worker and founder of Black Painters Academy, and Joeonna Bellorado-Samuels, founder of We Buy Gold and director at Jack Shainman Gallery. The pair will discuss their models for exhibition and educational spaces in comparison to more traditional structures, why such alternatives are necessary, and how these spaces mirror the mental spaces Black people have had to create for themselves since time immemorial. Follow the link in our bio to register.

This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics.
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#BlackHistoryMonth #Gagosian
@misterace12 @blackpaintersacademy @joeonna @_webuygold_ @jackshainman
(1) Azikiwe Mohammed. Photo: Azikiwe Mohammed; (2) Joeonna Bello

#GagosianQuarterly: In a piece for "Gagosian Quarterly," Gagosian director Antwaun Sargent caught up with Roe Ethridge on a video call. The pair discussed everything from his early work for magazines in the 1990s to more recent projects with the designer Telfar Clemens. Follow the link in our bio to read the conversation.
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#RoeEthridge #Gagosian @roeethridge @sirsargent @telfarglobal
Roe Ethridge; (1) “Telfar in New York Harbour,” 2018; (2) “Football for Telfar,” 2018. Artwork © Roe Ethridge; (3) Audio clip of Roe Ethridge from a conversation with Antwaun Sargent for "Gagosian Quarterly," May, 2020

#GagosianQuarterly: "We’re always making something about what it is that we’re thinking about, what captivates us, what torments us, what we’re in dialogue with or trying to figure out."
—Cynthia Oliver

In a piece for "Gagosian Quarterly," legendary choreographers Bebe Miller and Cynthia Oliver discuss their history together, imposed boundaries on “Black dance,” and the choreographies of the pandemic. Follow the link in our bio to read the article.

Last week, Miller spoke with Kyle Abraham as part of a series of live conversations and presentations in celebration of Black History Month. Stay tuned for more events!
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#BlackHistoryMonth #BebeMiller #CynthiaOliver #Gagosian @danspaceproject @nylivearts
(1) Poster for Parallels, Danspace Project, New York, 1982 (detail). Poster design: Fred Holland. Photo: Aaron Siskind; (2, 3) Leslie Cuyjet and Cynthia Oliver in "BOOM!," New York, 2014. Photo: © Yi-Chun Wu

#GagosianQuarterly: "Peggy Cooper Cafritz believed that great Black art actually has the potential to restore and even cure not only Black people but the nation itself of the disfiguring effects of racism."
—Cullen Swinson

In a piece for "Gagosian Quarterly," Cullen Swinson pays homage to the founder of the Duke Ellington School of the Arts, Washington, DC, and explores the intersections of her engagements as an educator, art collector, philanthropist, and civil rights activist. Follow the link in our bio to read the article.
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#PeggyCooperCafritz #BlackHistoryMonth #Gagosian
#Repost: @projectforemptyspace

#GagosianQuarterly: "If you want to know about Bob Kaufman, just look at the many remarkable photographs of him, as they really tell it all: the power of one man, small in stature, staring into you with dignity and defiance, tenderness and humor.”
—Raymond Foye

In 2019, City Lights Publishers released "Collected Poems of Bob Kaufman," the first comprehensive collection of the poet’s work. In a piece for "Gagosian Quarterly," Raymond Foye, the book’s coeditor, reminisces about his long friendship with Kaufman and reflects on the enduring power of the poems. Follow the link in our bio to read the article.

In celebration of Black History Month, we’re sharing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Keep an eye out for posts over the next few days, which celebrate daring creative pioneers.
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#BobKaufman #BlackHistoryMonth #Gagosian @raymondfoye @citylightsbooks
(1) Bob Kaufman, City Ligh

#SpencerSweeney: "Queue," an exhibition of new paintings by Spencer Sweeney, is on view from tomorrow at Davies Street, London. The gallery is temporarily closed, but the exhibition will be fully visible through the gallery’s large windows from 8am to 8pm daily.

In his paintings, Sweeney moves among art historical references, emulating the enigmatic tone and audacious palette of Surrealist and Russian Expressionist figures such as Alexej von Jawlensky. Deriving further inspiration from the drive of jazz improvisation, Sweeney allows faces and encounters from his subconscious to rise to the surface as he paints. The resulting works, which he describes as having been created through an instinctive, “automatic” process, are abstract topographies and dreamscapes as much as they are traditional portraits. Surpassing the simple objective recording of their subjects, they chart the subjective interiorities of the human psyche. Follow the link in our bio to learn more about the show.
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#Gagosian @dirtyroomb

$Work by Gregory Crewdson is included in "Le mauvais œil," which closes tomorrow at FRAC Auvergne, Clermont-Ferrand, France. Clément Cogitore’s 2018 film "The Evil Eye" lends this exhibition its title and, projected in the center of the museum, is also the show’s heart. Its soundtrack is broadcast in each of the institution’s rooms and accompanies the other works to create a sense of a whispered litany announcing the end of the world. Follow the link in our bio to learn more about the show or to watch the artist's episode of "Gagosian Premieres." __________ #GregoryCrewdson #Gagosian @crewdsonstudio @frac_auvergne (1) Gregory Crewdson, "Untitled," 1992–97, C-Print, framed: 35 1/8 × 43 inches; (2) Installation view, "Le mauvais œil," FRAC Auvergne, Clermont-Ferrand, France, September 19, 2020–February 21, 2021. Photo: @frac_auvergne. Artwork © Gregory Crewdson$

#GagosianQuarterly: In conversation with Adrienne Edwards, Ellen Gallagher discusses her formative experience in Martinique with the archive and library of French abolitionist Victor Schoelcher; the material dimensions of history; and her work with mid-century race magazines for artworks such as "eXelento."

In celebration of Black History Month, we have been sharing a curated selection of new and existing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Stay tuned for more.
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#EllenGallagher #Gagosian
Ellen Gallagher, "eXelento," 2004 (details) © Ellen Gallagher

Join Gagosian on Monday, February 22, at 1pm EST for a conversation between artist Kevin Beasley, mezzo-soprano Alicia Hall Moran, and musician Jason Moran, in celebration of Black History Month. Drawing on the rich tradition of Black music, the trio will discuss how they each utilize sound in their respective practices. The conversation will consider the history of experimentation at the center of Black musical forms and how it informs an understanding of Black expressions, narratives, and communities. Follow the link in our bio to register.

This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics.
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#BlackHistoryMonth #Gagosian @kevinmbeasley @aliciahallmoran @thejasonmoran
(1) Kevin Beasley. Photo: @david_schulze_studio; (2) Alicia Hall Moran; (3) Jason Moran.

#IdealLandscape: Gagosian is pleased to present "An Ideal Landscape," a group exhibition exploring contemporary approaches to the depiction of place. The show is on view by appointment only at Gagosian, 980 Madison Avenue, New York, through March 27.

Throughout the history of art, landscape painting has functioned as an important locus of visual symbolism. By situating classical allegories in idyllic pastoral settings, for example, seventeenth-century European artists such as Annibale Carracci and Nicolas Poussin were able to present an idealized view of the world that provided visual theater while also reflecting cultural mores. "An Ideal Landscape" takes a parallel yet converse approach for our times, presenting the genre as a vehicle for critique of the flawed and fraught social and political landscapes of today’s world. Follow the link in our bio to learn more about the show.
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#Gagosian @helenfrankenthalerfoundation @jenguidi @ursfischerstudio @theastergates @jonasbrwood @maryweatherford
Insta

Work by Taryn Simon is featured in "Spaces of No Control," which closes today at the Austrian Cultural Forum New York. In this multifaceted exhibition, select contemporary artists based in Austria and the United States reflect on the concept of citizenship and public space through a close examination of the signifying dystopia of the modern city.

In this photograph, Simon documented the set of the U.S. government-sponsored Arabic-language television network, which broadcasts to twenty-one million weekly viewers in twenty-two Arabic countries. Established in 2004, it is illegal for this program to air in the United States. Follow the link in our bio to learn more about the exhibition.
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#TarynSimon #Gagosian @acfny
Taryn Simon, "Alhurra TV, Broadcast Studio, Springfield, Virginia," 2006/07 © Taryn Simon

#RudolfPolanszky: An exhibition of new and recent paintings and sculptures by Rudolf Polanszky is on view at Gagosian in Paris.

Polanszky’s handling of material is intuitive and improvisational; he often leaves the individual components of his works outdoors, letting the natural elements help determine his constructions’ final surfaces and forms. Yet these works also reveal his acute consideration of the properties and possibilities of materials. In Polanszky’s hands, industrial fragments are transformed into shimmering arrangements that transcend their mundane origins. Follow the link in our bio to schedule an appointment or to watch a recent studio visit with the artist on “Gagosian Quarterly.”
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#Gagosian #GagosianQuarterly
(1, 2) Installation views, "Rudolf Polanszky," Gagosian, Paris, January 16–March 20, 2021. Photos: @lannes.thomas; (3, 4) Views of Rudolf Polanszky's studio. Photos: Jorit Aust. Artwork © Rudolf Polanszky

"Ellen Gallagher’s 'DeLuxe' registers loss—the loss of Black identity, the marginalization of Black culture—even as it dances around the demotic idiom of old-style magazines."
—Sebastian Smee

In a recent piece for “Washington Post,” Sebastian Smee writes at length about Ellen Gallagher’s “Deluxe.” Part of the permanent collection of the Museum of Modern Art, the work consists of sixty prints involving materials from velvet to googly eyeballs. Each print is based on pages from old magazines aimed at African American readers: “Sepia,” “Our World” and “Ebony.” Read more about the work via the link in our bio.
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#EllenGallagher #Gagosian @sebastian.smee @themuseumofmodernart
Ellen Gallagher, "DeLuxe," 2004-05 (details) © Ellen Gallagher

#GagosianQuarterly: "In these walls we hear the tender sounds of a girl before she became the voice of a people and a nation still longing to be free."
—Salamishah Tillet

In a piece for "Gagosian Quarterly," Salamishah Tillet visits the Nina Simone’s birthplace home in Tryon, North Carolina, and explores the decision by Ellen Gallagher, Rashid Johnson, Julie Mehretu, and Adam Pendleton to purchase the home in 2017. Follow the link in our bio to read the article.

In celebration of Black History Month, we’re sharing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Keep an eye out for posts over the next few days, which celebrate daring creative pioneers.
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#NinaSimone #Gagosian #BlackHistoryMonth @salamishah
#Repost: @ninasimone
Nina Simone, October 1969. Photos: Jack Robinson

The first museum presentation dedicated to the late work of Helen Frankenthaler is now on view at New Britain Museum of American Art, Connecticut. This exhibition features twenty-two works on paper dating from 1990 to 2003, some measuring more than six feet.

Through her invention of the soak-stain technique, Frankenthaler expanded the possibilities of abstract painting while referencing figuration and landscape in unique ways. In later years, her practice continued to evolve through her use of diverse media and processes, as she shifted from painting canvas on the floor to using larger sheets of paper that were laid out on the floor or on tabletops for easier accessibility. The continuity, in terms of content and execution, between the late work (post-1990) and what came before is striking. Graced with memorable encounters, a vast art historical image bank, and technical prowess, the aging artist moved in whatever direction suited her mood and imagination. Follow the link in our bio to find out more about F

"Grief and Grievance: Art and Mourning in America" opens today at New Museum, New York. Originally conceived by curator Okwui Enwezor (1963–2019), this intergenerational exhibition brings together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. Work by artists Jean-Michel Basquiat, Ellen Gallagher, and Theaster Gates is included.

Tomorrow at 5pm EST, join Artforum and Sotheby’s for a conversation between professor Malik Gaines, curators Naomi Beckwith and Massimiliano Gioni, and artists Gates and Julie Mehretu about the exhibition. Follow the link in our bio register for the talk.
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#TheasterGates #Gagosian @theastergates @newmuseum @artforum @sothebys @juliemehretu
Theaster Gates, "Gone Are the Days of Shelter and Martyr," 2014 (still) © Theaster Gates

Ed Ruscha's first solo museum exhibition in his home state opens tomorrow at Oklahoma Contemporary, Oklahoma City. This exhibition, "OKLA," focuses on the artist’s Oklahoma roots—his family, his upbringing, and his discovery of his calling as an artist. Ruscha lived in Oklahoma City from the ages of five to eighteen—a formative period in both his life and his artistic sensibility. His Midwestern childhood had a profound impact on his art, which the show explores through around seventy-five works from all phases of his career.

For the most recent episode of Gagosian Premieres, we celebrate Ruscha's exhibition at Gagosian New York with musicians Flea, Missy Mazzoli, Vernon Reid, and Eddie Ruscha and new music created in response to the work. Follow the link in our bio to watch now.
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#EdRuscha #Gagosian @edruschaofficial @okcontemporary
Ed Ruscha, "Mocha Standard," 1969 (details) © Ed Ruscha

“Using color is like a musical composition, like songs, like a melody. I have been working in papier mâché for many years. You can make it at home without too many complications. It doesn’t bleed. It doesn’t stink. And you can live with it without being afraid.”
—Franz West

Franz West was born on this day, February 16, in Vienna.

Throughout his career, West manipulated everyday materials and imagery in order to examine art’s relation to life and collective experience. From collages and interactive sculptures to furniture and large abstract forms, his works focus on the tensions between public and private, considering the controlled behaviors and impulsive actions of the body. Despite their lighthearted ambiguity, West’s sculptures often flirt with philosophical archetypes, alluding to common myths, linguistic theories, and conceptual paradoxes. Follow the link in our bio for more on Franz West.
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#FranzWest #Gagosian
Franz West, “Verjüngung - ein sublimiertes Kaffeehausgespräch,” 1996 © Archiv F

#RichardArtschwager: "Rather than traditional canvas, Artschwager’s support of choice was Celotex, an antiquated fire-retardant building material made of sugarcane. He admired the insulation material’s variegated texture and characteristic patterns, which functioned to abstract his appropriated imagery. Muddled brushstrokes rendered forms without precise boundaries on the uneven surface, and the technique mimicked the blurred appearance of newsprint’s halftone-dot images on an enlarged scale."
—Bob Monk and Maggie Dougherty

An exhibition of works by the late Richard Artschwager from a key period in his career, 1964 to 1987, is on view at Gagosian, Rome.

The early 1960s marked the beginning of Artschwager’s experiments with Celotex, a heavily textured compound board. He used this as a ground for his singular grisaille paintings, the waywardness of the industrial material obscuring his hand-drawn lines. Follow the link in our bio to read more about the artist’s work in a "Gagosian Quarterly" article or to sc

Tune in today at 1pm EST for a conversation between choreographers Kyle Abraham and Bebe Miller, in celebration of Black History Month. The pair will come together to discuss the evolution of their practices in relation to music, story, and artistic lineage. Follow the link in our bio to register.

This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics.
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#KyleAbraham #BebeMiller #BlackHistoryMonth #Gagosian @aimbykyleabraham @kyle_abraham_original_recipe
(1) Kyle Abraham in A.I.M performance of "INDY". Photo: Steven Schrieber; (2) @tamishaguy and Matthew Baker in A.I.M performance of "Habits of Attraction". Choreography by Bebe Miller. Photo: @iandouglasphoto

Piero Golia’s "The Dog and the Drop" (2013) is now on view at the Little House, an exhibition space in the recently opened Dries Van Noten store in Los Angeles.

The installation combines an animatronic dog and an occasional drop of water that falls from the ceiling to form a puddle. Each time a water droplet releases, the dog’s head and eyes follow its descent, offering a theatrical setup in which the animal's curiosity gives way to the ominous presence of water. This reciprocal relationship mirrors the conditions of viewing works of art in an exhibition and collapses the responsibilities of the art object with the event of viewership. Follow the link in our bio to learn more.
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#PieroGolia #Gagosian @new_atlantis @driesvannoten
Piero Golia, "The Dog and the Drop," 2013 © Piero Golia

“If we couldn’t speak to each other, or see each other on the screen, or watch TV, this lockdown would be even worse. It would be almost impossible to sustain."
—Michael Craig-Martin

These works were created by Michael Craig-Martin during lockdown last year. Here he paints objects including masks and hand sanitizer in his hallmark style of precise, bold outlines demarcating flat planes of intensely vibrant colors.

Head to "Gagosian Quarterly" to learn more about Craig-Martin's work. In a video from 2019, the artist speaks from his London studio about his working methods, his interest in the ordinary, and his abiding concern for the sculptural. Watch the video via the link in our bio.
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#MichaelCraigMartin #Gagosian
Michael Craig-Martin; (1) "Lockdown painting (black)," 2020; (2) "Silenced," 2020 (detail). Artwork © Michael Craig-Martin

#GagosianQuarterly: Established in 1968, the Studio Museum in Harlem has served as a crucial institution in the development, presentation, and promotion of artists of African descent. In 2019, Gagosian’s Mark Francis spoke with Thelma Golden, director and chief curator, and Sir David Adjaye OBE, the principal architect, about the new building’s role in housing institutional history and stewarding the museum’s legacy into the future. Follow the link in our bio to read the article.

Last week, Adjaye spoke with Zoë Ryan about his seven-volume archival project, "Adjaye Africa Architecture: A Photographic Survey of Metropolitan Architecture," for which he traveled, over the course of a decade, to the capital city of every major African country to photograph the continent’s built environment. The recording will be released soon. Keep an eye out!
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#InHarlem #BlackHistoryMonth #Gagosian
@thelmagolden @adjayeassociates @adjaye_visual_sketchbook @studiomuseum @zoeryanprojects
(1) #Repost: @studiomuseum; (2)

Join Gagosian on Monday, February 15, at 1pm EST for a conversation between choreographers Kyle Abraham and Bebe Miller, in celebration of Black History Month. Over a decade ago, Miller first noticed the “articulate energy and quiet grace” of Abraham while he was taking her repertory class; he had arrived eager to soak up the wisdom of one of his beloved dance idols. The pair will come together to discuss the evolution of their practices in relation to music, story, and artistic lineage. Follow the link in our bio to register.

This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics.
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#KyleAbraham #BebeMiller #BlackHistoryMonth #Gagosian @aimbykyleabraham @kyle_abraham_original_recipe
(1) Kyle Abraham. Photo: @tcwills; (2) Bebe Miller. Photo: © @j_cervantes

"I just felt like within my artistic practice, I hadn’t given enough energy to Black women and the role that they played in my life, in my development. This became an opportunity to use eighty years of Black portraiture to focus on teachers, social workers, young lawyers, mothers, firefighters, all women—all keeping this country together in their activities."
—Theaster Gates

In an article for "Aperture," Antwaun Sargent speaks with Theaster Gates about establishing "The Black Image Corporation" in order to expand the pioneering legacy of the Johnson Publishing Company and about his redeployment of the images as a way to reassign, reconsider, and refinance them—his insistence that they remain active documents of Black life. Follow the link in our bio to read the interview.
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#TheasterGates #Gagosian @theastergates @sirsargent @aperturefnd
Photos: Theaster Gates, "The Black Image Corporation: (Fondazione Prada, 2018); Article originally published in Aperture Foundation's Issue 018 of The PhotoBook Rev

#GagosianPremieres: Now live! Watch Ed Ruscha's episode of Gagosian Premieres on the gallery's YouTube channel. We celebrate the artist's exhibition at Gagosian New York with musicians Flea, Missy Mazzoli, Vernon Reid, and Eddie Ruscha and new music created in response to the work. Follow the link in our bio to watch now.
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#EdRuscha #Gagosian @edruschaofficial
@flea333 @missymazzoli @vurnt22 @thekitchen_nyc @timgriffinnyc
Artwork © Ed Ruscha. Studio and drone footage: Sam Lipman-Stern (@sam_lipmanstern); Video: Little Dot Studios (@littledotstudios)

“Part of the process is about looking again at the history you’re fed as a child, or thinking about the ways that things don’t add up.”
ーAdam McEwen

Happy birthday to Adam McEwen, born on this day, February 9, in London.

Conflating a beleaguered present with the afterlife of potent and contentious moments in art history, McEwen’s work has created a zone of dark relics and faded memories. Last year, McEwen spoke with writer Thyrza Nichols Goodeve about his practice within the context of art-making today. Follow the link in our bio to watch the video.
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#AdamMcEwen #Gagosian @tgoodeve @brooklynrail
Adam McEwen, “Untitled,” 2020 © Adam McEwen

Premiering tonight at 9pm EST on HBO, "Black Art: In the Absence of Light" provides an illuminating introduction to some of the foremost Black visual artists working today. Directed by Sam Pollard, the documentary shines a light on the extraordinary impact of David Driskell’s landmark 1976 exhibition, Two Centuries of Black American Art, at the Los Angeles County Museum of Art. Interweaving insights and context from curators and art historians, as well as interviews with a new generation of Black artists—including Theaster Gates, Kerry James Marshall, Faith Ringgold, Amy Sherald, and Carrie Mae Weems—the film offers a look at the contributions of Black American artists in today’s contemporary art world. Follow the link in our bio to learn more.
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#TheasterGates #BlackArtHBO #Gagosian @theastergates @hbo @hbomax
Theaster Gates in "Black Art: In the Absence of Light" (2021), directed by Sam Pollard. Photo: courtesy HBO

"One emotional challenge of this past year is being separated from libraries. I'm conscious that we desperately need books in our lives, physical books. We need to be able to pick them up, live with them, and feel their weight."
—Edmund de Waal

In a new episode of "The Art Pot Podcast," Edmund de Waal speaks with Ilaria Bevan about the beauty of reading, communication in the digital age, and how lockdown has altered his studio practice. Follow the link in our bio to listen to the episode.
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#EdmunddeWaal #Gagosian @edmunddewaal @artpot.magazine
Edmund de Waal. Photo: Ben McKee

#GagosianQuarterly: While preparing his first exhibition with Gagosian, Stanley Whitney speaks with Louise Neri about how the great remnants of ancient Roman civilization inform his work, each of his paintings serving as its own document of energy captured in time and space. Watch the video on IGTV or via the link in our bio.

In celebration of Black History Month, we’re sharing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Keep an eye out for the next few posts, which focus on content that underscores the importance of archive both as a rich repository of what has come before and a generator of futurities.
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#StanleyWhitney #BlackHistoryMonth #Gagosian @stanley.whitney
Clip from the video "Stanley Whitney: Rhythm and Vision”. Artwork © Stanley Whitney; video: Pushpin Films (@pushpinfilms)

“I believe that all things of quality have this timelessness in architecture, in music, in literature, otherwise it’s hard to handle this life.”
—Gerhard Richter

Happy birthday to Gerhard Richter, born on this day, February 9, in Dresden, Germany.

An exhibition of Richter’s "Cage" paintings at Gagosian, Beverly Hills, is temporarily closed to the public, but in the meantime, the show can be explored online. The presentation follows the inclusion of the paintings, as a cornerstone, in the artist’s retrospective, "Gerhard Richter: Painting After All" at the Metropolitan Museum of Art in New York last year. In conjunction with this key group of six paintings, a new group of drawings created by the artist on consecutive days over the summer of 2020 will be shown for the first time. This exhibition will travel to Gagosian, 541 West 24th Street, New York, in the late spring. Follow the link in our bio to learn more.
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#GerhardRichter #Gagosian
(1) Gerhard Richter working on one of his "Cage" paintings, C

#SpencerSweeney: "When I’m painting, I often become very involved with these different personalities that come about. . . . It’s an automatic process of a personality that comes from the motion of my hand and from my imagination."
—Spencer Sweeney

Gagosian is pleased to present "Queue," an exhibition of new paintings by Spencer Sweeney, at Gagosian, Davies Street, London. The gallery is temporarily closed, but from February 22, the exhibition will be fully visible through the gallery’s large windows from 8am to 8pm daily.

Sweeney’s imagery, which ranges from surreal, ambiguously gendered self-portraits to semi-abstract reclining nudes, is centered on the human figure. Conveying intense emotion through deft paint handling and lively color, his work chronicles the physical and psychological spaces occupied by the body. Follow the link in our bio to learn more.
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#Gagosian @dirtyroomba
Spencer Sweeney; (1) "Carnival Mask," 2020 (detail); (2) "The Kerfuffle," 2020 (detail); (3) "Elemental," 2020 (detai

#RichardArtschwager: An exhibition of works by the late Richard Artschwager from a key period in his career, 1964 to 1987, is on view at Gagosian, Rome.

In a piece for "Gagosian Quarterly," Bob Monk and Maggie Dougherty explore the artist’s use of reference materials as the impetus for his paintings. Borrowing from his studio archive, his newspaper and magazine clippings, sketches, personal photographs, to-scale mock-ups, and additional sources are set in conversation with a selection of related artworks. Follow the link in our bio to read the article or to learn more about the exhibition.
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#Gagosian #GagosianQuarterly
(1) Richard Artschwager, "Arizona," 2002 (detail) © Richard Artschwager/Artists Rights Society (ARS), New York; (2) USS Arizona burning in Pearl Harbor, 1941. Image © CORBIS/Corbis via Getty Images

Tomorrow at 11am EST, join Madison Square Park Conservancy for a conversation between artists Rachel Feinstein, Rafael Lozano-Hemmer, and Alison Saar, moderated by art journalist Jacoba Urist. The three artists, who have all presented installations in Madison Square Park in New York, will discuss creativity as it relates to studio life during the pandemic, political turmoil, and protests. The event is part of series of live conversations amongst artists, curators, writers, and art professionals reflecting on the challenges and magnitude of the last year. Follow the link in our bio to register.
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#RachelFeinstein #Gagosian @rachelfeinsteinstudio @lozanohemmer @alison_saar @jacnyc @madsqparknyc
Rachel Feinstein, "Cliff House," 2014, installation view, Madison Square Park, New York © Rachel Feinstein. Photo: @jamesewingphoto

#GagosianQuarterly: In a piece for "Gagosian Quarterly," Theaster Gates discusses his prescient work with the photographic archive of Chicago’s Johnson Publishing Company and his formation of Black Image Corporation as a conceptual project. In conversation with Louise Neri, he expands on his strategies as artist and social innovator in his quest to redeem and renew the sacred power of Black images and Black space. Follow the link in our bio to read the article.

In celebration of Black History Month, we’ll be sharing a curated selection of new and existing interviews, essays, and videos from the gallery’s extensive publishing archives that exemplify how Black histories reshape contemporary aesthetic discourse. Over the coming days, we'll be posting “Quarterly” content that underscores the importance of archive both as a rich repository of what has come before and a generator of futurities.
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#TheasterGates #Gagosian #BlackHistoryMonth @theastergates
(1) Photo: Isaac Sutton, 1969; (2) Photo: Isaac S

#GagosianPremieres: Tune in on Wednesday, February 10, at 2pm EST for the fourth episode of Gagosian Premieres! We celebrate Ed Ruscha’s exhibition at Gagosian New York with musicians Flea, Missy Mazzoli, Vernon Reid, and Eddie Ruscha and new music created in response to the work.

In this episode, Red Hot Chili Peppers bassist Flea meets with Ruscha’s son Eddie in the artist’s Los Angeles studio to discuss this new body of work, exploring its emotional resonance and the power of its familiar symbolism to affect viewers in vastly different ways at different points in time. Tim Griffin, director of the Kitchen, describes the challenges faced by avant-garde artists and creative institutions under the current global health crisis, and introduces two musical performances staged within the space of the New York exhibition. Composer and pianist Missy Mazzoli plays “The Night Ahead and No Real Fate”—a composition she wrote for piano four hands and, poignantly, adapted here for a solo performer in light of current s

#AnselmKiefer: “Field of the Cloth of Gold,” an exhibition of new paintings by Anselm Kiefer, is now open at Gagosian, Le Bourget.

The exhibition’s title refers to the historic peace summit between King Henry VIII and King Francis I that took place five hundred years ago in a field in what is now Pas-de-Calais, France. The conference, centered around a strategic alliance between England and France, had the goal of outlawing war between Christian nations. The alliance was considered a key event in shaping Europe’s geopolitics—until it dissolved and war broke out, a year later. While Kiefer did not begin making these works with this event or title in mind, the connection became apparent and synchronous after their completion. History is one of the materials he uses and synthesizes in his work, “like clay for the sculptor or color for the painter.” Follow the link in our bio to learn more about the exhibition or to schedule an appointment.
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#Gagosian
Installation views, “Anselm Kiefer: Field of the C

#AnselmKiefer: “What interests me is the transformation, not the monument. I don’t construct ruins, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe. It is the moment when things can start again.”
—Anselm Kiefer

An exhibition of four monumental new paintings by Anselm Kiefer, opens tomorrow at Gagosian, Le Bourget.

Completed over the last two years, these works predate the COVID-19 pandemic. The layered and visceral character of these paintings, whose scale almost matches the landscapes they depict, evokes the surging capriciousness of European history and the effects and aftermaths of war. Follow the link in our bio to learn more about the exhibition or to schedule an appointment.
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#Gagosian
Anselm Kiefer, “die sieben Schalen des Zorns (The Seven Bowls of Wrath),” 2019–20 © Anselm Kiefer. Photo: Georges Poncet

Chris Burden’s "Wexner Castle" is included in "Climate Changing: On Artists, Institutions, and the Social Environment," now on view at Wexner Center for the Arts, Ohio State University, Columbus. Originally commissioned for the Center’s inaugural year and now restaged, this work adds battlements to the brick sections of the building’s deconstructivist design in reference to the Armory that once stood on its site, encouraging visitors to reflect on the role museums play in today’s society.

The exhibition foregrounds contemporary artists’ engagement with social issues and shaping institutions—an engagement that has become all the more critical during the entwined crises of systemic racism and COVID-19. Together the works in the show encourage a collective reimagining of our social environment. Follow the link in our bio to learn more.
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#ChrisBurden #Gagosian @wexarts
Chris Burden, "Wexner Castle," 1990/2020 © Chris Burden/Licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York

As Sarah Sze's exhibition "Night into Day" at Fondation Cartier pour l’art contemporain, Paris, is temporarily closed to the public, the museum presents "Night Vision 20/20," a work created by Sze. This app, developed by the digital agency Cher Ami, is the artist's first foray into augmented reality.

This immersive tool plunges users into a nocturnal dream world, and the visual elements, comprised of videos drawn from Sze’s installations, transform the users’ perception of reality through their smartphone screen. "Night Vision 20/20" also features a sound piece created by Sze, bringing the user into the artist’s universe and opening the door to a personal and playful exploration of her art. Follow the link in our bio to learn more about the exhibition or visit the app store to download.
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#SarahSze #ArtNightVision #Gagosian @sarahszestudio @fondationcartier
(1–3) Installation views, “Sarah Sze: Night into Day,” Fondation Cartier pour l’art contemporain, Paris, October 24, 2020–March 7, 2021. Photo ©

Work by Jay DeFeo, Willem de Kooning, Alberto Giacometti, and Cy Twombly features in "Degree Zero: Drawing at Midcentury," on view through June 5 at Museum of Modern Art, New York.

Bringing together approximately eighty works on paper from the museum’s collection, "Degree Zero" illuminates how artists used drawing to forge a new visual language in the aftermath of World War II. Modest, immediate, and direct, drawing was the ideal medium for this period of renewal. The exhibition looks across movements, geographies, and generations to highlight connections between artists who shared common materials and ideas between 1948 and 1961. Follow the link in our bio to learn more.
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#JayDeFeo #Gagosian @jaydefeofoundation @themuseumofmodernart
(1) Installation view, "Degree Zero: Drawing at Midcentury," Museum of Modern Art, New York, November 01, 2020–February 06, 2021. Photo: Robert Gerhardt; (2) Jay DeFeo, "Untitled (Florence)," 1952, Museum of Modern Art, New York © 2021 The Jay DeFeo Foundation/Artists