On View
Broadcast
Alternate Meanings in Film and Video: Chapter Three
June 30–July 20, 2020
Gagosian Online
Crushed, Cast, Constructed
Sculpture by John Chamberlain, Urs Fischer, and Charles Ray
June 15–July 31, 2020
Grosvenor Hill, London
Piero Golia
Still Life
June 15–July 31, 2020
Britannia Street, London
Casa Malaparte
Furniture
June 15–September 19, 2020
Davies Street, London
Sarah Sze
May 23–July 18, 2020
Paris
Stanley Whitney
Exhibition preview: Bertacca paintings
June 3–July 31, 2020
Rome
Georg Baselitz
Years later
May 21–August 8, 2020
Hong Kong
In the Studio: Damien Hirst’s Veil Paintings
Damien Hirst speaks about his Veil paintings with Gagosian’s Alison McDonald. “I wanted to make paintings that were a celebration,” he says, “and that revealed something and obscured something at the same time.”
Now available
Gagosian Quarterly Summer 2020
The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.
Damien Hirst: Colour Space Paintings
Blake Gopnik examines the artist’s “dot” paintings in relation to the history of representation in Western art, in which dabs of paint have served as fundamental units of depiction and markers of objective truth.
Damien Hirst: Visual Candy
James Fox considers the origins of Damien Hirst’s Visual Candy paintings on the occasion of a recent exhibition of these early works in Hong Kong.
Rudolf Polanszky: Reconstructions
Gagosian director Ealan Wingate describes his first visit to Rudolf Polansky’s studio outside Vienna and discusses the development of the artist’s practice—from his early works informed by the legacy of the Viennese Actionists to the Reconstructions, an ongoing body of assemblage-type wall works and sculptures.
Urs Fischer: Lives of Forms
In his introduction to the catalogue for Urs Fischer’s exhibition The Lyrical and the Prosaic, at the Aïshti Foundation in Beirut, curator Massimiliano Gioni traces the material and conceptual tensions that reverberate throughout the artist’s paintings, sculptures, installations, and interventions.
Rainer Maria Rilke: Duino Elegies
Bobbie Sheng explores the symbiotic relationship between the poet and visual artists of his time and tracks the enduring influence of his poetry on artists working today.
The Bigger Picture
Recess
Gagosian’s Sarah Hoover sat down with Allison Freedman Weisberg, founder and executive director of Recess, and Anaïs Duplan, Recess program manager, to discuss the community arts organization’s evolution, recent programs, and dreams for the future.
Uncanny Delights: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray
Catalyzed by the exhibition Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray, Alice Godwin examines the legacy and development of a Surrealist ethos in selected works from three contemporary sculptors.
Mary Weatherford: Train Yards
Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London.
Theaster Gates: Black Vessel
Join Theaster Gates in his studio as he prepares for his upcoming exhibition at Gagosian, New York, this fall. In this video, shot entirely on location in Chicago during the recent tumultuous weeks, Gates reflects on the metaphorical power of materials and process, and on the redemptive potential of art.
How to Renew the Color of Bricks
Social historian Chris Dingwall reflects on Theaster Gates’s engagement with the history of quotidian materials, focusing on the symbolic qualities and function of his brick-based sculpture.
Events & Announcements
Online Reading
Richard Prince
High Times
Richard Prince: High Times is available for online reading from July 5 through August 3 as part of the From the Library series. Published on the occasion of the eponymously titled exhibition at Gagosian, West 21st Street, New York, in 2018, the book includes reproductions of Prince’s latest paintings alongside his earlier Hippie Drawings that serve as their main sources. Integrated among these fascinating images are recent essays by the artist; reprints of historical texts by Eve Babitz, Joan Didion, and Kim Gordon; and a new essay by Rachel Kushner. Plastic inserts throughout the book house postcards, facsimiles of ephemeral materials related to 1960s culture from Prince’s personal collection, and a seven-inch recording of Prince’s 1985 composition “Loud Song.”
Richard Prince: High Times (New York: Gagosian, 2018)
Art Fair
Basel Online 2020
In our most significant online sales presentation to date, Gagosian unveils important works by modern and contemporary masters through two separate online platforms—Gagosian Online and Art Basel Online. These individually curated selections offer collectors direct access to artworks of the highest caliber. To experience the presentation in its entirety, viewers will need to visit both gagosian.com and artbasel.com. The works on gagosian.com will rotate every forty-eight hours, for a total of five cycles.
Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York
Tour
Crushed, Cast, Constructed
Sculpture by John Chamberlain, Urs Fischer, and Charles Ray
Thursday, July 23, 2020, 12pm EDT (5pm BST)
Join Gagosian for a virtual tour of Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray, an exhibition on view at Gagosian, Grosvenor Hill, London, through July 31. Gagosian’s Alice Godwin will discuss the three artists’ divergent sculptural processes, examining their individual approaches and identities with respect to materials and methods. To join, register at zoom.us.
Charles Ray, Tractor, 2003–04 © Charles Ray, courtesy Matthew Marks Gallery
Artist Spotlight
Damien Hirst
July 8–14, 2020
Since emerging onto the international art scene in the late 1980s, Damien Hirst has created installations, sculptures, paintings, and drawings that examine the complex relationships between art and beauty, religion and science, and life and death. From serialized paintings exploring color and its effects on the eye to cabinets arranged with pills, medicines, or surgical instruments, his work challenges contemporary belief systems, tracing the uncertainties that lie at the heart of human experience.
Photo: Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS 2020
Museum Exhibitions
Closing this Week
The Cindy Sherman Effect
Identität und Transformation in der zeitgenössischen Kunst
Through July 19, 2020
Kunstforum Wien, Vienna
www.kunstforumwien.at
Cindy Sherman’s work has long questioned issues of identity, including the ways in which it can be constructed and transformed, and elements of fiction. The exhibition, whose title translates to Identity and Transformation in Contemporary Art, juxtaposes Sherman’s work with that of other contemporary artists, including Douglas Gordon, working in a variety of media.
Cindy Sherman, Untitled (#93), 1981, Astrup Fearnley Museet, Oslo © Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York
On View
Amuse-Bouche
The Taste of Art
Through July 26, 2020
Museum Tinguely, Basel
www.tinguely.ch
Amuse-Bouche: The Taste of Art presents works—some with a participatory element—by more than forty-five international artists from the Baroque period to the present that explore taste as a dimension of aesthetic perception. Breaking with the usual museum practice of appealing primarily to the sense of sight, works in the exhibition offer art historical and phenomenological encounters with the sense of taste. Work by Urs Fischer, Damien Hirst, Cindy Sherman, Andy Warhol, and Tom Wesselmann is included.
Installation view, Amuse-Bouche: The Taste of Art, Museum Tinguely, Basel, February 19–July 26, 2020. Artwork, left to right: © Opavivará!; © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photo: Gina Folly © 2020 Museum Tinguely, Basel
On View
Helen Frankenthaler in
The Fullness of Color: 1960s Painting
Through August 2, 2020
Solomon R. Guggenheim Museum, New York
www.guggenheim.org
In the 1960s a group of avant-garde painters began to push abstraction in new directions, their attempts leading to the emergence of several divergent styles. Works in this presentation chart several of the varied and complex courses nonrepresentational art followed in the 1960s and into the 1970s. This exhibition reflects the museum’s historical engagement with this artistic period. Work by Helen Frankenthaler is included.
Helen Frankenthaler, Canal, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York
On View
Marking Time
Process in Minimal Abstraction
Through August 2, 2020
Solomon R. Guggenheim Museum, New York
www.guggenheim.org
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. Work by Brice Marden and David Reed is included.
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; © Chryssa; © 2020 Jacob El Hanani; © 2020 Brice Marden/Artists Rights Society (ARS), New York