Louise Bonnet, Green Pantyhose, 2022

Louise Bonnet and Dodie Bellamy

Poet and novelist Dodie Bellamy visits the artist Louise Bonnet at her Los Angeles studio as she prepares for an exhibition of new works in Hong Kong and the inclusion of one of her paintings in the 59th Biennale di Venezia. The two discuss the power of horror, the intensity of memory, and their creative processes.

Takashi Murakami cover and Andreas Gursky cover for Gagosian Quarterly, Summer 2022 magazine

Now available
Gagosian Quarterly Summer 2022

The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).

Albert Chong, Natural Mystic, I-Traits series, 1982, black-and-white gelatin silver print

Receptacles of Memory

Lara Mashayekh speaks with artist Albert Chong and scholar Marci Kwon about the role of the archive and mysticism, their lived experiences as professionals in the art world, and their forthcoming endeavors.

Urs Fischer and Francesco Bonami speaking amidst the installation of "Urs Fischer: Lovers" at Museo Jumex, Mexico City

Urs Fischer: Lovers

The exhibition Urs Fischer: Lovers at Museo Jumex, Mexico City, brings together works from international public and private collections as well as from the artist’s own archive, alongside new pieces made especially for the exhibition. To mark this momentous twenty-year survey, the artist sits down with the exhibition’s curator, Francesco Bonami, to discuss the installation.

A Takashi Murakami painting of a female avatar with blue and pink hair: CLONE X #59 Harajuku-style Angel

Takashi Murakami and RTFKT: An Arrow through History

Bridging the digital and the physical realms, the three-part presentation of paintings and sculptures that make up Takashi Murakami: An Arrow through History at Gagosian, New York, builds on the ongoing collaboration between the artist and RTFKT Studios. Here, Murakami and the RTFKT team explain the collaborative process, the necessity of cognitive revolution, the metaverse, and the future of art to the Quarterly’s Wyatt Allgeier.

Installation view, Pat Steir: Paintings, Gagosian, Rome, March 10–May 7, 2022. Photo: Matteo D’Eletto

Artist to Artist: Pat Steir and Sarah Sze

On the occasion of her exhibition of recent paintings, presented at Gagosian in Rome, Pat Steir met with fellow artist Sarah Sze for a wide-ranging discussion—from shared inspirations and influences to the role of chance, contingency, place, and time in painting.

Andreas Gursky, Salinas, 2021, Diasec-mounted inkjet print, framed: 80 × 160 ⅜ × 2 ½ inches (203.2 × 407.2 × 6.2 cm)

Andreas Gursky

On the occasion of an exhibition at Gagosian, New York, from May 5 to June 18, 2022, Max Dax met with Andreas Gursky to speak with the photographer about his new work. Here, they discuss the consequences of the pandemic on certain works, the roles of techno music and art history in Gursky’s art process, and the necessary balance of beauty and honesty in the contemporary.

Alexandria Smith, London, 2022. Photo: © Amoroso Films

Alexandria Smith

The artist speaks with author Nalo Hopkinson about what it means to depict the body, the struggles to embark on new projects, and the contours of space and place in the creation of fiction and art.

Mary Weatherford, The Flaying of Marsyas—4500 Triphosphor, 2021–22 (detail), Flashe and neon on linen, 93 × 79 inches (236.2 × 200.7 cm). Photo: Fredrik Nilsen Studio

Mary Weatherford: The Flaying of Marsyas

Coinciding with the 59th Venice Biennale, an exhibition at the Museo di Palazzo Grimani in Venice presents new paintings by Mary Weatherford inspired by Titian’s The Flaying of Marsyas (1570–76). Francine Prose traces the development of these works.

Simon Hantaï cutting out a monumental yellow Tabula (1981), Meun, France, 1995. Artwork © Archives Simon Hantaï/ADAGP, Paris. Photo: Antonio Semeraro

Simon Hantaï: Les blancs de la couleur, la couleur du blanc

Anne Baldassari reflects on the art historical influences and radical breaks reflected in the artist’s work with color.

Robert Mapplethorpe wearing a selection of his jewelry, New York, 1971. Photo: Valerie Santagto

Robert Mapplethorpe’s Jewelry: Gaia Repossi and Michael Ward Stout

As part of an ongoing collaboration, Gaia Repossi, creative director for the Paris jewelry house Repossi, has created a collection of pieces inspired by Robert Mapplethorpe’s art practice and jewelry. Speaking with Michael Ward Stout, president of the Robert Mapplethorpe Foundation, and the Quarterly’s Wyatt Allgeier, Repossi recounts the origins of this project and details her deep admiration for the artist’s precision and eye for composition.

Louise Bonnet working in her studio on a new painting

Behind the Art
Louise Bonnet: Onslaught

Join Louise Bonnet in her Los Angeles studio as she works on new paintings ahead of her exhibition Onslaught, at Gagosian, Hong Kong.

Still from Daughters of the Dust (1991), directed by Julie Dash


Alexandria Smith Selects

May 20–June 2, 2022
Metrograph, New York

Alexandria Smith has curated a selection of films that have influenced her practice for many years, as part of a series copresented by Gagosian and Metrograph in the theater and online. The program will feature cinema exploring themes of loneliness through the prism of the fantastical; notions of family through spirituality; and the deconstruction of narrative through the disruption and manipulation of time.

Still from Daughters of the Dust (1991), directed by Julie Dash

Installation view, Simon Hantaï: Accrochage, Gagosian, rue de Ponthieu, Paris, April 5–May 28, 2022. Artwork © Archives Simon Hantaï/ADAGP, Paris


Simon Hantaï

April 5–May 28, 2022
Gagosian, rue de Ponthieu, Paris

Gagosian, Paris, is pleased to present a selection of paintings by Simon Hantaï (1922–2008). In anticipation of his forthcoming retrospective at Fondation Louis Vuitton, curated by Anne Baldassari and opening on May 18, 2022, these works will be installed on the ground floor of the gallery at 4 rue de Ponthieu. The grouping, which is dominated by bold, vibrant colors evocative of spring blossoms, features several paintings made by Hantaï using variations on his iconic pliage (folding) technique.

Installation view, Simon Hantaï: Accrochage, Gagosian, rue de Ponthieu, Paris, April 5–May 28, 2022. Artwork © Archives Simon Hantaï/ADAGP, Paris

Central Marfa Historic District


Central Marfa Historic District
National Register of Historic Places

The Central Marfa Historic District, including eleven buildings preserved and repurposed by Donald Judd, has been listed on the National Register of Historic Places. This is the first time that Judd’s approach to architecture and preservation has been recognized as historically significant at the federal level.

The district’s addition to the National Register acknowledges the historical, architectural, and cultural significance of the city of Marfa, the importance of the town’s Hispanic heritage, and its growth as a mercantile center from the late nineteenth century into the postwar period. The eleven buildings are today maintained by Judd Foundation and the Chinati Foundation.

Central Marfa Historic District

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Museum Exhibitions

Tatiana Trouvé, Les indéfinis, 2018 © Tatiana Trouvé

Opening this Week

What a Wonderful World

May 26, 2022–March 12, 2023
Museo nazionale delle arti del XXI secolo, Rome

This exhibition brings together major installations by fourteen international artists including key works from the museum’s collection and others commissioned for the occasion. The works on display investigate issues of scientific and technological progress relating to the challenges of the contemporary era. Work by Carsten Höller and Tatiana Trouvé is included.

Tatiana Trouvé, Les indéfinis, 2018 © Tatiana Trouvé

Karin Kneffel, Untitled, 2016 © VG Bild-Kunst, Bonn, Germany, 2022

Opening this Week

Karin Kneffel
Im Bild

May 29–October 3, 2022
Franz Marc Museum, Kochel am See, Germany

This exhibition, whose title translates to In the Picture, presents Karin Kneffel’s illusionistic paintings of historical artworks installed in unknown spaces and seen through misty or raindrop-spattered windowpanes, alongside source works from the museum’s collection by artists including Wassily Kandinsky, Ernst Ludwig Kirchner, Oskar Kokoschka,  and August Macke.

Karin Kneffel, Untitled, 2016 © VG Bild-Kunst, Bonn, Germany, 2022

Jia Aili, Midday, 2021 (detail) © Jia Aili Studio. Photo: Yang Chao Studio 

Closing this Week

Jia Aili

Through May 29, 2022
Tank Shanghai

This major exhibition, curated by Shen Qilan, presents four large-scale paintings by Jia Aili that reflect a correspondence between the vulnerability of individuals and shifts in society as a whole. Harsh (2021), the centerpiece created specifically for this exhibition, is Jia’s largest painting to date. The other three works featured—Hermit from the Planet (2015–16), Sonatine (2019–21), and Midday (2021)—likewise address social issues while revealing the artist’s continual innovations in the medium of painting.

Jia Aili, Midday, 2021 (detail) © Jia Aili Studio. Photo: Yang Chao Studio 

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Closing this Week

Gregory Crewdson in
The Light Fantastic

Through May 30, 2022
Crystal Bridges Museum of American Art, Bentonville, Arkansas

In The Light Fantastic, works by twenty-seven artists from the nineteenth century to today are displayed alongside one another as a meditation on light—a form of energy that shapes how artists and viewers alike understand color, volume, and composition. In addition to considering works in painting, sculpture, printmaking, and photography, viewers have the opportunity to discover how local community members use light in their own art making and to consider how the lighting of the gallery affects perceptions of the exhibition. Work by Gregory Crewdson is included.

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

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