Now available
Gagosian Quarterly Summer 2026
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
About
Manifest throughout the artistic practice of André Villers is a distinctive experiential nature lent not only by his experimentation with an array of physical and formal elements, but by his unrelenting fascination with the play of shadows, transparencies, and sculptural dimension in photography. Following the hardships of World War II, Villers contracted bone tuberculosis at the age of seventeen. He was then moved to the Centro Hélio-Marin sanatorium in southeastern France, where he was bedridden for five years. It was during his recovery there that Villers first took up a camera, experimenting with photography as early as 1952. He first met Pablo Picasso by chance on a Vallauris street in 1953, where the artist was working in a ceramics studio. This serendipitous encounter marked the beginning of a profound friendship and creative dialogue which would ensue in the years following. The publication of the book Diurnes in 1962, with a preface by poet Jacques Prévert, was the culmination of their exceptional decade of joint investigation: thirty plates were selected from among some seven hundred photograms of masks, animals, and group figure studies made between 1954 and 1961. From this fruitful collaboration emerged an unprecedented synthesis of photography and painting, one that would transcend the boundaries of each respective medium and break new ground for a Cubist genre in photography.
André Villers was born in 1930 in Beaucourt, France, and died in 2016 in Le Luc, France. Recent exhibitions include “André Villers. Photographies et découpages/Villers 80: émulsions,” Villa Aurélienne, France (2010); “La Perspective du ventre. André Villers photographe et artiste—photographer and artist, ritratti da Picasso a Fellini, fotoelaborazioni e découpages,” Fondaco dell’Arte di Venezia, Italy (2010); “André Villers: collages et Découpages,” Galerie Sapone, Nice (2012–13); “André Villers: 60 ans de photographie,” Centre d’art La Malmaison, Cannes (2013); “André Villers et la photographie: noces de diamant! soixante ans de photographie,” Musée de la Photographie André Villers, Mougins (2013); and “André Villers,” Musée national Picasso, Paris (2014). Most of Villers’s oeuvre is housed at the Musée Nicéphore Niépce, France, as well as at the Musée de la Photographie à Charleroi, Belgium. Villers became a Chevalier of the French Order of Arts and Letters in 2006.
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Jenny Saville a Ca’ Pesaro
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
The Reflection of Bronze: Giuseppe Penone and Adam D. Weinberg
On the occasion of his exhibition The Reflection of Bronze at Gagosian, New York, Giuseppe Penone and curator Adam D. Weinberg sit down to discuss the genesis of, and their collaboration on, the show.
Alex Israel: Upside Down
Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.
Simon Hantaï: The Paradox of the “last studio”
On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.
James Turrell: Lifting the Veil
An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.
Derrick Adams: View Master
On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.
Giuseppe Penone: The Reflection of Bronze
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
A Tremendous Generosity: Jeff Koons on Marcel Duchamp
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
On Walter De Maria: Donna De Salvo and Lucy Raven
The Singular Experience at Gagosian’s Le Bourget gallery is the largest exhibition of Walter De Maria’s work in France in several decades. Organized by Donna De Salvo, senior adjunct curator at Dia Art Foundation, the exhibition marks the first time De Maria’s final sculpture, Truck Trilogy (2011–17), is being shown outside of the United States. Here, De Salvo speaks with artist Lucy Raven about her evolving kinship with De Maria and more.
Henry Moore: Monumental Nature
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
A Revolution in Jewels: Pomellato at Palais de Tokyo
The exhibition Pomellato, Le Joaillier Révolutionnaire opened at Palais de Tokyo, Paris, on June 24. The Italian jewelry house’s trailblazing advertising campaigns—created by some of the most consequential names in photography—act as the narrative arc of the exhibition, curated by Alba Cappellieri. Here, Sarah Godfrey tracks Pomellato’s history, speaks with Cappellieri about what drew her to this project, and examines some of the key photographs from the show.