
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.
A leading photo-based artist of her generation, Deana Lawson is renowned for images that explore how communities and individuals hold space within shifting terrains of social, capital, and ecological orders. Lawson projects her own contemporary Black experience onto an expanded view of human history and cosmologies. Her gaze is both local and global, focusing on Brooklyn, the Americas, and countries connected to the African diaspora.
Lawson’s striking large-scale prints emphasize themes of the corporeal, with the body as a site of social, cultural, and cosmological inscriptions. Taking inspiration from traditions including the vernacular snapshot, social documentary, and studio portraiture, she considers the visual language of the camera and the power of representation, beauty, and defiance.
Lawson was born in 1979 in Rochester, New York. Her mother was an administrative assistant at Kodak, and her father worked at Xerox; he was also an avid family photographer, informing her early interest in the medium and the family album. She studied photography at Pennsylvania State University, graduating with a BFA in 2001, and continued her studies at the Rhode Island School of Design, earning her MFA in 2004. In 2012, Lawson joined the faculty of Princeton University, where she was named the inaugural Dorothy Krauklis ’78 Professor of Visual Arts in 2021. In 2013, she received a Guggenheim Foundation grant, facilitating her travel to the Democratic Republic of the Congo, Ethiopia, Haiti, and Jamaica.
Lawson was the recipient of the 2020 Hugo Boss Prize—the first artist working in photography to receive the award—which led to Centropy, an exhibition at Solomon R. Guggenheim Museum featuring her photographs and a visual essay in the form of an eponymous film. Her first comprehensive museum survey was curated by Peter Eleey and Eva Respini, debuting at Institute of Contemporary Art, Boston, in 2021, and traveling to MoMA PS1, New York (2022) and the High Museum of Art, Atlanta (2022–23). In 2022, she was awarded the prestigious Deutsche Börse Photography Foundation Prize.


The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
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.

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.

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.

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.

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.

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.

Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.

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.

Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.

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.

On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.
Request more information about
Deana Lawson