Dennis Hopper, Felicia, Marin, Ruins, c. 1971
Gelatin silver print, 3 ½ × 5 inches (8.9 × 12.7 cm)
Dennis Hopper
Double Standard, 1961
Photograph, 16 × 24 inches (40.6 × 61 cm)
Dennis Hopper established his reputation as a cult director with Easy Rider (1969), while maintaining his reputation as an edgy character actor with gritty performances in The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986), and Hoosiers (1986). Before his rise to Hollywood stardom, he captured the establishment–busting spirit of the 1960s in photographs that travel from Los Angeles to Harlem to Tijuana, and which portray iconic figures including Tina Turner, Andy Warhol, and Martin Luther King, Jr. Exhibited at Gagosian New York in 2013, The Lost Album in its entirety comprises over 400 black and white photographs taken between 1961—when his first wife Brooke Hayward gave him a Nikon camera for his birthday—and 1967.
Dennis Hopper was born in 1936 in Dodge City, Kansas, and died in 2010 in Venice, California. Recent solo exhibitions include “American Pictures 1961–1967,” MAK Center, Los Angeles (2000); “International Traveling Retrospective Exhibition,” Stedelijk Museum, Amsterdam (2001, traveled to Mak Museum für Angewandte Kunst, Vienna); “Dennis Hopper and the New Hollywood,” Australian Centre For The Moving Image, Melbourne (2009); “Double Standard,” The Museum of Contemporary Art, Los Angeles (2010); “L.A. and Friends—Photographs from the 60's,” Art District, Le Royal Monceau, Paris (2011); “En el camino,” Museo Picasso Málaga, Spain (2013); “The Lost Album,” Royal Academy of Arts, London (2014); and “Part of Being an Artist: The Dennis Hopper Collection, Selected Artwork and Ephemera,” Hugh Hefner Exhibition Hall and Cinematic Arts Gallery, University of Southern California School of Cinematic Arts, Los Angeles (2014). His photographs are included in the permanent collections of The Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Los Angeles County Museum of Art, California; Museum of Contemporary Art, Los Angeles; and Carnegie Museum of Art, Pittsburgh.
The Fall 2024 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Mao (1972) on the cover.
Grace Coddington, fashion editor and former creative-director-at-large for American Vogue, meets with the Quarterly’s Derek C. Blasberg to reminisce on some of her most iconic collaborations with photographers and artists.
Architect and designer Jayden Ali joins Gagosian associate director Péjú Oshin for a conversation about false notions of failure, four-day workweeks, and the connective power of building together.
Old friends chat about their love of music, nightclub paintings, life lessons from aikido, and Spencer Sweeney’s upcoming exhibition The Painted Bride, at Gagosian, New York.
The exhibition Enzo Mari, curated by Hans Ulrich Obrist with Francesca Giacomelli at the Design Museum, London, runs through September 8. Taking a cue from this major retrospective, Bartolomeo Sala delves into Mari’s practice and convictions.
The Warp of Time celebrates a hundred years of shared history between the Old Carpet Factory, a historical mansion located on the Greek island of Hydra, and Soutzoglou Carpets. Here, Salomé Gómez-Upegui interviews curator Ekaterina Juskowski about Helen Marden’s woven works within the context of the exhibition, touching upon themes of history, memory, and creative expression.
John Elderfield and Lauren Mahony of Gagosian speak with the National Gallery of Art’s Harry Cooper about the new and expanded version of Elderfield’s 1989 monograph on Helen Frankenthaler that Gagosian, in collaboration with the Helen Frankenthaler Foundation, will publish this summer. The conversation traces Elderfield’s long interest in Frankenthaler’s work—from his time as a young curator at the Museum of Modern Art, New York, to the present—and reveals some of the new perspectives and discoveries awaiting readers.
In conjunction with the memorial service for Brice Marden held at the Museum of Modern Art, New York, Mirabelle and Melia Marden produced a short film directed by Chiara Clemente to honor the late artist. Featuring interviews, archival photographs, and family videos, this film captures Marden’s vibrant life and enduring cultural impact.
Sydney Stutterheim has published Artist, Audience, Accomplice: Ethics and Authorship in Art of the 1970s and 1980s (Duke University Press, 2024), a survey of performance art and related practices that involve, in various manners, the figure of the accomplice. To celebrate the publication, the Quarterly is publishing an excerpt that examines Chris Burden’s Deadman (1972).
Michael Ovitz, cofounder of Creative Artists Agency (CAA), looks back to 1989, the year he and the architect I. M. Pei commissioned Roy Lichtenstein to create the Bauhaus Stairway Mural for the then new CAA Building in Los Angeles. Through the experience of working with Lichtenstein, Ovitz formed a meaningful friendship with the artist.
Join Gagosian for a conversation between director, producer, and writer Sophia Heriveaux and actor, director, and writer Roger Guenveur Smith inside the exhibition Jean-Michel Basquiat: Made on Market Street, at Gagosian, Beverly Hills. Heriveaux and Guenveur Smith both share a personal connection to Basquiat: Heriveaux is the artist’s niece and Guenveur Smith was one of his friends and collaborators. The pair discuss Basquiat’s work and legacy, as well as his lasting impact on contemporary art and culture.
Sébastien Delot is director of conservation and collections at the Musée national Picasso–Paris and the organizer of the first retrospective to focus on Anselm Kiefer’s use of photography, which was held at Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut (Musée LaM) in Villeneuve-d’Ascq, France. He recently sat down with Gagosian director of photography Joshua Chuang to discuss the exhibition Anselm Kiefer: Punctum at Gagosian, New York. Their conversation touched on Kiefer’s exploration of photography’s materials, processes, and expressive potentials, and on the alchemy of his art.
