Jean Nouvel
Miroir D, 2014
Walnut and colored mirrors, Dimensions variable, edition of 6
Photo by Mike Bruce
Jean Nouvel
Mirror B, 2014
Walnut and colored mirrors, Dimensions variable, edition of 6
© Jean Nouvel Design, photo by Mike Bruce
Jean Nouvel was born in Fumel in 1945 and studied at the Ecole des Beaux-Arts, Paris. A key protagonist of intellectual debate in France regarding architecture, he was a founding member of Mars 1976 and Syndicat de l’Architecture. Nouvel’s buildings include Musée du Quai Branly, Paris; Fondation Cartier pour l'Art Contemporain, Paris; Lucerne Culture and Congress Centre, Switzerland; Torre Agbar, Barcelona; and Guthrie Theater, Minneapolis. The Louvre Abu Dhabi, the National Museum of China (NAMOC), and the Philharmonie de Paris at La Villette are among the projects currently in planning. Nouvel’s distinctions include the Aga Khan Award for Architecture for the Institut du Monde Arabe (1989); the Gold Medal of the Royal Institute of British Architects (2001); the Wolf Prize in Arts (2005); and the Pritzker Prize (2008). Exhibitions of his work—including “Jean Nouvel,” a retrospective at Centre Georges Pompidou, Paris (2001)—have been held throughout the world, from New York to Rio de Janeiro and Tokyo.
In 1995 Nouvel created the Jean Nouvel Design Agency (JND) to develop design and interior architecture projects in parallel with the architectural practice Ateliers Jean Nouvel. Several series of furniture and industrial objects have been developed and commercialized, from the Less collection (Unifor), coffee service (Alessi), lighting (Artemide & Troll), partitioning systems (Methis), seating (Roset), and tables (Cassina & Molteni).
Nouvel collaborated with Gagosian in the design of a 1850 square meter gallery at Le Bourget, Paris, which opened in October 2012. He has also designed a limited edition mirrored shoe in collaboration with Ruco Line, Italy, that accompanied the Gagosian Davies Street, London exhibition.
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.
Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.
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.
Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.
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.
On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
The most recent edition of Picture Books, an imprint organized by Emma Cline and Gagosian, pairs Mary Gaitskill’s novella STAUF: A Tragedy with Jill Mulleady’s painting The Shift. In celebration of this forthcoming publication, Gaitskill and Mulleady discuss the myth of Faust, good and evil in the digital age, and the channeling of raw matter into art.
Andrew Durbin’s dual biography The Wonderful World That Almost Was: A Life of Peter Hujar and Paul Thek, published by Farrar, Straus and Giroux, tracks the convergences and divergences in the lives of the two artists, from their first meeting in Coral Cables, Florida, in 1956 through their generative romantic and creative partnership in New York, Italy, Fire Island, and beyond. Ahead of the release, Durbin met with the Quarterly’s Wyatt Allgeier to speak about the development of the project, the sublime noncompliance of these two artists, and the motifs of love, death, and rebirth that weave through the telling of their story.
