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Sarah Sze

Sarah Sze, Hidden Relief, 2001 Mixed media, 168 × 60 × 12 inches (426.7 × 152.4 × 30.5 cm)Installation view, Asia Society, New York, 2001–04© Sarah Sze

Sarah Sze, Hidden Relief, 2001

Mixed media, 168 × 60 × 12 inches (426.7 × 152.4 × 30.5 cm)
Installation view, Asia Society, New York, 2001–04
© Sarah Sze

Sarah Sze, Untitled (Tokyo), 2008 (detail) Mixed media, overall dimensions variableInstallation view, Ginza Maison Hermès Le Forum, Tokyo, 2008© Sarah Sze

Sarah Sze, Untitled (Tokyo), 2008 (detail)

Mixed media, overall dimensions variable
Installation view, Ginza Maison Hermès Le Forum, Tokyo, 2008
© Sarah Sze

Sarah Sze, Still Life with Landscape (Model for a Habitat), 2011 Stainless steel and wood, 9 × 22 × 21 feet (2.7 × 6.7 × 6.4 m)Installation view, High Line, New York, 2011–12© Sarah Sze

Sarah Sze, Still Life with Landscape (Model for a Habitat), 2011

Stainless steel and wood, 9 × 22 × 21 feet (2.7 × 6.7 × 6.4 m)
Installation view, High Line, New York, 2011–12
© Sarah Sze

Sarah Sze, Triple Point (Observatory), 2013 Mirrors, photograph of rock printed on Tyvek, wood, aluminum, metal, and mixed media, overall dimensions variable
Installation view, Biennale di Venezia, 2013
© Sarah Sze

Sarah Sze, Triple Point (Observatory), 2013

Mirrors, photograph of rock printed on Tyvek, wood, aluminum, metal, and mixed media, overall dimensions variable

Installation view, Biennale di Venezia, 2013

© Sarah Sze

Sarah Sze, Landscape of Events Suspended Indefinitely (Hammock), 2015 (detail) Mixed media, including acrylic paint, string, cord, metal, stone, and archival photograph on Tyvek, 115 × 190 × 42 inches (292.1 × 482.6 × 106.7 cm)Installation view, Biennale di Venezia, 2015
© Sarah Sze

Sarah Sze, Landscape of Events Suspended Indefinitely (Hammock), 2015 (detail)

Mixed media, including acrylic paint, string, cord, metal, stone, and archival photograph on Tyvek, 115 × 190 × 42 inches (292.1 × 482.6 × 106.7 cm)
Installation view, Biennale di Venezia, 2015

© Sarah Sze

Sarah Sze, Timekeeper, 2016 (detail) Mixed media, including mirrors, wood, stainless steel, archival pigment prints, video projectors, lamps, desks, stools, and stone, overall dimensions variableInstallation view, Rose Art Museum, Brandeis University, Waltham, Massachusetts, 2016
© Sarah Sze

Sarah Sze, Timekeeper, 2016 (detail)

Mixed media, including mirrors, wood, stainless steel, archival pigment prints, video projectors, lamps, desks, stools, and stone, overall dimensions variable
Installation view, Rose Art Museum, Brandeis University, Waltham, Massachusetts, 2016

© Sarah Sze

Sarah Sze, Blueprint for a Landscape, 2017 Porcelain tile, 13,000 square feet, 96th Street New York City Subway station, commissioned by MTA Arts & Design and New York City Transit© Sarah Sze

Sarah Sze, Blueprint for a Landscape, 2017

Porcelain tile, 13,000 square feet, 96th Street New York City Subway station, commissioned by MTA Arts & Design and New York City Transit
© Sarah Sze

Sarah Sze, Centrifuge, 2017 Mixed media, including mirrors, wood, bamboo, stainless steel, archival pigment prints, video projectors, ceramic, acrylic paint, and salt, overall dimensions variableInstallation view, Haus der Kunst, Munich, 2017–28© Sarah Sze

Sarah Sze, Centrifuge, 2017

Mixed media, including mirrors, wood, bamboo, stainless steel, archival pigment prints, video projectors, ceramic, acrylic paint, and salt, overall dimensions variable
Installation view, Haus der Kunst, Munich, 2017–28
© Sarah Sze

About

Art is a timekeeper; it endows breath into materials. It is a traveling message between humans across centuries.
—Sarah Sze

Sarah Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia works that shift scale between microscopic observation and macroscopic perspective on the infinite. A peerless bricoleur, Sze moves with a light touch across proliferating media. Her dynamic, generative body of work spans sculpture, painting, drawing, printmaking, video, and installation while always addressing the precarious nature of materiality and grappling with matters of entropy and temporality.

Born in Boston, Sze earned a BA from Yale University in 1991 and an MFA from the School of Visual Arts, New York, in 1997. While still in graduate school, she challenged the very nature of sculpture, at MoMA PS1 in New York, by burrowing into the walls of the building, creating sculptural portals and crafting ecosystems that radically transformed the host architecture. A year later, for her first solo institutional exhibition, at the Museum of Contemporary Art Chicago, she presented Many a Slip (1999), an immersive installation sprawling through several rooms in which flickering projections were scattered among complex assemblages of everyday objects. This marked Sze’s first foray into video, which has since become a central medium of her installations. Citing the Russian Constructivist notion of the “kiosk” as a key inspiration, she conceived subsequent installations as portable stations for the interchange of images and the exchange of information. Sze’s work was included in the 48th Biennale di Venezia and the Carnegie International in 1999; the Whitney Biennial in 2000; and the Bienal de São Paulo in 2002. She was awarded a MacArthur Fellowship in 2003.

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Sarah Sze

Photo: courtesy Sarah Sze studio

Website

sarahsze.com

Featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Now available
Gagosian Quarterly Summer 2020

The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Detail of Sarah Sze's multimedia installation Plein Air.

Sarah Sze: Anything Times Zero Is Zero

Hear Sarah Sze speak about her most recent work, including the panel painting Picture Perfect (Times Zero) and the multimedia installation Plein Air (Times Zero) (both 2020). Discussing the relationship between painting and sculpture in her practice, she explains how she creates structure and its inverse, instability, in her layering of images, putting the viewer in the position of active discovery.

Still from La Jetée (1962), directed by Chris Marker.

Shortlist
Five Films: Sarah Sze

Sarah Sze writes about five films that live as richly evocative images in her visual memory.

Sarah Sze, Dews Drew (Half-life), 2018.

Sarah Sze: Infinite Generation

Louise Neri talks with Sarah Sze about the new primacy of the image in her explorations between and across mediums. They spoke on the occasion of an exhibition of Sze’s work at Gagosian, Rome, comprising collaged panel paintings, a large-scale video installation, and an outdoor sculpture fashioned from a natural boulder.

Video still of Sarah Sze speaking at a TED conference, Vancouver, BC, April 2019.

Sarah Sze: Art That Explores Time and Memory

Join Sarah Sze as she talks about the questions that drive her work. She describes creating immersive experiences that blur the lines between time, memory, and space—and between art and life.

Frieze Sculpture New York: An Interview with Brett Littman

Frieze Sculpture New York: An Interview with Brett Littman

The inaugural presentation of Frieze Sculpture New York at Rockefeller Center opened on April 25, 2019. Before the opening, Brett Littman, the director of the Isamu Noguchi Foundation and Garden Museum and the curator of this exhibition, told Wyatt Allgeier about his vision for the project and detailed the artworks included.

Sarah Sze: In the Studio

Work in Progress
Sarah Sze: In the Studio

Join Sarah Sze in her studio as she prepares for an exhibition of new work in Rome.

Fairs, Events & Announcements

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Art Fair

Basel Online 2020

In our most significant online sales presentation to date, Gagosian unveils important works by modern and contemporary masters through two separate online platforms—Gagosian Online and Art Basel Online. These individually curated selections offer collectors direct access to artworks of the highest caliber. To experience the presentation in its entirety, viewers will need to visit both gagosian.com and artbasel.com. The works on gagosian.com will rotate every forty-eight hours, for a total of five cycles.

Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Installation view, Sarah Sze, Gagosian, Paris, May 23–July 18, 2020. Artwork © Sarah Sze. Photo: Rebecca Fanuele

In Conversation

Sarah Sze
Anaïd Demir

Thursday, June 25, 2020, 12pm EDT

This event has been postponed. The new date will be announced shortly.

Sarah Sze will speak with French art critic Anaïd Demir on the École des Beaux-Arts de Paris Instagram Live account. The pair will discuss Sze’s current exhibition at Gagosian, Paris, as well the artist’s dynamic practice that addresses the precarious nature of materiality and grapples with matters of entropy and temporality. To watch the live conversation, visit École des Beaux-Arts’s Instagram.

Installation view, Sarah Sze, Gagosian, Paris, May 23–July 18, 2020. Artwork © Sarah Sze. Photo: Rebecca Fanuele

Sarah Sze, Ripple (Times Zero), 2020 © Sarah Sze

Honor

Sarah Sze
American Academy of Arts and Sciences

Sarah Sze has been inducted into the American Academy of Arts and Sciences. The Academy, founded in 1780, is both an honorary society that recognizes and celebrates the excellence of its members and an independent research center convening leaders from across disciplines, professions, and perspectives to explore challenges facing society, identify solutions, and promote nonpartisan recommendations that advance the public good.

Sarah Sze, Ripple (Times Zero), 2020 © Sarah Sze

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Museum Exhibitions

Sarah Sze, Images in Debris, 2018 (detail) © Sarah Sze

On View

Sarah Sze
Images in Debris

Through October 4, 2020
Museum of Contemporary Art, Toronto
museumofcontemporaryart.ca

Sarah Sze’s Images in Debris is the first installment in The City Is a Collection, an exhibition series organized by the Museum of Contemporary Art, Toronto, that presents privately owned contemporary artworks from throughout the local community. Constellatory, monumental, intimate, and immersive, this work is one in a series of sculptures by the artist where light, movement, images, and architecture coalesce into a single, precarious equilibrium.

Sarah Sze, Images in Debris, 2018 (detail) © Sarah Sze

Sarah Sze, sketch for exhibition installation at the Solomon R. Guggenheim Museum, New York, 2020

Opening Soon

Sarah Sze

Opening 2023
Solomon R. Guggenheim Museum, New York
www.guggenheim.org

A site-specific installation of works created by Sarah Sze engages with the Guggenheim Museum’s unique architecture, culminating with the New York premiere of Timekeeper (2016), from the museum’s collection, at the apex of Frank Lloyd Wright’s renowned building. Bringing together diverse elements that embody Sze’s meditation on our experience of the passage of time, the presentation attests to the artist’s unprecedented approach to materials and space.

Sarah Sze, sketch for exhibition installation at the Solomon R. Guggenheim Museum, New York, 2020

Sarah Sze, Triple Point (Pendulum), 2013 © Sarah Sze

Closed

Sarah Sze in
Surrounds: 11 Installations

October 21, 2019–January 4, 2020
Museum of Modern Art, New York
www.moma.org

Surrounds presents eleven watershed installations by living artists from the past two decades, conceived out of different circumstances but united in the scale of their ambition. Work by Sarah Sze is included.

Sarah Sze, Triple Point (Pendulum), 2013 © Sarah Sze

Sarah Sze, Seamless, 1999 (detail) © Sarah Sze

Closed

Sarah Sze

November 15, 2018–July 14, 2019
Tate Modern, London
www.tate.org.uk

Sarah Sze’s work Seamless (1999) is on display in a room on the fourth floor of the Boiler House at Tate Modern, paired with a work by Piet Mondrian.

Sarah Sze, Seamless, 1999 (detail) © Sarah Sze