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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

Shorter Than the Day

Shorter Than the Day

Sarah Sze writes on a recent collage.

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

Sarah Sze, Timepiece (2021), installation view, Rheinsprung 9, Basel © Sarah Sze. Photo: Julien Gremaud

Art Fair

Art Basel Parcours 2021
Sarah Sze

September 20–26, 2021, 7pm–1am daily
Rheinsprung 9, Basel

Sarah Sze’s first large-scale outdoor video work will be a key feature of this year’s Art Basel Parcours, which engages the public and fairgoers by placing site-specific sculptures, interventions, and performances in the city’s historic center.

Timepiece (2021) by night transforms the facade of a four-story building at the top of the historic Rheinsprung into a plume of images seemingly let loose from their frame. A multitude of randomly coded video sequences—a moon, a card trick, an electrical storm, and more—appears at dusk, rising, pixelating, glitching, and eventually dispersing.

Sarah Sze, Timepiece (2021), installation view, Rheinsprung 9, Basel © Sarah Sze. Photo: Julien Gremaud

Still from “Sarah Sze: Night Into Day”

Video

Sarah Sze
Night Into Day

Sarah Sze’s exhibition Night Into Day opened at the Fondation Cartier pour l’art contemporain, Paris, during the COVID-19 pandemic but was later closed due to lockdown restrictions in France. Produced on the occasion of the Fondation’s reopening, this video explores the various programming conceived to allow viewers to experience the exhibition while it was closed to the public, including a conversation between Sze, Anselm Kiefer, and philosopher Emanuele Coccia; a walk-through of the exhibition with the artist and philosopher Bruno Latour; and a livestreamed performance staged within the installation by Sze’s longtime friend, choreographer and dancer Trajal Harrell.

Still from “Sarah Sze: Night Into Day”

Georg Baselitz, Noch ein Orangenesser, 2020 © Georg Baselitz

Art Fair

Art Basel Hong Kong 2021

May 21–23, 2021, booth 1d30
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is pleased to participate in Art Basel Hong Kong with a presentation of modern and contemporary painting and sculpture by gallery artists. New paintings by Georg BaselitzAlex IsraelEd Ruscha, and Sarah Sze are featured alongside exceptional works in a range of mediums by Louise BonnetTheaster GatesHenry MooreNam June Paik, and others, uncovering formal and conceptual innovations and associations that span genres and aesthetic approaches.

Georg Baselitz, Noch ein Orangenesser, 2020 © Georg Baselitz

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Museum Exhibitions

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

On View

Sarah Sze

Through October 2021
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

Sarah Sze, Fifth Season, 2021, installation view, Storm King Art Center, New Windsor, New York © Sarah Sze

On View

Sarah Sze
Fifth Season

Through November 8, 2021
Storm King Art Center, New Windsor, New York
collections.stormking.org

To accompany Fallen Sky (2021), Sarah Sze’s new permanent outdoor sculptural commission at Storm King, the artist has created an immersive installation that spans fifty feet in length, creating a portal through the gallery that houses it. The work, Fifth Season (2021), considers landscape as a timeless preoccupation of artists but refuses the impulse to present the natural world as comforting or coherent, instead depicting it as fragile and in flux.

Sarah Sze, Fifth Season, 2021, installation view, Storm King Art Center, New Windsor, New York © Sarah Sze

Sarah Sze, Flash Point (Timekeeper), 2018 © Sarah Sze. Photo: Matteo D’Eletto, M3 Studio

On View

Sarah Sze in
Critical Zones

Through January 9, 2022
ZKM | Center for Art and Media, Karlsruhe, Germany
zkm.de

This exhibition invites visitors to engage with the critical situation of the earth in a novel and diverse way and to explore new modes of coexistence between all forms of life. In order to remedy the generally prevailing disorientation and dissension in society, politics, and ecology with regard to the changing state of the planet, the exhibition project sets up an imaginary cartography, considering the earth as a network of “critical zones.” Work by Sarah Sze is included.

Sarah Sze, Flash Point (Timekeeper), 2018 © Sarah Sze. Photo: Matteo D’Eletto, M3 Studio

Sarah Sze, Mirror with Landscape Leaning (Fragment Series), 2015, Yale University Art Gallery, New Haven, Connecticut © Sarah Sze

On View

Sarah Sze in
On the Basis of Art: 150 Years of Women at Yale

Through January 9, 2022
Yale University Art Gallery, New Haven, Connecticut
artgallery.yale.edu

On the Basis of Art celebrates the achievements of women artists who have graduated from Yale University. Presented on the occasion of the 50th anniversary of coeducation at Yale College and the 150th anniversary of the first women students at the University, who came to study at the Yale School of the Fine Arts when it opened in 1869—the exhibition features works drawn entirely from the Yale University Art Gallery’s collection. The exhibition title refers to a phrase in Title IX, the landmark 1972 US federal law declaring that no one in an education program receiving federal financial assistance could be discriminated against “on the basis of sex.” Work by Sarah Sze is included.

Sarah Sze, Mirror with Landscape Leaning (Fragment Series), 2015, Yale University Art Gallery, New Haven, Connecticut © Sarah Sze

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Press

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