There has always been tremendous interest in the human form and its influence on contemporary art. Whether highly representational or abstracted almost beyond recognition, the human form serves as the subject, the object, and, at times, the vehicle through which the final work is realized. The human body is particularly evident in sculpture because of the direct spatial relationship to the object, where the viewer’s own body is one of the primary means through which the work is interpreted and compared.
Spanning four decades and including the work of twenty-two artists, Gagosian’s exhibition The Human Body in Contemporary American Sculpture unites a diverse group of artists, some of whose primary medium is sculpture, and some who have used sculpture to further explore issues of form found in their painting.
Jacoba Urist profiles the legendary collector.
The Art History of Presidential Campaign Posters
Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.
The Generative Surface
Eileen Costello explores the oft-overlooked importance of paper choice to the mediums of drawing and printmaking, from the Renaissance through the present day.
Dorothy Lichtenstein sits down with Derek Blasberg to discuss the changes underway at the Lichtenstein Foundation, life in the 1960s, and what brought her to—and kept her in—the Hamptons.
Laws of Motion
Catalyzed by Laws of Motion—a group exhibition pairing artworks from the 1980s on by Jeff Koons, Cady Noland, Rosemarie Trockel, and Jeff Wall with contemporary sculptures by Josh Kline and Anicka Yi—Wyatt Allgeier discusses the convergences and divergences in these artists’ practices with an eye to the economic worlds from which they spring.
There is Woman in the Landscapes: Willem de Kooning from 1959 to 1963
Lauren Mahony considers a critical four-year period in the painter’s career, examining the technical changes that occurred between his “abstract parkway landscapes” of the late 1950s and the “pastoral landscapes” that succeeded them, as well as the impact on his work of his impending move to Springs, New York.