Installation view
Installation view
Installation view
Installation view
Jake and Dinos Chapman
Platinum GoGo Fuckface, 1997
Mixed media, 41 × 18 × 22 inches (104.1 × 45.7 × 55.9 cm)
Jake and Dinos Chapman
The Un-Nameable, 1997
Mixed media, 39 × 25 × 37 inches (99.1 × 63.5 × 94 cm)
The Gagosian Gallery is pleased to announce the first major New York exhibition of Dinos and Jake Chapman. The exhibition is entitled Six Feet Under. The gallery will be transformed, as Jake Chapman describes, into "a mass graveyard", littered with skulls and overlooked by the Chapmans' brand of zygotic sculptural figures.
The London-based brothers both graduated with MA's from the Royal College of Art and began their on-going collaboration in 1991. Since then, they have become best known for their zygotic figures - grafted and re-worked mannequins of children often incorporating re-positioned genitalia, as most extensively shown in their 1996 exhibition Chapmanworld (ICA London). The child-monster figures are cast in shapes that are reminiscent of mythical creatures and freak show Siamese twins. These works succeed in their intention to shock but leave a far more lasting impression. As Robert Rosenblum describes in his review of that exhibition, "the Chapman look cuts deepest into our own art world of eerily virtual human realities.... I suspect that Chapmanworld will go on spooking our lives, whether we're in SoHo or Toys'R'Us or just looking in a mirror." (Artforum, September 1996).
The Chapman brothers' work has been exhibited at the ICA Boston and at the Walker Art Center, Minneapolis A catalogue surveying the Chapmans' work and including an interview with Robert Rosenblum will accompany the 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.
From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
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.
