Chris Burden
Another World II, 1993
Wood base, wood block buildings, glass river, 2 Titanic model boats, Meccano building parts, motor, 65 × 59 × 59 inches (165.1 × 149.9 × 149.9 cm)
Jake and Dinos Chapman
Shuffle, 1996
Fiberglass resin and paint, 50 × 24 × 23 inches (127 × 61 × 58.4 cm)
Francesco Clemente
There, 1993
Pigment on canvas, 76 × 72 inches (193 × 182.9 cm)
Damien Hirst
Beautiful, cheap, shitty, too easy , anyone can do one, big, motor-driven, roto-heaven, corrupt, trashy, bad art, shito, motivating, captivating, over the sofa, celebrating painting, 1996
Household gloss paint on canvas, diameter: 120 inches (304.8 cm)
© Damien Hirst
Ed Ruscha
The Mighty Ones, 1993
Acrylic on lunette-shaped canvas, 66 × 137 inches (167.7 × 348 cm)
Robert Therrien
No Title (red devils), 1997
Mixed media on panel, 101 × 87 inches (256.5 × 221 cm)
Gagosian is pleased to present a group show including major works by Francesco Clemente, Frank Stella, Philip Taaffe, Robert Therrien, and Ed Ruscha. In addition, there will be a large Dollar Sign painting by Andy Warhol, an erotic sculpture by the London artists Dinos and Jake Chapman, a Spin painting by Damien Hirst, and a motorized work by Chris Burden, in which two models of the Titanic spin around an Eiffel Tower.
Tracking works by Chris Burden, Bruce Nauman, Maria Nordman, and Eric Orr as outliers and outcroppings of the California Light and Space movement, Michael Auping argues that darkness—the absence of light and space—is a key element of the aesthetic.
The Fall 2025 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Blue Liz as Cleopatra (1962) on the cover.
Carlos Valladares tracks the artist’s engagements with Hollywood glamour, thinking through the ways in which the star system and its marketing engine informed his work.
For the first time ever, the Robert Therrien Estate presents a collaborative exhibition in the artist’s Los Angeles studio. Sculptor Isabelle Albuquerque kicks off a series of shows that place noteworthy voices in dialogue with Therrien’s practice. Here, Albuquerque speaks with Dean Anes and Paul Cherwick from the estate about the collaboration.
As American identity once again comes into question during a politically charged election cycle, the Quarterly revisits the motif of the American flag in art. Here, John B. Ravenal contextualizes Robert Lazzarini’s new wall-based flag sculptures and elucidates the tensions they lay bare in the symbol of our nation.
The Fall 2024 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Mao (1972) on the cover.
Jessica Beck examines Andy Warhol’s return to painting in the 1970s, focusing on the artist’s Mao series.
Sydney Stutterheim has published Artist, Audience, Accomplice: Ethics and Authorship in Art of the 1970s and 1980s (Duke University Press, 2024), a survey of performance art and related practices that involve, in various manners, the figure of the accomplice. To celebrate the publication, the Quarterly is publishing an excerpt that examines Chris Burden’s Deadman (1972).
Andy Warhol’s Insiders at the Gagosian Shop in London’s historic Burlington Arcade is a group exhibition and shop takeover that feature works by Warhol and portraits of the artist by friends and collaborators including photographers Ronnie Cutrone, Michael Halsband, Christopher Makos, and Billy Name. To celebrate the occasion, Makos met with Gagosian director Jessica Beck to speak about his friendship with Warhol and the joy of the unexpected.
In this video, Jessica Beck, director at Gagosian, Beverly Hills, sits down to discuss the three early paintings by Andy Warhol from 1963 featured in the exhibition Andy Warhol: Silver Screen, at Gagosian in Paris.
In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.
Gillian Pistell writes on the loaded symbol of the American flag in the work of postwar and contemporary artists.
Join Gagosian to celebrate the publication of Poetic Practical: The Unrealized Work of Chris Burden with a conversation between American Artist, Yayoi Shionoiri, and Sydney Stutterheim presented at the Kitchen, New York. Considering the book’s sustained examination of sixty-seven projects that remained incomplete at the time of Burden’s death in 2015, the trio discuss the various ways that an artist’s work and legacy live on beyond their lifetime.
Michael Auping tells the Quarterly’s Alison McDonald about the preparations for a performance by Chris Burden at the Newport Harbor Art Museum in Southern California in 1974—and the event’s abrupt cancellation—providing a glimpse into the mindset of a young, aggressive, and ambitious artist in the early stages of his career.
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
A new publication exploring the work that Chris Burden conceived but left unrealized delves into his archive to present sixty-seven visionary projects that reveal the aspirations of this formidable artist. The book’s editors, Sydney Stutterheim and Andie Trainer, discuss its development with Yayoi Shionoiri, executive director of the Chris Burden Estate.
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Jacoba Urist profiles the legendary collector.
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.
Raymond Foye speaks with the actor who impersonated Andy Warhol during the great Warhol lecture hoax in the late 1960s. The two also discuss Midgette’s earlier film career in Italy and the difficulty of performing in a Warhol film.
