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Portraits Obscured

July 20–September 12, 1998
980 Madison Avenue, New York

Jean-Michel Basquiat, Untitled (Spermatozoon), 1983 Acrylic and oilstick on canvas, 66 × 60 inches (167.6 × 152.4 cm)

Jean-Michel Basquiat, Untitled (Spermatozoon), 1983

Acrylic and oilstick on canvas, 66 × 60 inches (167.6 × 152.4 cm)

Francesco Clemente, Stupa, 1991 Mixed media, 5 panels: 142 ⅞ × 38 ½ inches overall (362.9 × 97.8 cm)

Francesco Clemente, Stupa, 1991

Mixed media, 5 panels: 142 ⅞ × 38 ½ inches overall (362.9 × 97.8 cm)

Willem de Kooning, Woman on a Sign I, 1967 Oil on paper mounted on canvas, 47 ⅝ × 35 ¾ inches (121 × 90.8 cm)

Willem de Kooning, Woman on a Sign I, 1967

Oil on paper mounted on canvas, 47 ⅝ × 35 ¾ inches (121 × 90.8 cm)

Anselm Kiefer, Wege VI, 1978 Oil and wood-cut on canvas, 4 panels: 130 ½ × 108 ½ inches (331.5 × 275.6 cm)

Anselm Kiefer, Wege VI, 1978

Oil and wood-cut on canvas, 4 panels: 130 ½ × 108 ½ inches (331.5 × 275.6 cm)

Pablo Picasso, Femme aux Bras Croises, 1960 Oil on canvas, 39 ⅜ × 32 inches (100 × 81.3 cm)

Pablo Picasso, Femme aux Bras Croises, 1960

Oil on canvas, 39 ⅜ × 32 inches (100 × 81.3 cm)

Andy Warhol, Self Portrait (Camouflage), 1986 Synthetic polymer paint and silkscreen ink on canvas, 80 × 80 inches (203.2 × 203.2 cm)

Andy Warhol, Self Portrait (Camouflage), 1986

Synthetic polymer paint and silkscreen ink on canvas, 80 × 80 inches (203.2 × 203.2 cm)

About

Gagosian is pleased to present our summer show, entitled Portraits Obscured. The exhibition will feature paintings by Jean-Michel Basquiat, Francesco Clemente, Willem de Kooning, Anselm Kiefer, Pablo Picasso, and Andy Warhol, as well as a sculpture by David Smith.

Brice Marden: Sketchbook (Gagosian, 2019); Lee Lozano: Notebooks 1967–70 (Primary Information, 2010); Stanley Whitney: Sketchbook (Lisson Gallery, 2018); Kara Walker: MCMXCIX (ROMA, 2017); Louis Fratino,Sept ’18–Jan. ’19 (Sikkema Jenkins & Co., 2019); Jean-Michel Basquiat: The Notebooks (Princeton University Press, 2015); Keith Haring Journals (Penguin Classics Deluxe Edition, 2010).

Book Corner
Private Pages Made Public

Megan N. Liberty explores artists’ engagement with notebooks and diaries, thinking through the various meanings that arise when these private ledgers become public.

Andy Warhol catalogue. Philadelphia: Institute of Contemporary Art, 1965.

Book Corner
On Collecting with Norman Diekman

Rare-book expert Douglas Flamm speaks with designer Norman Diekman about his unique collection of books on art and architecture. Diekman describes his first plunge into book collecting, the history behind it, and the way his passion for collecting grew.

Andy Warhol cover design for the magazine Aspen 1, no. 3.

Artists’ Magazines

Gwen Allen recounts her discovery of cutting-edge artists’ magazines from the 1960s and 1970s and explores the roots and implications of these singular publications.

Rainer Maria Rilke, 1928. Photo: Lou Andreas-Salomé

Rainer Maria Rilke: Duino Elegies

Bobbie Sheng explores the symbiotic relationship between the poet and visual artists of his time and tracks the enduring influence of his poetry on artists working today.

ERLEND HØYERSTEN

Mythologies: A Conversation with Erlend Høyersten

Gagosian’s Georges Armaos speaks with the director of ARoS Aarhus Art Museum, Denmark, about the exhibition Mythologies: The Beginning and End of Civilizations, the art of Anselm Kiefer, and the role of museums during times of crisis.

Willem de Kooning seated at Sidney Janis Gallery, 1959. Color photograph

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.