Andy Warhol
200 Soup Cans, 1962
Synthetic polymer paint on canvas, 72 × 100 ¼ inches (182.9 × 254.6 cm)
Copyright Andy Warhol Foundation for the Visual Arts, Inc
Roy Lichtenstein
Wall Explosion 1, 1965
Enamel on steel, 80 × 84 inches (203 × 213 cm)
Claes Oldenburg
Drum Set, 1967
Mixed media, 48 × 72 × 84 inches (121.9 × 182.9 × 213.4 cm)
Claes Oldenburg
Feasible Monument for Grant Park Chicago: Memorial to Louis Sullivan (model), 1969
Cardboard, painted and shellacked, 14 × 23 ¼ × 27 inches (35.6 × 59.1 × 68.6 cm)
Mel Ramos
Miss Cornflakes, 1964
Oil on canvas, 72 × 60 inches (182.9 × 152.4 cm)
Tom Wesselmann
Great American Nude #50, 1963
Mixed media, collage and assemblage (including working radio) on board, 48 × 36 × 3 inches (122 × 91 × 8 cm)
Jasper Johns
Map, 1965
Charcoal and oil on canvas, 44 × 70 ½ inches (111.8 × 179.1 cm)
Gagosian is pleased to present an exhibition of Pop art from the John and Kimiko Powers Collection, the second in a series dedicated to the memory of John Powers.
The Powers are well known in international art circles for their insightful, highly personal, and astonishingly comprehensive collection of contemporary art. In their many years of collecting, the Powers have amassed what is considered to be the most impressive collection of Pop art in private hands, which in many ways is an extension of the friendships they formed with all of the artists in their collection.
The exhibition will include such masterpieces as Andy Warhol’s 200 Soup Cans, James Rosenquist’s Lenai, Claes Oldenburg’s Soft Drum Set, Tom Wesselmann’s Great American Nude #50, Roy Lichtenstein’s Varoom!, Mel Ramos’s Miss Cornflakes, and Jim Dine’s My Long Island Studio. The exhibition will also include influential pre-Pop works such as Robert Rauschenberg’s Broadcast and Jasper Johns’s White Alphabets.
A fully illustrated catalogue will accompany this noncommercial exhibition, with essays by Germano Celant, Rainer Crone, Jim Dine, Jeremy Gilbert-Rolfe, Judith Goldman, Dave Hickey, Linda Norden, Lane Relyea, Scott Rothkopf, and David Shapiro.
Avis Berman’s biography of Roy Lichtenstein, Becoming Roy Lichtenstein: The Path to Pop, will be published this fall by Abbeville Press, aligning with a major retrospective at the Whitney Museum of American Art, New York, in October. For the Quarterly she has adapted part of her text to focus on the artist’s formative experiences in New York in the 1920s and ’30s.
On January 22, Gagosian, in partnership with Castelli Gallery, opened an exhibition of historic works by Jasper Johns at the 980 Madison Avenue gallery in New York. A survey of the crosshatch paintings and drawings that dominated his practice from 1973 to 1983, the presentation united works that have rarely been seen with loans from sources including distinguished American museums. The exhibition commemorates the fiftieth anniversary of this body of work’s debut at Castelli Gallery in 1976. Here, Larry Gagosian speaks with the Quarterly’s Alison McDonald about the impetus for this project, his memories of seeing the exhibition in 1976, and the enduring impact of these paintings on artists and collectors.
Nearly fifty years ago, Samuel Beckett and Jasper Johns met in Paris and began a collaboration on what would become Foirades/Fizzles, a deluxe limited-edition artist’s book published by Petersburg Press in 1976. Now, on the occasion of the Jasper Johns retrospective at the Philadelphia Museum of Art and New York’s Whitney Museum of American Art, Gagosian Quarterly looks back to the genesis of this project with a conversation between independent researcher Anthony Atlas and Gagosian director Bob Monk. Their discussion focuses on the creative encounter between the artist and the writer and on how the book and related works became a generative source in Johns’s art.
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.
In the second part of a two-part essay, art historian John B. Ravenal considers Jasper Johns’s continued engagement with the motif of woodgrain.
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.
Fondation Louis Vuitton is staging Pop Forever, Tom Wesselmann &…, which explores the artist’s legacy through a comprehensive survey of his artworks presented alongside those by thirty-five artists of different generations and nationalities, from the 1920s to the present day. Also, the Estate of Tom Wesselmann, Gagosian, and Almine Rech are releasing a forthcoming monograph dedicated to the artist’s formative series, The Great American Nude. Here, the book’s editor and lead author Susan Davidson meets with Jeffrey Sturges, director of exhibitions for the Estate of Tom Wesselmann, and Gagosian director Jason Ysenburg to discuss the importance of this series.
In the first part of a two-part essay, art historian John B. Ravenal considers Jasper Johns’s continued engagement with the motif of woodgrain.
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.
Michael Ovitz, cofounder of Creative Artists Agency (CAA), looks back to 1989, the year he and the architect I. M. Pei commissioned Roy Lichtenstein to create the Bauhaus Stairway Mural for the then new CAA Building in Los Angeles. Through the experience of working with Lichtenstein, Ovitz formed a meaningful friendship with the artist.
Alice Godwin and Alison McDonald explore the history of Roy Lichtenstein’s mural of 1989, contextualizing the work among the artist’s other mural projects and reaching back to its inspiration: the Bauhaus Stairway painting of 1932 by the German artist Oskar Schlemmer.
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
In celebration of the centenary of Roy Lichtenstein’s birth, Irving Blum and Dorothy Lichtenstein sat down to discuss the artist’s life and legacy, and the exhibition Lichtenstein Remembered curated by Blum at Gagosian, New York.
Gagosian and the Art Students League of New York hosted a conversation on Roy Lichtenstein with Daniel Belasco, executive director of the Al Held Foundation, and Scott Rothkopf, senior deputy director and chief curator of the Whitney Museum of American Art, New York. Organized in celebration of the centenary of the artist’s birth and moderated by Alison McDonald, chief creative officer at Gagosian, the discussion highlights multiple perspectives on Lichtenstein’s decades-long career, during which he helped originate the Pop art movement. The talk coincides with Lichtenstein Remembered, curated by Irving Blum and on view at Gagosian, New York, through October 21.
Actor and art collector Steve Martin reflects on the friendship and professional partnership between Roy Lichtenstein and art dealer Irving Blum.
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.
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
