Salomón Huerta
Untitled Head (#8), 2001
Oil on canvas on panel, 12 × 11 ¾ inches (30.5 × 29.8 cm)
Salomón Huerta
Untitled Figure (#8), 2001
Oil on canvas on panel, 72 × 32 inches (182.9 × 81.3 cm)
Salomón Huerta
Untitled House (#1), 2001
Oil on canvas on panel, 24 × 24 inches (61 × 61 cm)
Salomón Huerta
Untitled Head (0108), 2001
Graphite on paper, 15 × 11 inches (38.1 × 27.9 cm)
Reception: Thursday, 5 December, 6 - 8 pm
“I’m focusing visually, rather than emotionally. I wanted to create images that were not typical of Latino images because I didn’t want to get ghettoized.”
—Salomón Huerta
Gagosian Gallery is pleased to announce an exhibition of paintings by Latin American artist Salomón Huerta. Born 1965 in Tijuana, Mexico, Huerta has lived in Los Angeles since the age of 4. After completing a B.F.A. in Illustration at Art Center College of Design in Pasadena, Huerta attended the University of California, Los Angeles for an M.F.A. where he found a mentor in Lari Pittman. Inclusion in the 2000 Whitney Biennial gained Huerta international acclaim.
The exhibition is comprised of paintings from the Heads, Figures and Houses series. Huerta’s Heads and Figures represent a departure from traditional forms of portraiture. Rather than encountering the subject straight on, the viewer is confronted with the back of his head as if waiting in a queue or sitting in a theatre. By depriving the viewer a glimpse into the subjects’ eyes, Huerta denies an emotional connection between artist and model, viewer and subject. Nor does the viewer learn anything of the subject’s identity, save for vague indications of race as suggested by the skin tones on a closely shaven head or neck. Huerta employs a monochrome ground of richly saturated colour influenced, in part, by his Latino upbringing, as well as his love for glossy magazine design. The meticulous rendering of the work, however, has much in common with traditional portraiture and it is no surprise that Huerta’s portraits look to those of Caravaggio and Bellini for inspiration.
Art for a Safe and Healthy California is a benefit exhibition and auction jointly presented by Jane Fonda, Gagosian, and Christie’s to support the Campaign for a Safe and Healthy California. Here, Fonda speaks with Gagosian Quarterly’s Gillian Jakab about bridging culture and activism, the stakes and goals of the campaign, and the artworks featured in the exhibition.
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
Join Gagosian for a conversation between director, producer, and writer Sophia Heriveaux and actor, director, and writer Roger Guenveur Smith inside the exhibition Jean-Michel Basquiat: Made on Market Street, at Gagosian, Beverly Hills. Heriveaux and Guenveur Smith both share a personal connection to Basquiat: Heriveaux is the artist’s niece and Guenveur Smith was one of his friends and collaborators. The pair discuss Basquiat’s work and legacy, as well as his lasting impact on contemporary art and culture.
Sébastien Delot is director of conservation and collections at the Musée national Picasso–Paris and the organizer of the first retrospective to focus on Anselm Kiefer’s use of photography, which was held at Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut (Musée LaM) in Villeneuve-d’Ascq, France. He recently sat down with Gagosian director of photography Joshua Chuang to discuss the exhibition Anselm Kiefer: Punctum at Gagosian, New York. Their conversation touched on Kiefer’s exploration of photography’s materials, processes, and expressive potentials, and on the alchemy of his art.
The Olympic and Paralympic Games arrive in Paris on July 26. Ahead of this momentous occasion, Yasmin Meichtry, associate director at the Olympic Foundation for Culture and Heritage, Lausanne, Switzerland, meets with Gagosian senior director Serena Cattaneo Adorno to discuss the Olympic Games’ long engagement with artists and culture, including the Olympic Museum, commissions, and the collaborative two-part exhibition, The Art of the Olympics, being staged this summer at Gagosian, Paris.
Join Brooke Holmes, professor of Classics at Princeton University, and Lissa McClure and Katarina Jerinic, executive director and collections curator, respectively, at the Woodman Family Foundation, as they discuss Francesca Woodman’s preoccupation with classical themes and archetypes, her exploration of the body as sculpture, and her engagement with allegory and metaphor in photography.
David Cronenberg’s film The Shrouds made its debut at the 77th edition of the Cannes Film Festival in France. Film writer Miriam Bale reports on the motifs and questions that make up this latest addition to the auteur’s singular body of work.
Join Vladimir Yavachev, director of operations for the Christo and Jeanne-Claude Foundation, as he discusses the genesis of the artist’s work Wrapped 1961 Volkswagen Beetle Saloon (1963–2014), which Gagosian presented at Art Basel Unlimited 2024.
In conjunction with Marks and Whispers, at Gagosian, Rome, Oscar Murillo and Alessandro Rabottini sit down to discuss the artist’s paintings and works on paper in the exhibition, as well as how the show emphasizes the formal, political, and social dimensions of the color red in Murillo’s work of the last decade.
On the occasion of Art Basel 2024, creative agency Villa Nomad joins forces with Ghetto Gastro, the Bronx-born culinary collective by Jon Gray, Pierre Serrao, and Lester Walker, to stage the interdisciplinary pop-up BRONX BODEGA Basel. The initiative brings together food, art, design, and a series of live events at the Novartis Campus, Basel, during the course of the fair. Here, Jon Gray from Ghetto Gastro and Sarah Quan from Villa Nomad tell the Quarterly’s Wyatt Allgeier about the project.
In this video, Flavin Judd, the artist’s son and artistic director of Judd Foundation, discusses a historic large-scale work by his father from 1970, ahead of its presentation at Art Basel Unlimited 2024.
Founded in 1998 by Issey Miyake, A-POC (“A Piece of Cloth”) set out to bring the development and production of fabric and garments into the future. Over the subsequent decades, A-POC has worked at the forefront of technology to realize its goals, and under the leadership of Yoshiyuki Miyamae—who has been with Miyake Design Studio since 2001—A-POC ABLE has engaged in a dynamic series of collaborations with artists, architects, craftspeople, and new technologies to rethink how clothing is designed and made. On the occasion of the line being made available in the United States for the first time, the Quarterly’s Wyatt Allgeier visited the brand’s flagship in New York to speak with Yoshiyuki about the A-POC process, as well as the latest collaboration with the artist Sohei Nishino.
