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Ferus

September 12–October 19, 2002
555 West 24th Street, New York

FERUS Installation view

FERUS

Installation view

FERUS Installation view

FERUS

Installation view

FERUS Installation view

FERUS

Installation view

Works Exhibited

Billy Al Bengston, Buster, 1962 Oil and sprayed lacquer on Masonite, 60 × 60 inches (152.4 × 152.4 cm)

Billy Al Bengston, Buster, 1962

Oil and sprayed lacquer on Masonite, 60 × 60 inches (152.4 × 152.4 cm)

Bruce Conner, September 13, 1959, 1959 Mixed media assemblage, 22 × 15 ½ inches (56 × 39 cm)

Bruce Conner, September 13, 1959, 1959

Mixed media assemblage, 22 × 15 ½ inches (56 × 39 cm)

Joseph Cornell, Hotel de L'Etoile, 1950 Wood, glass, oil and paper box construction, 22 ½ × 12 ¾ × 7 inches (57.2 × 32.4 × 17.8 cm)

Joseph Cornell, Hotel de L'Etoile, 1950

Wood, glass, oil and paper box construction, 22 ½ × 12 ¾ × 7 inches (57.2 × 32.4 × 17.8 cm)

Craig Kauffman, Untitled (Bubble), 1968 Acrylic and lacquer on vacuum-formed plastic, 43 × 89 × 15 inches (109.2 × 226.1 × 38.1 cm)

Craig Kauffman, Untitled (Bubble), 1968

Acrylic and lacquer on vacuum-formed plastic, 43 × 89 × 15 inches (109.2 × 226.1 × 38.1 cm)

Ed Ruscha, Los Angeles County Museum on Fire, 1968 Oil on canvas, 52 ½ × 133 ½ inches (135.9 × 339.1 cm)

Ed Ruscha, Los Angeles County Museum on Fire, 1968

Oil on canvas, 52 ½ × 133 ½ inches (135.9 × 339.1 cm)

Frank Stella, Firuzabad III, 1970 Polymer and fluorescent polymer paint on canvas, 120 × 241 inches (304.8 × 612.1 cm)

Frank Stella, Firuzabad III, 1970

Polymer and fluorescent polymer paint on canvas, 120 × 241 inches (304.8 × 612.1 cm)

About

Gagosian is pleased to present an exhibition celebrating the years of the pioneering Ferus Gallery in Los Angeles (1957–67). Organized by Irving Blum, the exhibition brings together historical examples of the artists fostered and represented by Ferus during this decade.

During the 1960s, under the direction of Irving Blum, Ferus became one of the most significant galleries on the West Coast. This exhibition will feature twenty-two of the Ferus artists, with many works on loan from international museums and private collections. Some of the highlights of the exhibition will include Andy Warhol’s Campbell’s Soup Cans from the collection of the Museum of Modern Art in New York; Ed Ruscha’s Los Angeles County Museum on Fire from the Hirshhorn Museum in Washington, DC; and Ed Kienholz’s Walter Hopps, Hopps, Hopps from the Menil Collection in Houston.

Artists included in this exhibition: John Altoon, Larry Bell, Billy Al Bengston, Wallace Berman, Bruce Conner, Joseph Cornell, Jay DeFeo, Richard Diebenkorn, Robert Irwin, Jasper Johns, Donald Judd, Craig Kauffman, Ellsworth Kelly, Ed Kienholz, Roy Lichtenstein, Ed Moses, Kenneth Price, Ed Ruscha, Kurt Schwitters, Hassel Smith, Frank Stella, Andy Warhol

A fully illustrated catalogue with an essay by Kirk Varnedoe and an interview with Irving Blum by Roberta Bernstein will accompany the exhibition.

First Library, La Mansana de Chinati/The Block, Judd Foundation, Marfa, Texas. Photo: Matthew Millman © Judd Foundation

Building a Legacy
Judd Foundation Archives

Richard Shiff speaks with Caitlin Murray, director of archives and programs at Judd Foundation, about the archive of Donald Judd, how to approach materials that occupy the gray area between document and art, and some of the considerations unique to stewarding an archive housed within and adjacent to spaces conceived by the artist.

Black and white image of Donald Judd inspecting the new roof on the south Artillery Shed, Marfa, Texas, c. 1984.

There Is No Neutral Space: The Architecture of Donald Judd, Part 1

Julian Rose explores the question: what does it mean for an artist to make architecture? Delving into the archives of Donald Judd, he examines three architectural projects by the artist. Here, in the first installment of a two-part essay, he begins with an invitation in Bregenz, Austria, in the early 1990s, before turning to an earlier project, in Marfa, Texas, begun in 1979.

Marta Kuzma, Eileen Costello, and Caitlin Murray in conversation surrounded by Donald Judd paintings.

In Conversation
Eileen Costello, Marta Kuzma, and Caitlin Murray on Donald Judd: Paintings

Art historian Eileen Costello and Yale School of Art professor Marta Kuzma discuss Donald Judd’s two-dimensional work and how the lessons he learned from the innovations of Abstract Expressionist and Color Field paintings permeate his entire body of work. Their conversation is moderated by Caitlin Murray, director of archives and programs at Judd Foundation.

Martha Buskirk and Peter Ballantine speaking with one another

In Conversation
Peter Ballantine and Martha Buskirk on Donald Judd

Peter Ballantine, Donald Judd’s longtime fabricator of plywood works, and Martha Buskirk, professor of art history and criticism at Montserrat College of Art in Beverly, Massachusetts, discuss the development, production, and history of the largest plywood construction Judd ever made, an untitled work from 1980.

Ugo Mulas, Jasper Johns, 1964, vintage gelatin silver print, 9 ⅞ × 14 ½ inches (25 × 37 cm), Ugo Mulas Archive, Milan © Ugo Mulas Heirs

Jasper Johns: Mind/Mirror

Carlos Basualdo, the Keith L. and Katherine Sachs Senior Curator of Contemporary Art at the Philadelphia Museum of Art, and Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator at the Whitney Museum of American Art, New York, spoke with the Quarterly’s Alison McDonald ahead of the opening of the unprecedented collaborative retrospective Jasper Johns: Mind/Mirror to discuss the goals, revelations, and unique structure of the project.

Black-and-white photograph: Donald Marron, c. 1984.

Donald Marron

Jacoba Urist profiles the legendary collector.