FERUS
Installation view
FERUS
Installation view
FERUS
Installation view
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)
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)
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)
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.
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 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.
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.
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 Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
Gillian Pistell writes on the loaded symbol of the American flag in the work of postwar and contemporary artists.
In this second installment of a two-part essay, Julian Rose continues his exploration of Donald Judd’s engagement with architecture. Here, he examines the artist’s proposals for projects in Bregenz, Austria, and in Basel, arguing that Judd’s approach to shaping space provides a model for contemporary architectural production.
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.
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.
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.
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.
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.
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.
Eileen Costello explores the oft-overlooked importance of paper choice to the mediums of drawing and printmaking, from the Renaissance through the present day.
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.
