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The Physical World

An Exhibition of Painting and Sculpture

May 9–June 29, 2002
980 Madison Avenue, New York

Jean-Michel Basquiat, Riding With Death, 1988 Acrylic and oil paintstick on linen, 98 × 114 inches (248.9 × 289.6 cm)Collection The Hermes Trust, Courtesy Francesco Pellizzi

Jean-Michel Basquiat, Riding With Death, 1988

Acrylic and oil paintstick on linen, 98 × 114 inches (248.9 × 289.6 cm)
Collection The Hermes Trust, Courtesy Francesco Pellizzi

Damien Hirst, Stripteaser, 2000 Stainless steel and glass cabinet with two skeleons and medical instruments, 77 × 148 × 20 inches (195.6 × 376 × 50.8 cm). Private collection

Damien Hirst, Stripteaser, 2000

Stainless steel and glass cabinet with two skeleons and medical instruments, 77 × 148 × 20 inches (195.6 × 376 × 50.8 cm). Private collection

Jasper Johns, Tantric Detail III, 1981 Oil on canvas, 50 × 34 inches (127 × 86.4 cm). Collection of the artist

Jasper Johns, Tantric Detail III, 1981

Oil on canvas, 50 × 34 inches (127 × 86.4 cm). Collection of the artist

Yves Klein, RE 21, 1960 Sponges, stones and blue pigment on board, 78 × 65 inches (198.1 × 165.1 cm). Private collection

Yves Klein, RE 21, 1960

Sponges, stones and blue pigment on board, 78 × 65 inches (198.1 × 165.1 cm). Private collection

Franz Kline, Black Sienna, 1960 Oil on canvas, 92 ¼ × 68 inches (234.3 × 172.7 cm). Private collection

Franz Kline, Black Sienna, 1960

Oil on canvas, 92 ¼ × 68 inches (234.3 × 172.7 cm). Private collection

Jeff Koons, New Hoover Convertibles, 1984 Two vacuum cleaners and fluorescent lights in Plexiglas case, 58 × 41 × 28 inches (147.3 × 104.1 × 71.1 cm). Private collection

Jeff Koons, New Hoover Convertibles, 1984

Two vacuum cleaners and fluorescent lights in Plexiglas case, 58 × 41 × 28 inches (147.3 × 104.1 × 71.1 cm). Private collection

Pablo Picasso, Arlequin au Baton, 1969 Oil on canvas, 75 ½ × 50 ½ inches (191.8 × 128.3 cm). The Eli and Edythe L. Broad Collection, Los Angeles

Pablo Picasso, Arlequin au Baton, 1969

Oil on canvas, 75 ½ × 50 ½ inches (191.8 × 128.3 cm). The Eli and Edythe L. Broad Collection, Los Angeles

Jenny Saville, Matrix, 1999 Oil on canvas, 84 × 120 inches (213.4 × 304.8 cm). Private collection

Jenny Saville, Matrix, 1999

Oil on canvas, 84 × 120 inches (213.4 × 304.8 cm). Private collection

Richard Serra, No. 5, 1969 Lead antimony, 2 plates: 48 × 48 inches each (122 × 122 cm), Pole: 7 feet (213 cm), 3 ½ inches in diameter (9cm). Private collection

Richard Serra, No. 5, 1969

Lead antimony, 2 plates: 48 × 48 inches each (122 × 122 cm), Pole: 7 feet (213 cm), 3 ½ inches in diameter (9cm). Private collection

Cy Twombly, Untitled (New York City), 1954 Oil-based house paint, wax crayon and lead pencil on canvas, 68 ¾ × 86 inches (174.5 × 218.5 cm). The Menil Collection, Houston

Cy Twombly, Untitled (New York City), 1954

Oil-based house paint, wax crayon and lead pencil on canvas, 68 ¾ × 86 inches (174.5 × 218.5 cm). The Menil Collection, Houston

Andy Warhol, False Plate, 1961 Water-based paint on cotton, 36 × 44 ¾ inches (91.4 × 113.7 cm). Mugrabi Collection

Andy Warhol, False Plate, 1961

Water-based paint on cotton, 36 × 44 ¾ inches (91.4 × 113.7 cm). Mugrabi Collection

Rachel Whiteread, Untitled (Double Amber Bed), 1991 Rubber and high density foam, 47 × 54 × 41 inches (119.4 × 137.2 × 104.1 cm). Private collection, Los Angeles

Rachel Whiteread, Untitled (Double Amber Bed), 1991

Rubber and high density foam, 47 × 54 × 41 inches (119.4 × 137.2 × 104.1 cm). Private collection, Los Angeles

About

Gagosian is pleased to present a group exhibition of painting and sculpture entitled The Physical World. The exhibition will include works by Jean-Michel Basquiat, Marcel Duchamp, Robert Gober, Damien Hirst, Jasper Johns, Donald Judd, Yves Klein, Franz Kline, Jeff Koons, Barnett Newman, Pablo Picasso, Robert Ryman, Jenny Saville, Richard Serra, Cy Twombly, Andy Warhol, and Rachel Whiteread.

While seemingly diverse, the exhibited works all display a particular correlation between object and ground, whether achieved two-dimensionally or with an actual object. An underlying current of sexuality and death runs through and connects the works in the exhibition.

A fully illustrated catalogue will accompany the exhibition.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Richard Serra, Hands Scraping, 1968, film still.

The Art of Perception: Richard Serra’s Films

For eleven years, from 1968 to 1979, Richard Serra created a collection of films and videos that felt out the uncharted phenomenological boundaries of the medium. Carlos Valladares explores a selection of these works.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.

Rachel Whiteread, Nissen Hut, 2018.

Shy Sculpture: Nissen Hut

Rachel Whiteread’s public sculpture Nissen Hut was unveiled in October 2018 in Yorkshire’s Dalby Forest. Curator Tamsin Dillon explores the dynamic history of these structures and provides a firsthand account of the steps leading up to the work’s premiere.

Rachel Whiteread, Untitled (Notre-Dame), 2019.

For Notre-Dame

An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.