Jorge Pardo
Installation view, photo by Douglas M. Parker Studio
Jorge Pardo
Installation view, photo by Douglas M. Parker Studio
Jorge Pardo
Untitled, 2003
Inkjet on butcher paper, 28 × 42 inches (71.1 × 106.7 cm)
Jorge Pardo
Untitld, 2003
Inkjet on butcher paper, 27 × 68 inches (68.6 × 172.7 cm)
Jorge Pardo
Untitled, 2003
Inkjet on butcher paper, 55 ½ × 26 ½ inches (140.1 × 67.3 cm)
Photo by Josh White
Jorge Pardo
Untitled, 2003
Inkjet on canvas on birch plywood, 33 ¼ × 90 × 34 inches (84.5 × 228.6 × 86.4 cm)
Jorge Pardo
Untitled, 2003
Inkjet on canvas on birch plywood, 33 ¼ × 90 × 34 inches (84.5 × 228.6 × 86.4 cm)
Jorge Pardo
Untitled, 2003
Inkjet on canvas on birch plywood, 33 ¼ × 90 × 34 inches (84.5 × 228.6 × 86.4 cm)
Reception for the artist: Saturday, November 15, 6 – 8pm
Gagosian Gallery is pleased to announce an exhibition of new work by Jorge Pardo. This will be the first large-scale exhibition of the artist’s work in Los Angeles since 4166 Sea View Lane in 1998—an off-site project with the Museum of Contemporary Art, Los Angeles.
For most of his career, Cuban born, Los Angeles based artist Jorge Pardo has been making work that defies categorization. In 1997 at the Museum of Contemporary Art, Chicago the artist exhibited a boat as sculpture; in the same year for the Skulptur.Projekte in Munster he built a pier. He has also produced bedroom sets and blown glass light fixtures. For the aforementioned exhibition at MoCA, Los Angeles, Pardo built an entire house. All of these works, including his paintings and drawings, have this sense of luxuriousness, underscored by a rich and varied palette and a mid-century design sensibility. However, Pardo is neither a craftsman, nor a designer. Instead, Pardo’s work consistently blurs the boundaries between several creative disciplines and, “perhaps, it’s time to create a new category for thing’s like Pardo’s objects and installations, a category that is certainly a part of art, but is peripheral and supportive of it – and more symptomatic of culture at large than of art history or critical distinction.”*
For his latest exhibition Pardo will be exhibiting a mixed media installation comprised of a large architectural sculpture, light pieces as well as several paintings and drawings—providing an overview of the diversity of his work.
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.
On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.
An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.
On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
The Singular Experience at Gagosian’s Le Bourget gallery is the largest exhibition of Walter De Maria’s work in France in several decades. Organized by Donna De Salvo, senior adjunct curator at Dia Art Foundation, the exhibition marks the first time De Maria’s final sculpture, Truck Trilogy (2011–17), is being shown outside of the United States. Here, De Salvo speaks with artist Lucy Raven about her evolving kinship with De Maria and more.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
The exhibition Pomellato, Le Joaillier Révolutionnaire opened at Palais de Tokyo, Paris, on June 24. The Italian jewelry house’s trailblazing advertising campaigns—created by some of the most consequential names in photography—act as the narrative arc of the exhibition, curated by Alba Cappellieri. Here, Sarah Godfrey tracks Pomellato’s history, speaks with Cappellieri about what drew her to this project, and examines some of the key photographs from the show.
On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.
