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.
Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.
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.
Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.
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.
On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
The most recent edition of Picture Books, an imprint organized by Emma Cline and Gagosian, pairs Mary Gaitskill’s novella STAUF: A Tragedy with Jill Mulleady’s painting The Shift. In celebration of this forthcoming publication, Gaitskill and Mulleady discuss the myth of Faust, good and evil in the digital age, and the channeling of raw matter into art.
