Now available
Gagosian Quarterly Winter 2022
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Gagosian is pleased to present an exhibition of four new sculptures by Richard Serra: Wake, Blindspot, Catwalk, and Vice-Versa.
This exhibition expands on Serra’s use of sculptural shapes and configurations first introduced in his exhibition Torqued Spirals, Toruses and Spheres at Gagosian in October 2001. In three of the sculptures, Wake, Blindspot, and Vice-Versa, Serra continues to develop his vocabulary of toruses (or toroid) and spheroid sections. “To begin to understand these forms,” Hal Foster has written, “picture a column or (better) a doughnut: its outside edge will describe a spheroid section, while its inside edge will describe what is called a torus, and each will have the same radius.”
Wake occupies the largest space in the gallery, with its five pairs of locked toroid forms measuring fourteen feet high, forty-eight feet long, and six feet wide apiece. Each of these five closed volumes is comprised of two toruses, with the profile of a solid, vertically flattened S.
Blindspot carries on from where the configuration of Serra’s Torqued Spirals and the shapes of the Toruses and Spheres of the earlier exhibition left off. It is composed of six plates, three spheres, and three toruses.
In Catwalk (Reverse Camber) a single sixteen-by-twenty-two-foot horizontal plate bridges the elevational cut flanking the incline plane of the gallery floor.
Vice-Versa consists of one toroid pairing, here presented in an open configuration.
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Violinist Alina Ibragimova performs Bach’s Sonata for Solo Violin No. 1 in G Major: Adagio (BWV 1001, c. 1720) from within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies, a nonprofit organization that commissions artists to produce site-specific projects and present performances, in collaboration with Gagosian, this recorded performance took place on May 8, 2022 before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).
Cellist Mario Brunello performs Bach’s Cello Suite No. 1 in G Major: Prelude (BWV 1007, c. 1717–23) within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies—a nonprofit that commissions artists to produce site-specific projects and present performances—in collaboration with Gagosian, this recorded performance took place on May 8, 2022, before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).
In response to enduring racial injustices and the recent widespread civil unrest, Richard Serra urges people to watch this video commentary by Trevor Noah, host of The Daily Show.
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.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
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.