Damien Hirst
Armageddon, 2002
House flies on canvas, 144 × 108 inches (365.8 × 274.3 cm)
Damien Hirst
Armageddon, 2002 (detail)
House flies on canvas, 144 × 108 inches (365.8 × 274.3 cm)
Douglas Gordon
Blind Star series: Mirror Blind Greta, 2002
26 × 24 inches framed (66 × 61 cm). Photograph and archival museum board
Vera Lutter, Lemwerder Airbase: August 19, 1997, 1997
Unique gelatin silver print, 12 ¾ × 21 inches (32.4 × 53.3 cm)
Vera Lutter, Pepsi Cola, Big Vent: Summer 2000, 2000
Unique gelatin silver print, 26 ½ × 14 inches (67.3 × 35.6 cm)
Gagosian is pleased to present a summer group exhibition entitled Same Time This Year. The exhibition includes work by Douglas Gordon, Damien Hirst, Vera Lutter, and Andy Warhol.
Exhibited for the first time is Damien Hirst’s Armageddon, which Village Voice critic Jerry Saltz has described as “the most shocking thing . . . [a] huge, black-and-bluish monochrome made entirely of dead flies. This painting is a perfect metaphor for the fears of the present moment and a reminder that when Hirst is mythologizing himself he’s capable of remarkable things.”
Also in the exhibition are haunting industrial landscapes by Vera Lutter and two video works, a text piece, and a selection from the Blind Stars series by Douglas Gordon.
On the occasion of Douglas Gordon: All I need is a little bit of everything, an exhibition in London, curator Adam Szymczyk recounts his experiences with Gordon’s work across nearly three decades, noting the continuities and evolutions.
Douglas Gordon took over the Piccadilly Lights advertising screen in London’s Piccadilly Circus, as well as a global network of screens in cities including Berlin, Melbourne, Milan, New York, and Seoul, nightly for three minutes at 20:22 (8:22pm) throughout December 2022, with his new film, if when why what (2018–22). The project was presented by the Cultural Institute of Radical Contemporary Art (CIRCA) in conjunction with the exhibition Douglas Gordon: Neon Ark at Gagosian, Davies Street, London.
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.
In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.
Jean Dykstra reports on Vera Lutter’s new series, produced on the occasion of a commission to photograph Athens.
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
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.
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.
Jessica Beck, the Milton Fine Curator of Art at the Andy Warhol Museum, Pittsburgh, considers the artist’s career-spanning use of Polaroid photography as part of his more expansive practice.
Rare-book expert Douglas Flamm speaks with designer Norman Diekman about his unique collection of books on art and architecture. Diekman describes his first plunge into book collecting, the history behind it, and the way his passion for collecting grew.
Gwen Allen recounts her discovery of cutting-edge artists’ magazines from the 1960s and 1970s and explores the roots and implications of these singular publications.
Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.
Damien Hirst speaks about his Veil paintings with Gagosian’s Alison McDonald. “I wanted to make paintings that were a celebration,” he says, “and that revealed something and obscured something at the same time.”
James Fox considers the origins of Damien Hirst’s Visual Candy paintings on the occasion of a recent exhibition of these early works in Hong Kong.
Blake Gopnik examines the artist’s “dot” paintings in relation to the history of representation in Western art, in which dabs of paint have served as fundamental units of depiction and markers of objective truth.
During a two-year residency at the Los Angeles County Museum of Art, from 2017 to 2019, Vera Lutter documented the museum’s changing campus and permanent collection, using her distinctive photographic technique. Here, she speaks about the experience with the museum’s director, Michael Govan.
The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.
James Lawrence explores how contemporary artists have grappled with the subject of the library.
