Francis Bacon
Landscape, 1978
Oil and pastel on canvas, 78 × 58 ⅛ inches (198 × 147.5 cm)
Alexander Calder
Red Polygons, 1956
Painted metal, 61 × 96 × 42 inches (154.9 × 243.8 × 106.7 cm)
Willem de Kooning
No title, 1984
Oil on canvas, 77 × 88 inches (195.6 × 223.5 cm)
Gagosian is pleased to present a group exhibition featuring works by Francis Bacon, Alexander Calder, John Chamberlain, Willem de Kooning, Jasper Johns, Franz Kline, Robert Rauschenberg, David Smith, Andy Warhol, and Tom Wesselmann.
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.
On January 22, Gagosian, in partnership with Castelli Gallery, opened an exhibition of historic works by Jasper Johns at the 980 Madison Avenue gallery in New York. A survey of the crosshatch paintings and drawings that dominated his practice from 1973 to 1983, the presentation united works that have rarely been seen with loans from sources including distinguished American museums. The exhibition commemorates the fiftieth anniversary of this body of work’s debut at Castelli Gallery in 1976. Here, Larry Gagosian speaks with the Quarterly’s Alison McDonald about the impetus for this project, his memories of seeing the exhibition in 1976, and the enduring impact of these paintings on artists and collectors.
Nearly fifty years ago, Samuel Beckett and Jasper Johns met in Paris and began a collaboration on what would become Foirades/Fizzles, a deluxe limited-edition artist’s book published by Petersburg Press in 1976. Now, on the occasion of the Jasper Johns retrospective at the Philadelphia Museum of Art and New York’s Whitney Museum of American Art, Gagosian Quarterly looks back to the genesis of this project with a conversation between independent researcher Anthony Atlas and Gagosian director Bob Monk. Their discussion focuses on the creative encounter between the artist and the writer and on how the book and related works became a generative source in Johns’s art.
The Fall 2025 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Blue Liz as Cleopatra (1962) on the cover.
Carlos Valladares tracks the artist’s engagements with Hollywood glamour, thinking through the ways in which the star system and its marketing engine informed his work.
Karen Wong charts the journey of Alexander Calder’s Quatre lances (1964) from its intended site at the Fondation Maeght, Saint-Paul-de-Vence, France, to the Centennial Hall in Monaco, and now to its permanent home in a new single-artwork museum designed by Renzo Piano at the Nouveau Musée National de Monaco. Wong examines the sculpture’s interaction with architecture and environment as part of a larger story of the artist’s relationship with architects.
On the occasion of Willem de Kooning: Endless Painting, curated by Cecilia Alemani and comprising paintings from 1944 through 1986 and two sculptures, the Quarterly revisits a conversation between Albert Oehlen and John Corbett from 2013. The pair reflect on de Kooning’s late work and its lasting influence on them.
In the second part of a two-part essay, art historian John B. Ravenal considers Jasper Johns’s continued engagement with the motif of woodgrain.
Curator Michael Auping reflects on his time spent with John Chamberlain in Sarasota, Florida.
As American identity once again comes into question during a politically charged election cycle, the Quarterly revisits the motif of the American flag in art. Here, John B. Ravenal contextualizes Robert Lazzarini’s new wall-based flag sculptures and elucidates the tensions they lay bare in the symbol of our nation.
Fondation Louis Vuitton is staging Pop Forever, Tom Wesselmann &…, which explores the artist’s legacy through a comprehensive survey of his artworks presented alongside those by thirty-five artists of different generations and nationalities, from the 1920s to the present day. Also, the Estate of Tom Wesselmann, Gagosian, and Almine Rech are releasing a forthcoming monograph dedicated to the artist’s formative series, The Great American Nude. Here, the book’s editor and lead author Susan Davidson meets with Jeffrey Sturges, director of exhibitions for the Estate of Tom Wesselmann, and Gagosian director Jason Ysenburg to discuss the importance of this series.
In the first part of a two-part essay, art historian John B. Ravenal considers Jasper Johns’s continued engagement with the motif of woodgrain.
The Fall 2024 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Mao (1972) on the cover.
Jessica Beck examines Andy Warhol’s return to painting in the 1970s, focusing on the artist’s Mao series.
In tandem with the 60th Biennale di Venezia, the city’s Gallerie dell’Accademia is featuring the exhibition Willem de Kooning and Italy, an in-depth examination of the artist’s time in Italy and of the influence of that experience on his work. On September 20 of last year, the curators of the exhibition, the American Gary Garrels and the Italian Mario Codognato, engaged in a lengthy conversation about the exhibition for a press conference at the museum. An edited transcript of that conversation is published below for the first time.
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.
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
Susan Davidson, editor of the forthcoming monograph on the Great American Nudes, a series of works by Tom Wesselmann, explores the artist’s early experiments with collage, tracing their development from humble beginnings to the iconic series of paintings.
On the occasion of the exhibition Tom Wesselmann: Intimate Spaces at Gagosian, Beverly Hills, Susan Davidson sat down with Jeffrey Sturges to discuss the artist’s key works in his Great American Nudes (1961–73) and subsequent series.
