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Beneath the Underdog

Including: Mafia (Or One Unopened Packet of Cigarettes)

April 27–June 16, 2007
980 Madison Avenue, New York

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

BENEATH THE UNDERDOG Installation view

BENEATH THE UNDERDOG

Installation view

Works Exhibited

Cecily Brown, Duplicate Blunder, 2006 Oil on linen, 31 × 43 inches (78.7 × 109.2 cm)

Cecily Brown, Duplicate Blunder, 2006

Oil on linen, 31 × 43 inches (78.7 × 109.2 cm)

Michael Joaquin Grey, Orange Gravity (California), 1992 Urethene, self sinking foam, fiberglass and aluminum, 92 × 42 × 60 inches (233.7 × 106.7 × 152.4 cm)

Michael Joaquin Grey, Orange Gravity (California), 1992

Urethene, self sinking foam, fiberglass and aluminum, 92 × 42 × 60 inches (233.7 × 106.7 × 152.4 cm)

Raymond Hains, Untitled, 1964 Torn poster on canvas, 53 ½ × 44 ⅛ inches (135.9 × 112.1 cm)

Raymond Hains, Untitled, 1964

Torn poster on canvas, 53 ½ × 44 ⅛ inches (135.9 × 112.1 cm)

Barry Le Va, One Edge, Two Corners; On Center Shattered (Variation 13, Within the Series of Layered Pattern Acts), 1968–2007 28 sheets of glass, in 7 layers, 10 × 84 × 96 inches (25.4 × 213.4 × 243.8 cm)

Barry Le Va, One Edge, Two Corners; On Center Shattered (Variation 13, Within the Series of Layered Pattern Acts), 1968–2007

28 sheets of glass, in 7 layers, 10 × 84 × 96 inches (25.4 × 213.4 × 243.8 cm)

Franz West, Sitting Sculpture (lilac), 2004 Lacquered aluminum, 35 × 92 ½ × 45 ⅜ inches (88.9 × 82.6 × 115.3 cm)

Franz West, Sitting Sculpture (lilac), 2004

Lacquered aluminum, 35 × 92 ½ × 45 ⅜ inches (88.9 × 82.6 × 115.3 cm)

About

Gagosian Gallery is pleased to announce Beneath the Underdog*, a group exhibition curated by New York- based artists Nate Lowman and Adam McEwen.

Beneath the Underdog addresses the individual's relationship to the towering vertical landscape of late capitalism, particularly within urban environments where the exaggerated scale of skyscrapers, luxury apartments and housing projects signify economic realities. Many of the works exhibited were made in the wake of Robert Moses, master builder of New York's highways, bridges and tunnels, who presided over and politically navigated a period that would forever come to symbolize the struggle between urban expansion and the increasingly uncertain place of the individual.

The introduction of more "horizontal" approaches to art making within the past 60 years may in fact be viewed as a response to a growing sense of alienation and marginalization, marked by a renewed interest in the body. The shift to the horizontal initiated by Jackson Pollock's move from the easel to the floor was literalized in Andy Warhol's Oxidation (piss) paintings, whose abject surfaces reflect the growing importance of bodily impulses. Expanding on this theme to include more recent approaches, Lowman and McEwen have selected the work of nearly 50 international artists engaged in questioning the traditional values implied by the "upright", often by investigating the physical space of the horizontal. Dysfunction and dislocation govern the uncanny groupings throughout the space, including Michael Joaquin Grey's Rodin-inspired sculpture of Balzac, overlooking Barry Le Va's entropic landscape of shattered glass, which in turn is gazed upon by a young girl painted by Gwen John (herself a student and lover of Rodin). Throughout the exhibition, the installation sequences emphasize the tension between these two orientations within the space of the gallery using painting, sculpture, and photography.

Expanding on the roles of power and tradition, Mafia (Or One Unopened Packet of Cigarettes), curated by Eivind Furnesvik, will be presented within Beneath the Underdog. This exhibition first opened at the STANDARD (OSLO) in 2006. The artists, many being shown for the first time in New York, explore the psychological space defined by an organization inseparable from violence both explicit and implied – yet which also promises protection.

Read more

Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly magazine.

Now available
Gagosian Quarterly Winter 2020

The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.

Joe Bradley’s studio, New York, 2018

Work in Progress
Joe Bradley

With preparations underway for his 2018 exhibition at Gagosian in London, Phyllis Tuchman visited the artist’s studio in Long Island City, New York, to learn more about this new body of work.

The cover of Richard Prince: Cowboy, edited by Robert M. Rubin and published by Fulton Ryder and DelMonico Books | Prestel, New York, in 2020.

Richard Prince: Cowboy

On the occasion of the publication of Richard Prince: Cowboy, a major monograph on the artist’s preoccupation with the mythic American West, Luc Sante tracks the archetype through mass media, advertising, and the art of Richard Prince to illuminate the cowboy’s enduring appeal.

Chicken and barn at Sky High Farm in Columbia County, New York.

Dan Colen: Sky High Farm

In this video, Dan Colen speaks about his inspiration in founding Sky High Farm as a way to address food insecurity and improve access to fresh, nutritious food for underserved communities in New York. Established in 2011, the 40-acre farm raises pasture-based livestock and grows organic fruit and vegetables exclusively for donation. 

Project EATS farm (top); Sky High Farm (bottom).

The Bigger Picture
Sky High Farm × Project EATS

Dan Colen and Linda Goode Bryant are both artists who have founded nonprofits devoted to food justice. Here they speak about art, food, and life, including how they arrived at farming and the urgency of their projects’ missions during the current health crisis.

A Single Moment: Dan Colen and Francesco Bonami

A Single Moment: Dan Colen and Francesco Bonami

Dan Colen joins Francesco Bonami in a conversation about absence and nostalgia, decadence and decay, progress and failure—and about help, the theme of his most recent body of paintings.