Gagosian is pleased to present an exhibition of recent collage by more than fifty artists, many of whom have created works specifically for this occasion. Fit to Print exposes the artist’s compulsion to react to the steady stream of information that the print media delivers on a daily basis. The works on view range from meditations on formal composition to personal perspectives on current events.
All works included in this exhibition have been made since January 2000, illuminating the vast extent to which contemporary artists around the globe share an interest in the myriad forms of printed media while working within the traditional definition of collage. A thoroughly modernist invention, collage first appeared in the work of Picasso and Braque and was embraced by the international Dada movement as a mode of political critique. Whether referring to autobiography, disposable pop culture, or actualities of global politics, the artists in this exhibition acknowledge the legacy of past practice by immediately utilizing mass-distributed, readymade print materials, and incorporating them directly into their work.
Picasso’s ability to unite formal and political concerns on the eve of World War I resonates in today’s moment of global turmoil and is acknowledged at the onset of the exhibition by the inclusion of a single, rare Picasso, Bottle and Glass (1912). As one of the first examples of collage ever made, the work, with its simple yet radical gesture of incorporating primary physical objects rather than painted representations, continues to inspire.
Today, images of vilified political figures juxtaposed with provocative text fragments critique contemporary events in real time and evoke the structures engineered by Hannah Hoch and her contemporaries.
Collage has also embraced a pop aesthetic of advertising and consumer desire, a technique pioneered by Richard Hamilton in the mid-1950s. More recently, the heightened presence of tabloids has inspired the repetition and mutation of fixtures of international gossip and instantly recognizable icons, drawing attention to an increasingly ubiquitous fascination with celebrity. Other incantations of fantasy and fame include the tawdry, marginalized decadence of pornography and pop music, specifically rock ’n’ roll, hip-hop, and punk.
These fractured planes foster a sense of dislocation and employ the established strategies of cut-and-paste in the tradition of Picasso as a means to establish formal and psychological investigations of space. Oscillating between abstraction and figuration, these works dismantle the present in order to reflect a society captivated by the media.
Artists include: Ignasi Aballí, Rita Ackermann, Andisheh Avini, Alex Bag, John Bock, Tobias Buche, Anthony Burdin, Bjorn Copeland, Dexter Dalwood, Jim Drain, Thomas Eggerer, Phillip Estlund, Cerith Wyn Evans, Keith Farquhar, Tatiana Echeverri Fernandez, Tom Friedman, Gelitin, Isa Genzken, Tue Greenfort, Mark Grotjahn, Rachel Harrison, Richard Hawkins, Jonathan Hernández, Charline von Heyl, Thomas Hirschhorn, Christian Holstad, Nathan Hylden, Mike Kelley, Jon Kessler, Jutta Koether, Michael Krebber, Gabriel Kuri, Jim Lambie, Sherrie Levine, Justin Lieberman, Justin Lowe, Paul McCarthy & Benjamin Weissman, Lorna Macintyre, Jason Meadows, Josephine Meckseper, Matt Mullican, Albert Oehlen, Paulina Olowska, Richard Prince, Fay Ray, Kirstine Roepstorff, Sterling Ruby, Dean Sameshima, Collier Schorr, Paul Sietsema, Gibb Slife, Dash Snow, Valeska Soares, Frances Stark, Vibeke Tandberg, Vedovamazzei, Gabriel Vormstein, Nicole Wermers, Franz West, T.J. Wilcox
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.
The Nature of Mark Grotjahn
Michael Auping writes about the origins of Mark Grotjahn’s Capri paintings and their relationship with nature and landscape.
Gagosian Quarterly Summer 2020
The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.
The Right Time
Natasha Stagg on influencers, the loss of the it-girl, and the “promotional life.”
Michael Cary pays homage to the visionary dealer Daniel-Henry Kahnweiler (1884–1979).
Grace McCann Morley
Berit Potter pays homage to the ardent museum leader who transformed San Francisco’s relationship to modern art.