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Living, Looking, Making

Sculpture by Giacometti, Fontana, Twombly, Serra

March 26–May 19, 2007
Britannia Street, London

Alberto Giacometti, Femme Debout, 1957 Bronze, 51 13/16 × 7 ½ × 12 13/16 inches (131.5 × 19 × 32.5cm)Courtesy Fondation Alberto et Annette Giacometti

Alberto Giacometti, Femme Debout, 1957

Bronze, 51 13/16 × 7 ½ × 12 13/16 inches (131.5 × 19 × 32.5cm)
Courtesy Fondation Alberto et Annette Giacometti

Alberto Giacometti, Buste d'homme assis (Lotar III), 1965 Bronze, 25 11/16 × 11 ⅛ × 13 ⅞ inches (65.5 × 28.2 × 35.5 cm)Courtesy Fondation Alberto et Annette Giacometti

Alberto Giacometti, Buste d'homme assis (Lotar III), 1965

Bronze, 25 11/16 × 11 ⅛ × 13 ⅞ inches (65.5 × 28.2 × 35.5 cm)
Courtesy Fondation Alberto et Annette Giacometti

Richard Serra, Sign Board, 1969 Lead antimony, 48 × 48 × 31 inches (121.9 × 121.9 × 78.7 cm)

Richard Serra, Sign Board, 1969

Lead antimony, 48 × 48 × 31 inches (121.9 × 121.9 × 78.7 cm)

Richard Serra, Back to Back, 1987 Hot rolled steel, 134 × 85 ¼ × 15 ½ inches (340.4 × 216.5 × 39.4 cm)

Richard Serra, Back to Back, 1987

Hot rolled steel, 134 × 85 ¼ × 15 ½ inches (340.4 × 216.5 × 39.4 cm)

Cy Twombly, Untitled, Rome, 1959–99 Bronze, 26 ⅜ × 13 ⅜ × 10 ⅜ inches (67 × 34 × 26.5 cm), edition of 3

Cy Twombly, Untitled, Rome, 1959–99

Bronze, 26 ⅜ × 13 ⅜ × 10 ⅜ inches (67 × 34 × 26.5 cm), edition of 3

Cy Twombly, Untitled, Rome, 1983 Bronze, 55 ⅞ × 9 ⅜ × 12 ⅝ inches (142 × 24 × 32 cm), edition of 6

Cy Twombly, Untitled, Rome, 1983

Bronze, 55 ⅞ × 9 ⅜ × 12 ⅝ inches (142 × 24 × 32 cm), edition of 6

Lucio Fontana, Concetto spaziale, 1958 Iron, Height: 95 ⅝ inches (243 cm)

Lucio Fontana, Concetto spaziale, 1958

Iron, Height: 95 ⅝ inches (243 cm)

Lucio Fontana, Concetto Spaziale, Natura, 1959–60 Bronze, 29 ½ inches diameter (75 cm)

Lucio Fontana, Concetto Spaziale, Natura, 1959–60

Bronze, 29 ½ inches diameter (75 cm)

About

Gagosian is pleased to present an important exhibition at the Britannia Street gallery bringing together works by Alberto Giacometti, Lucio Fontana, Richard Serra, and Cy Twombly for the first time.

Collaborating directly with the Fondation Alberto et Annette Giacometti in Paris, a number of outstanding works by Giacometti have been selected for the exhibition, including Femme de Venise III and three Têtes d’homme (Lotar I, II, and III), which depict the avant-garde photographer Eli Lotar. These works have been chosen for their interaction with space and light; the bronze retains the mutating fragility of the human models as captured in clay or plaster while displaying intense strength and materiality.

The Giacometti works will be shown with a series of sculptures by Lucio Fontana from the late 1950s, entitled Natura, which combine natural and human forms so that the simplicity of the materials accumulates layers of meaning. A small group of ethereal sculptures, made in 1957–58, resembling butterflies or flowers on a thin, elongated stem will also be shown. These works reserve something of Giacometti’s emaciated human figures, although the path that brought Fontana to produce them is an investigation of the materials themselves.

Richard Serra has made works in steel since the 1960s, which are about movement and equilibrium, stasis and balance. The emphasis of the pieces is on the process of creation, raw physicality combined with a self-conscious awareness of material and an engagement with the space in which it is placed. The works shown include the early lead piece Sign Board (1969) and a number of “corner props,” in which massive plates of steel are propped up through the force of gravity.

Read more

Richard Serra, Hands Scraping, 1968, film still.

The Art of Perception: Richard Serra’s Films

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.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

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.

Cy Twombly: In Beauty it is finished

Cy Twombly: In Beauty it is finished

Mark Francis, director of the exhibition Cy Twombly: In Beauty it is finished, Drawings 1951–2008, describes the impetus for this expansive presentation, the source for its title, and details the stories of some of the works on view.

Cy Twombly: Coronation of Sesostris

Cy Twombly: Coronation of Sesostris

Cy Twombly’s Coronation of Sesostris (2000) receives a closer look by Gagosian Director, Mark Francis. In this video, he discusses the history of the work, the myths and poetry embedded within it, and considers its lasting impact.