Works Exhibited
About
Pop Art is: Popular (designed for a mass audience), Transient (short term solution), Expendable (easily-forgotten), Low cost, Mass produced, Young, Witty, Sexy, Gimmicky, Glamorous, Big Business. . .
This is just the beginning. . .
—Richard Hamilton, 1957
Gagosian is pleased to present a major exhibition to mark the fiftieth anniversary of Richard Hamilton’s visionary definition of Pop art. Hamilton’s seminal role in this movement has been widely acknowledged, and this exhibition includes artists of his generation as well as many others who have contributed to the development and dissemination of Pop over the last fifty years.
Pop art crossed all boundaries between high and low culture to produce many of the twentieth century’s iconic images. Artists around the world radically transformed painting and sculpture, according the same importance to the everyday and the mass-produced that had previously been the reserve of the epic and the unique. Andy Warhol’s vision of the role of art in modern society and the democratization of art production were set in motion as artists took images from advertising, Hollywood, comic books, and industrially designed products to address issues such as class, political change, and consumer culture. Whether they borrowed in a celebratory or critical spirit, Pop artists encouraged a new contemporary sensibility through their fresh perception of visual, cultural, and commercial icons. Pop represented a sudden and dramatic expansion of often-contradictory possibilities, which has been one of the main reasons for its continued influence on subsequent generations of artists.
This exhibition allows us to consider the ways in which artists, past and present, respond to constantly changing ideas about what Pop art is. It presents the rise of Pop art, and its establishment as a major force in contemporary art, through works by more than forty artists, from the first generation of Pop artists—including Hamilton, Jasper Johns, Yayoi Kusama, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Ed Ruscha, and Warhol—to subsequent generations of artists who have traced and extended Pop art’s varied legacies, including Rachel Harrison, Damien Hirst, Mike Kelley, Jeff Koons, Nate Lowman, Takashi Murakami, Richard Prince, and others. In this highly engaging artistic dialogue, methods of seriality and repetition, the use of synthetic materials as well as media images, and references to mass production are visible proof that the concept of Pop is still vital in contemporary art.
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Artists
Richard Artschwager
Dan Colen
Marcel Duchamp
Tom Friedman
Douglas Gordon
Richard Hamilton
Damien Hirst
David Hockney
Dennis Hopper
Jasper Johns
Allen Jones
Mike Kelley
Jeff Koons
Yayoi Kusama
Roy Lichtenstein
Nate Lowman
Adam McEwen
Malcolm Morley
Takashi Murakami
Tim Noble and Sue Webster
Claes Oldenburg
Steven Parrino
Richard Prince
Robert Rauschenberg
Gerhard Richter
James Rosenquist
Ed Ruscha
Cy Twombly
Piotr Uklański
Andy Warhol
Tom Wesselmann
Franz West
Christopher Wool
Aaron Young
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Richard Prince
Text by Richard Hell.
Visions of the Self: Jenny Saville on Rembrandt
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
For Notre-Dame
An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.
Andy Warhol: Everything Is Good
Richard Hell writes about the “transcendentally camp” Pop artist, portraitist of daily life.
Veil and Vault
An exhibition at the Broad in Los Angeles prompts James Lawrence to examine how artists give shape and meaning to the passage of time, and how the passage of time shapes our evolving accounts of art.
Steven Parrino: Natures Mortes Vivantes
Vincent Pécoil reflects on Steven Parrino’s “deformalized” canvases as specters of abstraction and disruptions of painting’s status quo.
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