Tom Friedman
bigbluefigure, 2006
Styrofoam insulation, 42 × 168 × 55 ½ inches (106.7 × 426.7 × 141 cm)
Damien Hirst, The Sun, The Moon and The Earth, 2007
Butterflies and household gloss paint on canvas, Triptych: 72 × 72 inches (182.9 × 182.9 cm); 72 × 72 inches (182.9 × 182.9 cm); 102 × 102 inches (259.1 × 259.1 cm)
Mike Kelley
Farm Girl, 2006
Mixed media, 9 × 36 × 80 inches (22.9 × 91.4 × 203.2 cm)
Jenny Saville
Suspension, 2002–03
Oil on canvas, 115 × 178 ⅜ × 3 ¼ inches (292.2 × 453.1 × 8.2 cm)
Alec Soth
Michele and James, 2005
Chromogenic print, 36 ¾ × 30 ⅞ inches framed (93.3 × 78.4 cm), edition of 10
Gagosian is pleased to present Summer Show, a group exhibition featuring work by Tom Friedman, Douglas Gordon, Damien Hirst, Mike Kelley, Jenny Saville, Alec Soth, and Franz West, chosen for its emphasis on the physical form.
The expressionless pose of Tom Friedman’s bigbluefigure consciously recalls the conventions of classical sculpture. The exaggerated spatial proportions and almost fluid interchangeability of Styrofoam and marble mark an experimental approach to form and material that Friedman takes in many of his sculptural works.
Although sharing a similar affinity for the monumental, Jenny Saville’s paintings of grotesques exploit the organic qualities of paint that compose her semiabstract corporeal figures, in this instance a slaughtered pig. Marked by broad, messy brushstrokes, Suspension is firmly rooted in the physical world of blood and decay.
Damien Hirst’s triptych The Sun, The Moon and The Earth expands on his career-long preoccupation with life, death, and mortality. The work is part of an ongoing series of paintings in which Hirst’s use of real butterflies as a metaphor for nature and beauty symbolizes the precarious balance of life.
On the occasion of Douglas Gordon: All I need is a little bit of everything, an exhibition in London, curator Adam Szymczyk recounts his experiences with Gordon’s work across nearly three decades, noting the continuities and evolutions.
In conjunction with Franz West: Papier, the gallery’s presentation of paper-based works by Franz West at Frieze Masters 2023, artist Oscar Murillo and arts writer, critic, and broadcaster Ben Luke sit down to discuss Murillo’s collaboration in selecting the works on view, as well as his personal experiences meeting the late artist in London.
Douglas Gordon took over the Piccadilly Lights advertising screen in London’s Piccadilly Circus, as well as a global network of screens in cities including Berlin, Melbourne, Milan, New York, and Seoul, nightly for three minutes at 20:22 (8:22pm) throughout December 2022, with his new film, if when why what (2018–22). The project was presented by the Cultural Institute of Radical Contemporary Art (CIRCA) in conjunction with the exhibition Douglas Gordon: Neon Ark at Gagosian, Davies Street, London.
Gagosian hosted a conversation between Jenny Saville and Martin Gayford, art critic and author, in conjunction with the exhibition Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews at Gagosian, Grosvenor Hill, London. Gayford also spoke with the artist about her works in the exhibition Jenny Saville: Latent at Gagosian, rue de Castiglione, Paris.
In this video, Jenny Saville describes the evolution of her practice inside her latest exhibition, Latent, at Gagosian, Paris. She addresses the genesis of the title and reflects on the anatomy of a painting.
In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.
An exhibition curated by Sergio Risaliti, director of the Museo Novecento, Florence, pairs artworks by Jenny Saville with artists of the Italian Renaissance. On view across that city at the Museo Novecento, the Museo di Palazzo Vecchio, the Museo dell’Opera del Duomo, the Museo degli Innocenti, and the Museo di Casa Buonarroti through February 20, 2022, the presentation features paintings and drawings by Saville from the 1990s through to work made especially for the occasion. Here, Risaliti reflects on the resonances and reverberations brought about by these pairings.
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Jenny Saville speaks with Nicholas Cullinan, the director of the National Portrait Gallery, London, about her latest self-portrait, her studio practice, and the historical painters to whom she continually returns.
The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.
Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.
Jenny Saville shares a selection of the books, films, and more that have been her companions in the quiet of the shutdowns in recent months and as she looks ahead to a new exhibition next year.
Jenny Saville speaks with Nicholas Cullinan, the director of the National Portrait Gallery, London, from her studio. They discuss portraiture, her latest work, and her art historical influences, as well as the shifting nature of perception in the age of digital communication.
Damien Hirst speaks about his Veil paintings with Gagosian’s Alison McDonald. “I wanted to make paintings that were a celebration,” he says, “and that revealed something and obscured something at the same time.”
James Fox considers the origins of Damien Hirst’s Visual Candy paintings on the occasion of a recent exhibition of these early works in Hong Kong.
Blake Gopnik examines the artist’s “dot” paintings in relation to the history of representation in Western art, in which dabs of paint have served as fundamental units of depiction and markers of objective truth.
London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.
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.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
