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.
Mike Kelley’s Farm Girl and Beard, Betty, Veronica expand on the themes of Day is Done, a multipart installation that explores the masquerades of identity and the nature of memory through varied media, including sculpture and photography. With these two works, Kelley targets both Californian identity and the artifice of representation.
Alec Soth’s photographs combine the often-anonymous conditions of his locations with a warmth and familiarity that emanates from his subjects. Part of his Niagara series, Soth’s double portrait of Michele and James reflects the fragile balance of harsh reality and humanity embodied by this couple.
Franz West’s furniture, much like his sculpture, combines common materials that invite us to interact with it. Facing West’s Divan, Douglas Gordon’s video Blue II (featuring Franz West and Guests) captures playfully suggestive hand gestures that seem to signal the promise of another peaceful summer.
Jenny Saville: A cyclical rhythm of emergent forms
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.
Gagosian Quarterly Fall 2021
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Jenny Saville: Painting the Self
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.
Gagosian Quarterly Winter 2020
The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.
For Sale: Baby Shoes. Never Worn.
Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.
Five Preoccupations: Jenny Saville
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.