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Summer Show

June 26–August 17, 2007
555 West 24th Street, New York

Tom Friedman, bigbluefigure, 2006 Styrofoam insulation, 42 × 168 × 55 ½ inches (106.7 × 426.7 × 141 cm)

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)

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)

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)

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

Alec Soth, Michele and James, 2005

Chromogenic print, 36 ¾ × 30 ⅞ inches framed (93.3 × 78.4 cm), edition of 10

About

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.

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Jenny Saville, Pietà I, 2019–21, charcoal and pastel on canvas

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.

Damien Hirst's Reclining Woman on the cover of Gagosian Quarterly, Fall 2021

Now available
Gagosian Quarterly Fall 2021

The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.

A Jenny Saville painting titled Self-Portrait (after Rembrandt), oil on paper

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.

Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly magazine.

Now available
Gagosian Quarterly Winter 2020

The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.

Andrea Domenico Remps, Cabinet of Curiosities, c. 1690, oil on canvas, 39 × 54 inches (99 × 137 cm), Opificio delle Pietre Dure, Florence, Italy.

For Sale: Baby Shoes. Never Worn.

Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.

Jenny Saville, Study for Pentimenti I, 2011, graphite and pastel on paper.

Shortlist
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.