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.
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.
Jenny Saville and Nicholas Cullinan
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.
In the Studio: Damien Hirst’s Veil Paintings
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.”
Damien Hirst: Visual Candy
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.
Damien Hirst: Colour Space Paintings
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.
October 10–December 19, 2020
555 West 24th Street, New York
Extended through May 30, 2020
February 28–May 30, 2020
555 West 24th Street, New York