Installation view, photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Tracey Emin
With you I want to live, 2007
Neon, cable and transformers, 30 × 39 × 2 ¼ inches (76.2 × 99.1 × 5.7 cm), edition of 3
Photo by Joshua White
Tracey Emin
Get ready for the fuck of your life, 2007
Acrylic on canvas, 72 13/16 × 72 13/16 inches framed (185 × 185 cm)
Photo by Douglas M. Parker Studio
Tracey Emin
You left me breathing, 2007
Neon, cable and transformers, 21 × 56 × 2 inches (53.3 × 142.2 × 5.1 cm), edition of 3
Photo by Douglas M. Parker Studio
Tracey Emin
White Rose, 2007
Neon, cable and transformers, 146 ½ × 192 ½ × 2 inches (372.1 × 489 × 5.1 cm), edition of 3
Photo by Douglas M. Parker Studio
Gagosian Gallery is pleased to announce Tracey Emin's first solo exhibition in Los Angeles.
Emin's art is one of full disclosure. In her active self-promotion in both high art and popular media, she lays bare her hopes, humiliations, failures, and successes with equal measures of humor and pathos. (In addition to a busy international exhibition schedule, she writes a weekly column for the British newspaper, The Independent; her memoirs have been published in book form; she has appeared in promotional advertising, and is a fixture on the London social scene).The confessional candor and sexual explicitness of much of Emin's art, combined with her use of techniques and crafts usually associated with women's work, firmly grounds her within contemporary feminist discourse, while her interest in the work of expressionists Edvard Munch and Egon Schiele is evident in her paintings, monoprints and drawings, which explore complex personal states and ideas of stylized self-representation.
Emin's wide-ranging oeuvre includes drawing, sculpture, video, photography, painting, and needlework. This exhibition's title plays on a certain ambiguity—of a woman left abused, half-dead, yet still breathing, or a woman left breathless after making love. "You Left Me Breathing" treats the full breadth of Emin's activities, from a series of early drawings, Family Suite II (1994) to new monoprints; from diminutive stitched texts to monumental, hand- embroidered textile assemblages. The fragility of her tenuous, impassioned drawings translates into large-scale paintings with her characteristically nervous brushwork. Eye-catching neon wall sculptures transpose her innermost thoughts into permanent luminous scrawls. Among the most spectacular works in the exhibition are a group of delicate wood and jesmonite sculptures, which expand on the spirals, rollercoasters, and bridges of recent years. Others incorporate cast bronze figures—seagulls, songbirds, and frogs—or objects combining cement and glass, which are placed on tables or bundled bases made from found timbers.
Tracey Emin was born in London in 1963. Her work has been exhibited internationally in many solo and group exhibitions. In 1999 she was short listed for the Turner Prize at the Tate Gallery, London. Solo exhibitions include the Stedelijk Museum, Amsterdam, Haus der Kunst, Munich, and the Museum of Modern Art Oxford (all 2002); the Art Gallery of New South Wales, Sydney (2003) and Platform Garanti Contemporary Art Center, Istanbul (2004). In 2007, she represented Britain at the Venice Biennale. Emin lives and works in London.
A fully illustrated catalogue will be available, with an essay by Jennifer Doyle, Associate Professor of English at the University of California, Riverside.
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.
An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.
Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.
On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
The most recent edition of Picture Books, an imprint organized by Emma Cline and Gagosian, pairs Mary Gaitskill’s novella STAUF: A Tragedy with Jill Mulleady’s painting The Shift. In celebration of this forthcoming publication, Gaitskill and Mulleady discuss the myth of Faust, good and evil in the digital age, and the channeling of raw matter into art.
Andrew Durbin’s dual biography The Wonderful World That Almost Was: A Life of Peter Hujar and Paul Thek, published by Farrar, Straus and Giroux, tracks the convergences and divergences in the lives of the two artists, from their first meeting in Coral Cables, Florida, in 1956 through their generative romantic and creative partnership in New York, Italy, Fire Island, and beyond. Ahead of the release, Durbin met with the Quarterly’s Wyatt Allgeier to speak about the development of the project, the sublime noncompliance of these two artists, and the motifs of love, death, and rebirth that weave through the telling of their story.
