Now available
Gagosian Quarterly Summer 2026
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
Installation Views
Works Exhibited
David Smith
Untitled, 1964
Spray enamel on canvas, 19 ¼ × 16 ¼ inches (48.9 × 41.3 cm)
David Smith
5 ∆∑ 3-17-63, 1963
Spray enamel on paper, 17 ½ × 12 ¾ inches (44.5 × 32.4 cm)
David Smith
Untitled, 1964
Spray enamel on canvas, 17 ½ × 14 inches (44.5 × 35.6 cm)
David Smith
Untitled, 1959
Spray enamel on canvas, 98 ⅛ × 51 inches (249.2 × 129.5 cm)
David Smith
Untitled, 1962
Spray enamel on paper, 17 ½ × 11 ½ inches (44.4 × 29.2 cm)
About
American sculptor David Smith produced a distinctive body of work using commercial aerosol paint almost immediately upon its invention in the mid-nineteen-fifties. Wielding the spray can with the assurance of a welder's torch and the immediacy of a paintbrush, Smith combined the sensations of sculpting, painting, and drawing. In these works on paper and canvas the artist freely explored the interplay of mass and weightless form.
David Smith: Sprays, curated by Candida Smith, the artist's daughter, and Peter Stevens, Director of the David Smith Estate, is the first in depth exhibition of the artist's Sprays in nearly thirty years. The exhibition includes more than seventy works on paper and canvas dating from 1958 to 1964, many of which have not been exhibited before and three related sculptures. A fully illustrated catalogue with an introduction by Candida Smith and an essay by Peter Stevens accompanies this exhibition.
Smith first exhibited the large Sprays on canvas as a group in 1959. He often spoke of his ambition to break down the boundaries between the media of drawing, painting and sculpture. Comprising monumental paintings, narrow vertical canvases, and intimate works on both canvas and paper, the Sprays evoke objects and atmospheres, realities and illusions, presences and absences.
The caveman from Altamira to Rhodesia had reproduced true reality by the eidetic image. This image even today defies word explanation as does any art.
—David Smith, 1952
Now available
Jenny Saville a Ca’ Pesaro
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: Reinventing Realism
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.
James Turrell: Lifting the Veil
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.
Divine Emanations: Nymphs, Poets, and the Painter’s Palette
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.
Derrick Adams: View Master
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.
Giuseppe Penone: The Reflection of Bronze
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.
Engaging with the Past: An Interview with Jenny Saville
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.
A Tremendous Generosity: Jeff Koons on Marcel Duchamp
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
Donald Judd: Patiently Constructed
From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
Henry Moore: Monumental Nature
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
Picture Books: Mary Gaitskill & Jill Mulleady
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.
