Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Prefab
Installation view
Richard Artschwager
Untitled (For the Black Beauty), 1983
Formica on wood, 47 × 26 ¼ inches (119.4 × 66.7 cm)
Alighiero E Boetti
Tutto, 1987
Embroidery on canvas, 51 × 50 ¾ inches (129.5 × 128.9 cm)
Mike Kelley
Untitled, 1996–97
Hand-woven silk, 45 ¼ × 75 inches (114.9 × 190.5 cm)
Mike Kelley
Memory Ware Flat #26, 2001
Mixed media on wood panel, 70 ¼ × 46 ½ inches (178.4 × 118.1 × 10.2 cm)
Mike Kelley
Memory Ware Flat #27, 2001
Mixed media on wood panel, 70 ¼ × 46 ½ × 4 inches (178.4 × 118.1 × 10.2 cm)
Mike Kelley
Memory Ware Flat #34, 2003
Mixed media on wood panel, 77 × 53 inches (195.6 × 134.6 cm)
Mike Kelley
Carpet #5, 2003
Acrylic on carpet mounted on wood panel, 76 × 52 ½ × 4 inches (193 × 133.4 × 10.2 cm)
Mike Kelley
Carpet #9, 2003
Acrylic on carpet mounted on wood panel, 52 ½ × 76 ¼ inches (133.4 × 193.7 cm)
Martin Kippenberger
Untitled (Rubber Painting II), 1991
Latex and acrylic on canvas, 35 ⅞ × 29 ⅞ inches (91.1 × 75.9 cm)
Jeff Koons
Stay in Tonight, 1986
Oil inks on canvas, 69 × 48 inches (175.3 × 121.9 cm)
Sherrie Levine
Chair Seat: 13, 1986
Paint and wood, 18 ¼ × 18 × 2 ½ inches (46.4 × 45.7 × 6.4 cm)
Sherrie Levine
Untitled (12 checked paintings), 1998
Pencil on cherrywood, 12 panels: 23 ⅝ × 6 ¼ × ⅜ inches each (60 × 15.9 × 1 cm)
Richard Prince
Dennis Wilson (hood), 2007
Car hood and fiberglass, 65 ½ × 75 ½ inches (166.4 × 191.8 cm)
Richard Prince
Queendom, 2008
Fiberglass, wood, steel and bondo, 67 × 74 × 9 inches (179.2 × 188 × 22.9 cm)
Rudolf Stingel
Untitled, 2001–02
Celotex insulation panel laminated to particle board, aluminum frame, 2 panels: 95 × 93 inches overall (241.3 × 236.2 cm)
Rudolf Stingel
Untitled (sei), 2003
Styrofoam & silicon on canvas, 78 × 53 inches (198.1 × 134.6 cm)
Rosemarie Trockel
O.T. (Hammer + Sickle), 1986
Knitted wool, 45 ¼ × 9 ⅞ inches (114.9 × 25.1 cm)
Christopher Wool
Untitled, 1987
ROSEMARIE TROCKEL, 86 ⅝ × 55 ⅞ inches (220 × 142 cm)
Gagosian is pleased to present Prefab, an exhibition of works by Richard Artschwager, Alighiero Boetti, Mike Kelley, Martin Kippenberger, Jeff Koons, Sherrie Levine, Richard Prince, Rudolf Stingel, and Rosemarie Trockel. These conceptually rooted artists have all used industrial, prefabricated, or found materials to achieve a range of new strategies within, and alluding to, painting—demonstrating an attitude toward the abstract sublime that is wholly ambivalent.
While all of these wall-based works “behave” as paintings, paradoxically this is achieved through an embrace of assemblagist strategies that abandon illusory representation for a more immediate and readymade reality.
Artschwager’s prescient use of Formica and Celotex transformed the classical idea of how a painting could function, renewing emphasis on the intrinsic structure of the work while taking into account the sculptural and structural aspects of a painting’s composition. Beginning with one of his seminal Formica paintings, the exhibition charts a trajectory through a myriad of provocative approaches including Boetti’s embroideries, Trockel’s machine-knitted wool paintings, Kelley’s Carpet paintings and Memory Ware Flats, Stingel’s Styrofoam and Celotex paintings, Prince’s Hoods, and Koons’s alluring advertisement from the Luxury and Degradation series. Whether using “soft” household carpet, embroidery, and wool, or “hard” industrial substances such as Styrofoam and automotive components, these artists embrace the eternal dialogue on the nature of abstraction and representation by challenging the traditional use and meaning of painting with a range of substances and textures that invoke associations with daily experience.
The second installment of Picture Books, an imprint organized by Emma Cline and Gagosian, presents author Percival Everett’s novella Grand Canyon, Inc. alongside Untitled (Original Cowboy), a photograph by Richard Prince. In celebration of the publication, Everett met with author Brandon Taylor to discuss the novella, the role of history in the writing process, and the similarity in methodologies for science and literature.
A conversation between Adam McEwen and Bob Monk.
On the occasion of the publication of Richard Prince: Cowboy, a major monograph on the artist’s preoccupation with the mythic American West, Lucy Sante tracks the archetype through mass media, advertising, and the art of Richard Prince to illuminate the cowboy’s enduring appeal.
Gwen Allen recounts her discovery of cutting-edge artists’ magazines from the 1960s and 1970s and explores the roots and implications of these singular publications.
Catalyzed by Laws of Motion—a group exhibition pairing artworks from the 1980s on by Jeff Koons, Cady Noland, Rosemarie Trockel, and Jeff Wall with contemporary sculptures by Josh Kline and Anicka Yi—Wyatt Allgeier discusses the convergences and divergences in these artists’ practices with an eye to the economic worlds from which they spring.
On the occasion of the exhibition Richard Artschwager: Primary Sources, recently on view at Gagosian, New York, Bob Monk and Maggie Dougherty explore the artist’s use of reference materials as the impetus for his paintings.
The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.
Natasha Stagg on influencers, the loss of the it-girl, and the “promotional life.”
The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.
James Lawrence explores how contemporary artists have grappled with the subject of the library.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Text by Richard Hell.
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
Learn more about Jeff Koons’s Easyfun-Ethereal series in this video featuring Rebecca Sternthal, one of the organizers behind the most recent exhibition of these works in New York.
In July 2017, a special installation of paintings was shown at Casa Malaparte, Capri, the famous house built by the author, publisher, diplomat, and filmmaker Curzio Malaparte.
Derek Blasberg speaks with Diane Brown, president and founder of RxART, and with contributing artists Dan Colen, Urs Fischer, and Jeff Koons about the transformative power of visual art.
Jeff Koons speaks with Alison McDonald and Maura Harty about his longstanding commitment to protecting the rights of children.
The FLAG Art Foundation hosted a conversation between Jeff Koons and FLAG founder Glenn Fuhrman, in which the two discuss the dichotomy between sexuality and childhood innocence in Koons’s oeuvre, remaking Made in Heaven with Lady Gaga, what drives Koons to make more work, and several works including Cat on a Clothesline (1994–2001) and Winter Bears (1988).
