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Crash

Homage to JG Ballard

February 11–April 1, 2010
Britannia Street, London

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Works Exhibited

Richard Artschwager, Destruction III, 1972 Acrylic on Celotex, in 2 parts, overall: 74 × 88 inches (188 × 223.5 cm)© Richard Artschwager/Artists Rights Society (ARS), New York

Richard Artschwager, Destruction III, 1972

Acrylic on Celotex, in 2 parts, overall: 74 × 88 inches (188 × 223.5 cm)
© Richard Artschwager/Artists Rights Society (ARS), New York

Francis Bacon, Still Life, Broken Statue and Shadow, 1984 Oil and pastel on canvas, 78 × 58 inches (198 × 147 cm)© 2010 The Estate of Francis Bacon

Francis Bacon, Still Life, Broken Statue and Shadow, 1984

Oil and pastel on canvas, 78 × 58 inches (198 × 147 cm)
© 2010 The Estate of Francis Bacon

Jean-Michel Basquiat, Untitled (Red Man), 1981 Mixed media on canvas, 81 ½ × 83 ½ inches (207 × 212.1 cm)

Jean-Michel Basquiat, Untitled (Red Man), 1981

Mixed media on canvas, 81 ½ × 83 ½ inches (207 × 212.1 cm)

Hans Bellmer, Story of the Eye, 1946 Etching, red ink, and pencil on paper, 12 × 9 ¾ inches (30.5 × 24.8 cm)

Hans Bellmer, Story of the Eye, 1946

Etching, red ink, and pencil on paper, 12 × 9 ¾ inches (30.5 × 24.8 cm)

Chris Burden, L.A.P.D. Uniform, 1994 Fabric, leather, wood, metal, and plastic, 88 × 72 × 6 inches (223.5 × 182.9 × 15.2 cm), edition of 30© Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, L.A.P.D. Uniform, 1994

Fabric, leather, wood, metal, and plastic, 88 × 72 × 6 inches (223.5 × 182.9 × 15.2 cm), edition of 30
© Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Jake and Dinos Chapman, Bang, Wallop. By J and D Ballard, 2010 Book, 7 ¾ × 5 × ¾ inches (19.4 × 12.8 × 2.2 cm)

Jake and Dinos Chapman, Bang, Wallop. By J and D Ballard, 2010

Book, 7 ¾ × 5 × ¾ inches (19.4 × 12.8 × 2.2 cm)

John Currin, Rotterdam, 2006 Oil on canvas, 28 × 36 inches (71.1 × 91.4 cm)© John Currin

John Currin, Rotterdam, 2006

Oil on canvas, 28 × 36 inches (71.1 × 91.4 cm)
© John Currin

Tacita Dean, Teignmouth Electron, Cayman Brac (Ballard), 1999 Color photograph, framed: 44 ⅛ × 51 ⅛ inches (112 × 130 cm), edition of 6

Tacita Dean, Teignmouth Electron, Cayman Brac (Ballard), 1999

Color photograph, framed: 44 ⅛ × 51 ⅛ inches (112 × 130 cm), edition of 6

Giorgio de Chirico, Piazza d’Italia con Arianna, 1945 Oil on canvas, 19 ⅝ × 23 ⅝ inches (50 × 60 cm)

Giorgio de Chirico, Piazza d’Italia con Arianna, 1945

Oil on canvas, 19 ⅝ × 23 ⅝ inches (50 × 60 cm)

Jeremy Deller, Another Country (The Mall London 3/9/97), 1997 Photographs, photocopy, mat, and frame, 25 ½ × 31 ¼ inches (64.4 × 79.4 cm)

Jeremy Deller, Another Country (The Mall London 3/9/97), 1997

Photographs, photocopy, mat, and frame, 25 ½ × 31 ¼ inches (64.4 × 79.4 cm)

Paul Delvaux, Le canapé bleu, 1967 Oil on canvas, 55 ⅛ × 70 ⅞ inches (140 × 180 cm)

Paul Delvaux, Le canapé bleu, 1967

Oil on canvas, 55 ⅛ × 70 ⅞ inches (140 × 180 cm)

Cyprien Gaillard, View of Sighthill Cemetery, 2008 Chromogenic print mounted on acrylic glass, 83 × 67 inches (211 × 170 cm)

Cyprien Gaillard, View of Sighthill Cemetery, 2008

Chromogenic print mounted on acrylic glass, 83 × 67 inches (211 × 170 cm)

Douglas Gordon, Self-Portrait of You + Me (Jayne Mansfield), 2007 Smoke, wax, and mirror, framed: 41 ½ × 36 ½ inches (105.4 × 92.7 cm)© studio lost but found/VG Bild-Kunst, Bonn 2010

Douglas Gordon, Self-Portrait of You + Me (Jayne Mansfield), 2007

Smoke, wax, and mirror, framed: 41 ½ × 36 ½ inches (105.4 × 92.7 cm)
© studio lost but found/VG Bild-Kunst, Bonn 2010

Loris Gréaud, The Future, 2009 Oil on canvas, framed: 57 × 41 inches (145 × 104 cm)

Loris Gréaud, The Future, 2009

Oil on canvas, framed: 57 × 41 inches (145 × 104 cm)

John Hilliard and Jemima Stehli, Triple Exposure (1), 2001 Chromogenic print mounted on aluminum, 50 ½ × 63 inches (128 × 160 cm), edition of 2

John Hilliard and Jemima Stehli, Triple Exposure (1), 2001

Chromogenic print mounted on aluminum, 50 ½ × 63 inches (128 × 160 cm), edition of 2

Roger Hiorns, Untitled, 2009 Engines, copper sulphate, and steel, 106 × 35 ½ × 35 ½ inches (269 × 90 × 90 cm)

Roger Hiorns, Untitled, 2009

Engines, copper sulphate, and steel, 106 × 35 ½ × 35 ½ inches (269 × 90 × 90 cm)

Damien Hirst, Suicide Bomber (Aftermath), 2004–05 Oil on canvas, 72 × 48 inches (182.9 × 121.9 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2010

Damien Hirst, Suicide Bomber (Aftermath), 2004–05

Oil on canvas, 72 × 48 inches (182.9 × 121.9 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2010

Dan Holdsworth, Untitled (Autopia), 1998 Chromogenic prints, in 2 parts, each: 41 ⅞ × 52 ¼ inches (106.5 × 132.6 cm), edition of 5

Dan Holdsworth, Untitled (Autopia), 1998

Chromogenic prints, in 2 parts, each: 41 ⅞ × 52 ¼ inches (106.5 × 132.6 cm), edition of 5

Carsten Höller, Giant Triple Mushroom (Fliegenpilz/Schopftintling/Wiesenchampignon—Amanita muscaria/Coprinus comatus/Agaricus campestris), 2010 Styrofoam, polyester paint, polyester resin, acrylic paint, core wire, surfacer, polyurethane foam, hard foam construction panels, and steel, height: 102 ⅜ inches (260 cm)© Carsten Höller

Carsten Höller, Giant Triple Mushroom (Fliegenpilz/Schopftintling/Wiesenchampignon—Amanita muscaria/Coprinus comatus/Agaricus campestris), 2010

Styrofoam, polyester paint, polyester resin, acrylic paint, core wire, surfacer, polyurethane foam, hard foam construction panels, and steel, height: 102 ⅜ inches (260 cm)
© Carsten Höller

Allen Jones, Archway, 2008 Painted wood, 21 ⅜ × 26 ¾ × 13 ¾ inches (54.4 × 68 × 35 cm)

Allen Jones, Archway, 2008

Painted wood, 21 ⅜ × 26 ¾ × 13 ¾ inches (54.4 × 68 × 35 cm)

Mike Kelley, City 17, 2007–09 Mixed media, 83 ⅞ × 17 ⅛ × 17 ⅛ inches (213.2 × 43.5 × 43.5 cm), edition of 5

Mike Kelley, City 17, 2007–09

Mixed media, 83 ⅞ × 17 ⅛ × 17 ⅛ inches (213.2 × 43.5 × 43.5 cm), edition of 5

Jeff Koons, Couple (Dots) Landscape, 2009 Oil on canvas, 108 × 146 ⅛ inches (274.3 × 371.2 cm)© Jeff Koons

Jeff Koons, Couple (Dots) Landscape, 2009

Oil on canvas, 108 × 146 ⅛ inches (274.3 × 371.2 cm)
© Jeff Koons

Roy Lichtenstein, Explosion II, 1965 Enamel on steel, 88 × 60 × 4 ½ inches (223.5 × 152.4 × 11.4 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Explosion II, 1965

Enamel on steel, 88 × 60 × 4 ½ inches (223.5 × 152.4 × 11.4 cm)
© Estate of Roy Lichtenstein

Vera Lutter, Battersea Power Station, XXVI: July 29, 2004, 2004 Unique gelatin silver print, 80 ¼ × 84 inches (102.2 × 213.4 cm)

Vera Lutter, Battersea Power Station, XXVI: July 29, 2004, 2004

Unique gelatin silver print, 80 ¼ × 84 inches (102.2 × 213.4 cm)

Florian Maier-Aichen, One Day at Spiral Jetty, 2009 Gelatin silver print, framed: 9 ½ × 12 inches (24.1 × 30.5 cm), edition of 6

Florian Maier-Aichen, One Day at Spiral Jetty, 2009

Gelatin silver print, framed: 9 ½ × 12 inches (24.1 × 30.5 cm), edition of 6

Paul McCarthy, Mechanical Pig, 2003–05 Silicone, platinum, fiberglass, metal, and electrical components, 40 × 58 × 62 inches (101.6 × 147.3 × 157.5 cm)© Paul McCarthy

Paul McCarthy, Mechanical Pig, 2003–05

Silicone, platinum, fiberglass, metal, and electrical components, 40 × 58 × 62 inches (101.6 × 147.3 × 157.5 cm)
© Paul McCarthy

Adam McEwen, Honda Teen Facial, 2010 Boeing 747 undercarriage, approx. 138 × 118 × 72 inches (3.5 × 3 × 1.8 m)

Adam McEwen, Honda Teen Facial, 2010

Boeing 747 undercarriage, approx. 138 × 118 × 72 inches (3.5 × 3 × 1.8 m)

Dan Mitchell, Zodiac Hilton, 2010 Digital print, 23 ½ × 33 inches (59.6 × 84 cm), edition of 50

Dan Mitchell, Zodiac Hilton, 2010

Digital print, 23 ½ × 33 inches (59.6 × 84 cm), edition of 50

Mike Nelson, Preface to the 2004 Edition (Triple Bluff Canyon), 2004 Film booth, dimensions variable

Mike Nelson, Preface to the 2004 Edition (Triple Bluff Canyon), 2004

Film booth, dimensions variable

Cady Noland, CLIP-ON MAN, 1989 Silkscreen on aluminum with aluminum tubing, 61 × 61 inches (154.9 × 154.9 cm)

Cady Noland, CLIP-ON MAN, 1989

Silkscreen on aluminum with aluminum tubing, 61 × 61 inches (154.9 × 154.9 cm)

Eduardo Paolozzi, General Dynamic F.U.N., 1970 50 plates, 20 frames: each approx. 12 × 18 ⅛ inches (30.5 × 46 cm)

Eduardo Paolozzi, General Dynamic F.U.N., 1970

50 plates, 20 frames: each approx. 12 × 18 ⅛ inches (30.5 × 46 cm)

Steven Parrino, Untitled Black, 1995 Enamel, chrome enamel with glue on canvas, 18 ⅛ × 17 ⅛ inches (46 × 43.5 cm)

Steven Parrino, Untitled Black, 1995

Enamel, chrome enamel with glue on canvas, 18 ⅛ × 17 ⅛ inches (46 × 43.5 cm)

Richard Prince, Crashed, 2006–10 Acrylic and inkjet on canvas, 65 ½ × 50 inches (166.4 × 127 cm)

Richard Prince, Crashed, 2006–10

Acrylic and inkjet on canvas, 65 ½ × 50 inches (166.4 × 127 cm)

Robert Rauschenberg, Jockey Cheer Glut, 1987 Assemblage with sheet metal and objects, 42 ½ × 92 ¼ × 12 ¾ inches (107.1 × 233.9 × 31.2 cm)

Robert Rauschenberg, Jockey Cheer Glut, 1987

Assemblage with sheet metal and objects, 42 ½ × 92 ¼ × 12 ¾ inches (107.1 × 233.9 × 31.2 cm)

Gerhard Richter, Stadtbild, 1969 Amphibolin on canvas, 27 ¾ × 27 ¾ inches (70.5 × 70.5 cm)

Gerhard Richter, Stadtbild, 1969

Amphibolin on canvas, 27 ¾ × 27 ¾ inches (70.5 × 70.5 cm)

Ed Ruscha, Fountain of Crystal, 2009 Acrylic on canvas, 30 ⅛ × 36 ⅛ inches (76.5 × 91.8 cm)© Ed Ruscha

Ed Ruscha, Fountain of Crystal, 2009

Acrylic on canvas, 30 ⅛ × 36 ⅛ inches (76.5 × 91.8 cm)
© Ed Ruscha

Jenny Saville, Witness, 2009 Oil on canvas, 106 ¼ × 86 ⅜ inches (270 × 219.5 cm)© Jenny Saville

Jenny Saville, Witness, 2009

Oil on canvas, 106 ¼ × 86 ⅜ inches (270 × 219.5 cm)
© Jenny Saville

Cindy Sherman, Untitled #253, 1992 Chromogenic print, 76 × 51 ¼ inches (193 × 130 cm), edition of 6

Cindy Sherman, Untitled #253, 1992

Chromogenic print, 76 × 51 ¼ inches (193 × 130 cm), edition of 6

Piotr Uklański, Untitled (Ivy Mike), 2010 Gouache on paper, collage, torn and pasted on plywood, 85 ¾ × 120 × 4 inches (217.8 × 304.8 × 10.2 cm)

Piotr Uklański, Untitled (Ivy Mike), 2010

Gouache on paper, collage, torn and pasted on plywood, 85 ¾ × 120 × 4 inches (217.8 × 304.8 × 10.2 cm)

Rachel Whiteread, Demolished, 1996 Set of 12 prints, each: 21 ¾ × 31 ¾ inches (55.3 × 80.8 cm), edition of 35© Rachel Whiteread

Rachel Whiteread, Demolished, 1996

Set of 12 prints, each: 21 ¾ × 31 ¾ inches (55.3 × 80.8 cm), edition of 35
© Rachel Whiteread

Christopher Williams, Clockwise from Manufacturer Name . . . Douglas M. Parker Studio, Glendale, California, January 03, 2008–January 04, 2008, 2008 Gelatin silver print, 24 × 20 inches (60.8 × 50.8 cm), edition of 10

Christopher Williams, Clockwise from Manufacturer Name . . . Douglas M. Parker Studio, Glendale, California, January 03, 2008–January 04, 2008, 2008

Gelatin silver print, 24 × 20 inches (60.8 × 50.8 cm), edition of 10

Jane & Louise Wilson, Proton Launchpad, 2000 Chromogenic print, 70 ¾ × 70 ¾ inches (180 × 180 cm), edition of 4

Jane & Louise Wilson, Proton Launchpad, 2000

Chromogenic print, 70 ¾ × 70 ¾ inches (180 × 180 cm), edition of 4

Christopher Wool, Incident on 9th Street, 1997 Suite of 13 black and white photographs, each: 11 × 14 inches (27.9 × 35.6 cm) or 14 × 11 inches (35.6 × 27.9 cm)

Christopher Wool, Incident on 9th Street, 1997

Suite of 13 black and white photographs, each: 11 × 14 inches (27.9 × 35.6 cm) or 14 × 11 inches (35.6 × 27.9 cm)

Cerith Wyn Evans, 'Astro-photography' by Siegfried Marx (1987), 2006 Chandelier (Barovier and Toso), flat-screen monitor, Morse code unit, and computer; chandelier: 34 ¼ × 33 ½ inches (87 × 85 cm); overall dimensions variable

Cerith Wyn Evans, 'Astro-photography' by Siegfried Marx (1987), 2006

Chandelier (Barovier and Toso), flat-screen monitor, Morse code unit, and computer; chandelier: 34 ¼ × 33 ½ inches (87 × 85 cm); overall dimensions variable

About

I have used the car not only as a sexual image, but as a total metaphor for man’s life in today’s society.
—JG Ballard

Gagosian London will present Crash, a major group exhibition that takes its title from the famous novel by JG Ballard.

Ballard’s novels stand among the most visionary, provocative literature of the twentieth century, with his ominous predictions regarding the fate of Western culture and his insights into the dark psychopathology of the human race. This exhibition is a response to the enormous impact and enduring cultural significance of his work, following his death in spring 2009. Highlighting Ballard’s great passion for the surreal and his engagement with the artists of his own generation, Crash includes examples of his specific inspirations as well as works by contemporary artists who have, in turn, been inspired by his vision.

Ballard’s first published short story, “Prima Belladonna,” appeared in 1956, the same year as the Independent Group’s celebrated exhibition This is Tomorrow at the Whitechapel Gallery, which marked the birth of Pop art in Britain. It was here, and in the work of Surrealists such as Salvador Dalí and Paul Delvaux, that Ballard found the seeds of what he called a “fiction for the present day.” With its dystopian depictions of the present and future, its bleak, man-made landscapes, and the recounting of the psychological effects of technological, social and environmental developments on humans, his work has resonated strongly among other writers, filmmakers, and visual artists. The exhibition Crash brings together works by artists tuned to the Ballardian universe, from his contemporaries such as Ed Ruscha, Richard Hamilton, Andy Warhol, and Helmut Newton, to younger artists such as Tacita Dean, Jenny Saville, Glenn Brown, and Mike Nelson.

The exhibition is organized in association with the Estate of JG Ballard.

List of artists: Richard Artschwager, Francis Bacon, JG Ballard, Hans Bellmer, Glenn Brown, Chris Burden, Jake & Dinos Chapman, John Currin, Salvador Dalí, Giorgio de Chirico, Tacita Dean, Jeremy Deller, Paul Delvaux, Cyprien Gaillard, Douglas Gordon, Loris Gréaud, Richard Hamilton, John Hilliard and Jemima Stehli, Roger Hiorns, Damien Hirst, Dan Holdsworth, Carsten Höller, Edward Hopper, Allen Jones, Mike Kelley, Jeff Koons, Roy Lichtenstein, Vera Lutter, Florian Maier-Aichen, Paul McCarthy, Adam McEwen, Dan Mitchell, Malcolm Morley, Mike Nelson, Helmut Newton, Cady Noland, Claes Oldenburg, Eduardo Paolozzi, Steven Parrino, Richard Prince, Robert Rauschenberg, Gerhard Richter, Ed Ruscha, Jenny Saville, George Shaw, Cindy Sherman, Piotr Uklański, Andy Warhol, Rachel Whiteread, Christopher Williams, Jane and Louise Wilson, Christopher Wool, and Cerith Wyn Evans.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.

Francis Bacon: Couplings video still.

Francis Bacon: Couplings

Richard Calvocoressi provides an in-depth view of the exhibition Francis Bacon: Couplings at Gagosian, London, examining a theme that preoccupied the artist throughout his career: the relationship between two people, both physical and psychological.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

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.

Rachel Whiteread, Nissen Hut, 2018.

Shy Sculpture: Nissen Hut

Rachel Whiteread’s public sculpture Nissen Hut was unveiled in October 2018 in Yorkshire’s Dalby Forest. Curator Tamsin Dillon explores the dynamic history of these structures and provides a firsthand account of the steps leading up to the work’s premiere.

The artist Ed Ruscha discussing his work.

Ed Ruscha: A Long Way from Oklahoma

In conjunction with his exhibition VERY at Louisiana Museum of Modern Art in Humlebæk, Denmark, Ed Ruscha sat down with Kasper Bech Dyg to discuss his work.