Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view, photo by Douglas M. Parker Studio
Installation view, photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation view Photo by Douglas M. Parker Studio
Installation video
Aaron Curry
Snowblind, 2011
Silkscreen on wood with aluminum base, 120 ½ × 92 ¾ × 45 inches overall (306.1 × 235.6 × 114.3 cm)
Photo by Ben Lee Handler
Aaron Curry
Mouth Mind, 2011
Collage, 14 × 16 × 8 ½ inches (35.6 × 40.6 × 21.6 cm)
Carsten Höller
Wonderful, 2008 (view with lights on)
Aluminum channel letters, bulbs, and DMX controller, 10 ¾ × 98 ½ × 4 inches (27.3 × 250.2 × 10.2 cm)
© Carsten Höller
Carsten Höller
Wonderful, 2008 (view with lights off)
Aluminum channel letters, bulbs, and DMX controller, 10 ¾ × 98 ½ × 4 inches (27.3 × 250.2 × 10.2 cm)
© Carsten Höller
Pierre Huyghe
Les grandes ensembles, 2001 (film still)
VistaVision film transferred to Digital Betacam, ink on transparency, and light box; video: color, sound, 7:51 minutes
© Pierre Huyghe
Yayoi Kusama, Reach Up to the Universe, Dotted Pumpkin, 2010
Aluminum, paint, 78 ¾ × 59 × 59 inches (200 × 150 × 150 cm)
Photo by Douglas M. Parker Studio
Gagosian Gallery is pleased to present an exhibition featuring the work of Edgar Cleijne and Ellen Gallagher, Aaron Curry, Carsten Höller, Pierre Huyghe, Yayoi Kusama, Andy Warhol, and Richard Wright.
Using the strategies of accumulation, saturation, and the repetitive mark, these artists explore their fascination with image-saturated space and “alloverness,” from the delicate controlled lines of Richard Wright’s untitled drawing (2005) to the jostling interaction of Andy Warhol’s Silver Clouds (1994); from Carsten Höller’s Wonderful (2008), which charges its surroundings and assaults the senses with nerve-shattering flashing lights to Pierre Huyghe’s more meditative video installation Les Grands Ensembles (The Housing Project, 2001), in which the exterior view of an apartment pulses with light, building to a patterned visual crescendo that envelops the screen.
Works by Edgar Cleijne and Ellen Gallagher, Yayoi Kusama, and Aaron Curry are immersive environments, Chinese-box style: Cleijne/Gallagher’s latest installation Osedax (2011)—referring to a type of deep-sea bone-eating worm—is a free-standing room containing a continuous projection of 16mm film footage alongside slide projections of fragmented accumulations. A set of intricate photogravures with the same title feature hand-stamping as well as cut-and-collaged bas relief on Japanese paper. Kusama’s Reach Up to the Universe, Dotted Pumpkin (2011) conflates two of her favorite motifs, the mirror and the pumpkin, which she has described as a sort of alter-ego. A hollow form cast in aluminum, highly polished, and perforated with holes to reveal a violet interior, Reach Up… is installed in a matched monochrome environment dotted with convex mirrors of varying sizes, so that sculpture and environment endlessly reflect and multiply each other and the viewers moving between them. In Aaron Curry’s untitled installation, free-standing figures made of silkscreened plywood advance and recede against whimsical graphic backgrounds.
Philosopher Federico Campagna and artist Carsten Höller came together, on the heels of Höller’s exhibition Clocks in Paris, to consider the measurement of time, the problem with fun, and the fine line between mysticism and nihilism.
Andy Warhol’s Insiders at the Gagosian Shop in London’s historic Burlington Arcade is a group exhibition and shop takeover that feature works by Warhol and portraits of the artist by friends and collaborators including photographers Ronnie Cutrone, Michael Halsband, Christopher Makos, and Billy Name. To celebrate the occasion, Makos met with Gagosian director Jessica Beck to speak about his friendship with Warhol and the joy of the unexpected.
In this video, Jessica Beck, director at Gagosian, Beverly Hills, sits down to discuss the three early paintings by Andy Warhol from 1963 featured in the exhibition Andy Warhol: Silver Screen, at Gagosian in Paris.
Richard Wright and Martin Clark, director of Camden Art Centre, London, discuss Wright’s latest body of work, recent commissions, and new monograph, which provides a comprehensive overview of his practice between 2010 and 2020.
In an excerpt from his forthcoming monograph, Richard Wright pens a personal and philosophical text about painting.
This spring, Carsten Höller launched Brutalisten, a new restaurant concept in Stockholm and the latest embodiment of his long-term culinary and artistic project called the Brutalist Kitchen. The twenty-eight-seat restaurant features a menu overseen by chef Stefan Eriksson that adheres to three classifications: “semi-brutalist” dishes (using oil or minimal ingredients), “brutalist” dishes (using salt and water), and “orthodox-brutalist” dishes (no additional ingredients). For the Quarterly, Höller speaks with Gagosian directors Serena Cattaneo Adorno and Mark Francis about this terminology, the importance of experimentation, and the fortuitous side effects of brutalist cuisine.
Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.
Raymond Foye speaks with the actor who impersonated Andy Warhol during the great Warhol lecture hoax in the late 1960s. The two also discuss Midgette’s earlier film career in Italy and the difficulty of performing in a Warhol film.
Jessica Beck, the Milton Fine Curator of Art at the Andy Warhol Museum, Pittsburgh, considers the artist’s career-spanning use of Polaroid photography as part of his more expansive practice.
Rare-book expert Douglas Flamm speaks with designer Norman Diekman about his unique collection of books on art and architecture. Diekman describes his first plunge into book collecting, the history behind it, and the way his passion for collecting grew.
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.
In an interview with Kay Pallister, the artist explains his relationship to drawing and the importance of time in his site-specific works.
James Lawrence explores how contemporary artists have grappled with the subject of the library.
The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.
Text by Salamishah Tillet.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Richard Hell writes about the “transcendentally camp” Pop artist, portraitist of daily life.
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
Picasso biographer Sir John Richardson sits down with Claude Picasso to discuss Claude’s photography, his enjoyment of vintage car racing, and the future of scholarship related to his father, Pablo Picasso.
