Installation view
Photo: Joshua White
Installation view
Photo: Joshua White
Installation view
Photo: Joshua White
John Chamberlain
AWESOMEMEATLOAF, 2011
Painted and chrome-plated steel, 106 × 118 ¾ × 82 inches (269.2 × 301.6 × 208.3 cm)
© Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York
Andreas Gursky
Bangkok I, 2011
Inkjet print, framed: 120 ⅞ × 93 ⅜ × 2 ⅜ inches (307 × 237 × 6.2 cm), edition of 6
© Andreas Gursky/VG Bild-Kunst, Bonn
John Chamberlain
WITCHEOASIS, 2011
Painted and chrome-plated steel, 84 ½ × 89 × 75 inches (214.6 × 226.1 × 190.5 cm)
© Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York
Richard Prince
Next Up, 2010
Inkjet print and acrylic on canvas, 58 × 63 inches (147.3 × 160 cm)
© Richard Prince
Damien Hirst
Polygonia c-album in Verbena bonariensis, 2009–10
Oil on canvas, 54 × 36 inches (137.2 × 91.4 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2012
Damien Hirst
Inachis io in Buddleja davidii, 2009–10
Oil on canvas, 12 × 18 inches (30.5 × 45.7 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2012
Damien Hirst
Tithorea harmonia in Lantanai, 2009–10
Oil on canvas, 18 × 12 ½ inches (45.7 × 31.8 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2012
In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.
On the occasion of an exhibition at Gagosian, New York, Max Dax met with Andreas Gursky to speak with the photographer about his new work. Here, they discuss the consequences of the pandemic on certain works, the roles of techno music and art history in Gursky’s art process, and the necessary balance of beauty and honesty in the contemporary.
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
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.
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
By exploring the conventions of past portraits of industrial designers and architects, Maria Morris Hambourg unpacks Andreas Gursky’s ingenious recent portrait of Apple designer Jony Ive to reveal its layered meanings.
Jacoba Urist profiles the legendary collector.
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.
Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.
Damien Hirst speaks about his Veil paintings with Gagosian’s Alison McDonald. “I wanted to make paintings that were a celebration,” he says, “and that revealed something and obscured something at the same time.”
James Fox considers the origins of Damien Hirst’s Visual Candy paintings on the occasion of a recent exhibition of these early works in Hong Kong.
Catalyzed by the exhibition Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray, Alice Godwin examines the legacy and development of a Surrealist ethos in selected works from three contemporary sculptors.
Blake Gopnik examines the artist’s “dot” paintings in relation to the history of representation in Western art, in which dabs of paint have served as fundamental units of depiction and markers of objective truth.
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.
London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.
An exhibition at the Broad in Los Angeles prompts James Lawrence to examine how artists give shape and meaning to the passage of time, and how the passage of time shapes our evolving accounts of art.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
