In tribute to the late Cy Twombly, Gagosian will present his last paintings, together with about a hundred of his photographs.
The eight untitled paintings are closely related to the Camino Real group that inaugurated Gagosian Paris in 2010. The inimitable, exuberant paintwork and bold, intense colors typify the freedom with which Twombly worked, never restricted to a single reference. Even in the face of his impending death, their elegiac power, vivid palette, and ardent gestures pulse with the energies of the new.
The intimate photographs range from early studio images taken in the 1950s to a group of landscapes taken in St. Barths in 2011. Since 2008, major exhibitions of the artist’s photographs have been held at Foam Fotografiemuseum, Amsterdam; Museum Brandhorst, Munich; and the Palais des Beaux Arts, Brussels; however, this is the first time that this lesser-known aspect of Twombly’s oeuvre has been presented in such depth in the United States.
Twombly remains one of the world’s most revered contemporary artists, whose central and ongoing relevance to the art of the present is attested to by a stream of recent survey exhibitions in leading international institutions. Since the opening of Larry Gagosian’s first gallery in New York in the mid-1980s, Twombly has been a cornerstone of Gagosian, where he made many exhibitions over the last twenty-five years. Each one was as surprising and memorable as the next, from The Bolsena Paintings (1990) to The Coronation of Sesostris (2001), Lepanto (2002), Bacchus (2005–06), A Scattering of Blossoms (2007), and The Rose (2009). Ten Paintings and a Sculpture (2004), Three Notes for Salalah (2008), Leaving Paphos Ringed with Waves (2009), and Camino Real (2010) inaugurated new galleries in London, Rome, Athens, and Paris respectively.
The Last Paintings opened in Los Angeles earlier this year and traveled to Hong Kong and London before coming to New York.
A fully illustrated catalogue accompanies the exhibition, with essays by Achim Hochdörfer—curator of Cy Twombly: States of Mind at Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2009)—and curator Julie Sylvester, as well as a photo essay by Sally Mann. A fully illustrated catalogue of the photographs with an essay by Edmund de Waal, artist and author of The Hare with the Amber Eyes, is also available.
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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.
Gagosian Quarterly Fall 2019
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In Beauty it is finished: Drawings 1951–2008
March 8–April 25, 2018
West 21st Street, New York