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The Floor Show

Gravity and Materials

June 16–July 28, 2012
Beverly Hills

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Benjamin Lee Ritchie Handler

Installation view

Photo: Benjamin Lee Ritchie Handler

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation video Play Button

Installation video

Works Exhibited

John Chamberlain, Gondola Walt Whitman, 1981 Painted and chrome-plated steel, 24 × 20 × 162 inches (61 × 50.8 × 411.5 cm)© Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Douglas M. Parker Studio

John Chamberlain, Gondola Walt Whitman, 1981

Painted and chrome-plated steel, 24 × 20 × 162 inches (61 × 50.8 × 411.5 cm)
© Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Douglas M. Parker Studio

Jack Pierson, Everything You Ever Wanted, 2012 Plastic, wood, neon, and metal, 37 ½ × 45 × 36 inches (95.2 × 114.3 × 91.4 cm)Photo: Douglas M. Parker Studio

Jack Pierson, Everything You Ever Wanted, 2012

Plastic, wood, neon, and metal, 37 ½ × 45 × 36 inches (95.2 × 114.3 × 91.4 cm)
Photo: Douglas M. Parker Studio

Robert Therrien, No title (Pallet), 2007 Steel with copper and nickel, 6 ¼ × 40 × 40 inches (15.9 × 101.6 × 101.6 cm)© Robert Therrien/Artists Rights Society (ARS), New York

Robert Therrien, No title (Pallet), 2007

Steel with copper and nickel, 6 ¼ × 40 × 40 inches (15.9 × 101.6 × 101.6 cm)
© Robert Therrien/Artists Rights Society (ARS), New York

About

Gagosian is pleased to present The Floor Show: Gravity and Materials, a group exhibition of floor-based sculpture organized in collaboration with curator Richard D. Marshall. The Floor Show explores the variety of ways contemporary artists have expanded the possibility of the sculptural medium by removing it from the once-compulsory pedestal.

In Andy Warhol’s painting Dance Diagram (1962), he renders an appropriated diagram for ballroom dance steps on canvas. By installing the painting on the floor rather than the wall, Warhol transforms it into an interactive sculptural object that prefaces his stacked Brillo Boxes. From this early moment, the show bears witness to the ways in which placement on the floor has augured a wealth of thematic elaborations—addressing the effects of gravity, horizontality, randomness, and the physical qualities of materials.

Carl Andre, Robert Morris, Richard Serra, and Robert Therrien have focused on materials and their interaction with the floor, taking advantage of their rigidity, flexibility, color, and texture. The precariously balanced steel components of Serra’s plinth-less sculpture Malmo Roll (1984) afford the piece a visceral thrill, highlighting the inherent strength and beauty of its medium. In Morris’s Untitled (1976), strips of gray felt, hung from the wall, spill onto the floor—thus showcasing the biomorphic textural response of the material’s weight and folds to the force of gravity. Andre’s The Void Enclosed by Lead and Copper Squares of Three, Four, and Five (1998) is composed of equally proportioned unfinished lead and copper squares, its careful placement on the floor creating an ideal perspective for viewing the literal illustration of the geometric principle Pythagorean triple. Therrien’s No title (Pallet) (1997) is shaped like an industrial sleeping pallet, occupying its rightful place on the floor; however, its striking reflective surface transforms this familiar and banal shape into an object of beauty.

The younger generation of artists exhibited has continued to utilize the floor as the support for their work, but they often instill subjective and emotional content not explored by their predecessors. Rachel Whiteread’s Black Bed (1991)—a cast polyurethane sculpture of a black mattress lying directly on the floor—startles with its disquieting intimacy and seeming reality. Felix Gonzalez-Torres’s UNTITLED (SUMMER) (1993), which consists of a string of lights piled on the floor, creates an object of memory and loss—reinforced by the light bulb’s allusion to personal relationships, and their inexplicable tendency to burn out at different times. In Mike Kelley’s Crooked Body (1993), an assemblage of stuffed children’s toys is sewn together and strewn haphazardly on the floor to reference the internal despair and longing felt when an object of seeming adoration is quickly discarded. Tom Sachs’s 4' x 8' Sheet of Plywood (2011) consists of perfectly square sheets of laminated plywood stacked on the floor. The physical labor represented by the stack is a sacred and integral part of his process; for Sachs, the plywood stack itself becomes an object of devotion.

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

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

Richard Serra, Hands Scraping, 1968, film still.

The Art of Perception: Richard Serra’s Films

For eleven years, from 1968 to 1979, Richard Serra created a collection of films and videos that felt out the uncharted phenomenological boundaries of the medium. Carlos Valladares explores a selection of these works.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

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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.

Rachel Whiteread, Untitled (Notre-Dame), 2019.

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An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.