Installation view, photo by Pierre Carreau
Installation view Photo by Pierre Carreau
Installation view Photo by Pierre Carreau
Installation view Photo by Pierre Carreau
Dennis Hopper
Jasper Johns, 1965
Gelatin silver print, 24 × 16 inches (61 × 40.6 cm), edition of 15
Dennis Hopper
Jean Tinguely, 1965
Gelatin silver print, 24 × 16 inches (61 × 40.6 cm), edition of 15
Dennis Hopper
Roy Lichtenstein, 1964
Gelatin silver print, 20 × 16 inches (50.8 × 40.6 cm), edition of 10
Dennis Hopper
Andy Warhol with Flower, Slight Smile, 1963
Archival digital print, 30 × 20 inches (76.2 × 50.8 cm), edition of 8
This is a story of a man/child who chose to develop his five senses and live and experience rather than just read.
—Dennis Hopper
Gagosian is pleased to announce an exhibition of photographs by Dennis Hopper, following the presentation of The Lost Album at Gagosian New York earlier in 2013.
Hopper established his reputation as a cult actor and director with Easy Rider (1969), and maintained this status with gritty performances in The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986), Hoosiers (1986), and as director of Colors (1988). During his rise to Hollywood stardom, he captured the establishment-busting spirit of the 1960s in photographs that travel from Los Angeles to Harlem to Tijuana, Mexico, and which portray iconic figures including Tina Turner, Andy Warhol, and Martin Luther King, Jr. Rediscovered after Hopper’s death, the historically significant Lost Album comprises over 400 black and white photographs taken between 1961—when Hopper’s soon-to-be wife Brooke Hayward gave him a Nikon camera for his birthday—and 1967.
This exhibition focuses on two bodies of work that offer glimpses of the luminaries and landscapes of Hopper’s private life during the 1960s and 1970s: a selection of portraits from The Lost Album, depicting artists from Jasper Johns and Roy Lichtenstein to Ed Ruscha; and Drugstore Camera, a series shot in Taos, New Mexico, where Hopper was based following the production of Easy Rider and into the 1980s (Hopper is buried in Taos and kept property there throughout his life). Taken with quick-use cameras and developed in drugstore photo labs, the Drugstore Camera photographs document Hopper’s friends and family among the ruins and open vistas of the desert landscape; female nudes in shadowy interiors; road trips to and from Hopper’s home state of Kansas; and spontaneous still life assemblages of discarded objects.
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
On the occasion of his exhibition The Reflection of Bronze at Gagosian, New York, Giuseppe Penone and curator Adam D. Weinberg sit down to discuss the genesis of, and their collaboration on, the show.
Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.
Marcel Duchamp is the inaugural exhibition of the gallery’s new ground-floor space in the historic building at 980 Madison Avenue. In this video, the Quarterly’s Alison McDonald discusses the artist’s most iconic readymades and their connection to New York City.
On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.
An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.
On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
The Singular Experience at Gagosian’s Le Bourget gallery is the largest exhibition of Walter De Maria’s work in France in several decades. Organized by Donna De Salvo, senior adjunct curator at Dia Art Foundation, the exhibition marks the first time De Maria’s final sculpture, Truck Trilogy (2011–17), is being shown outside of the United States. Here, De Salvo speaks with artist Lucy Raven about her evolving kinship with De Maria and more.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
