Installation view
Photo: Zarko Vijatovic
Installation view
Photo: Zarko Vijatovic
Installation view
Photo: Zarko Vijatovic
Installation view
Photo: Zarko Vijatovic
Installation view
Photo: Zarko Vijatovic
Installation view
Photo: Zarko Vijatovic
Alexander Calder
Little Red, 1960
Painted metal and wire, 44 ⅛ × 21 ⅝ × 11 ¾ inches (112 × 55 × 30 cm)
© Calder Foundation, New York/Artists Rights Society (ARS), New York. Photo: Zarko Vijatovic
In conjunction with Franz West: Papier, the gallery’s presentation of paper-based works by Franz West at Frieze Masters 2023, artist Oscar Murillo and arts writer, critic, and broadcaster Ben Luke sit down to discuss Murillo’s collaboration in selecting the works on view, as well as his personal experiences meeting the late artist in London.
The Spring 2023 issue of Gagosian Quarterly is now available, featuring Roe Ethridge’s Two Kittens with Yarn Ball (2017–22) on its cover.
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Violinist Alina Ibragimova performs Bach’s Sonata for Solo Violin No. 1 in G Major: Adagio (BWV 1001, c. 1720) from within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies, a nonprofit organization that commissions artists to produce site-specific projects and present performances, in collaboration with Gagosian, this recorded performance took place on May 8, 2022 before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).
Cellist Mario Brunello performs Bach’s Cello Suite No. 1 in G Major: Prelude (BWV 1007, c. 1717–23) within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies—a nonprofit that commissions artists to produce site-specific projects and present performances—in collaboration with Gagosian, this recorded performance took place on May 8, 2022, before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
Le Couvent Sainte-Marie de La Tourette, in Éveux, France, is both an active Dominican priory and the last building designed by Le Corbusier. As a result, the priory, completed in 1961, is a center both religious and architectural, a site of spiritual significance and a magnetic draw for artists, writers, architects, and others. This fall, at the invitation of Frère Marc Chauveau, Giuseppe Penone will be exhibiting a selection of existing sculptures at La Tourette alongside new work directly inspired by the context and materials of the building. Here, Penone and Frère Chauveau discuss the power and peculiarities of the space, as well as the artwork that will be exhibited there.
Gillian Pistell writes on the loaded symbol of the American flag in the work of postwar and contemporary artists.
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).
In this video, Gagosian director Serena Cattaneo Adorno celebrates the installation of Alexander Calder’s monumental sculpture Flying Dragon (1975) at Place Vendôme in Paris, detailing the process and importance of this ambitious project.
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Thomas Houseago and Amélie Simier, director of the Musée Rodin, Paris, talk with Gagosian director Richard Calvocoressi about contemporary sculpture and its foundation in the radical forms of Auguste Rodin.
The pair discuss Nancy Rubins’s unique approach to sculpture, in which industrial and found objects—such as television sets, airplane parts, and carousel animals—are transformed into engineered abstractions that are at once otherworldly and familiar.
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.
Sara Softness reflects on a new series of sculptures by Nancy Rubins, Fluid Space (2019–21), “visual poems” that hint at the invisible and the unknown.
Jacoba Urist profiles the legendary collector.
As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.
A conversation between Adam McEwen and Bob Monk.
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.
