Installation video
Installation view, photo by Josh White
Installation view Photo by Josh White
Installation view Photo by Josh White
Installation view Photo by Josh White
William Eggleston
At Zenith VI, 1979/2013
Pigment print, 44 × 60 inches (111.8 × 152.4 cm), edition of 2
William Eggleston
At Zenith VIII, 1979/2013
Pigment print, 44 × 60 inches (111.8 × 152.4 cm), edition of 2
William Eggleston
At Zenith XI, 1979/2013
Pigment print, 44 × 60 inches (111.8 × 152.4 cm), edition of 2
William Eggleston
At Zenith XIII, 1979/2013
Pigment print, 44 × 60 inches (111.8 × 152.4 cm), edition of 2
I was interested in photographic works that were very much about photography, but certainly—hopefully—were grounded in painting.
—William Eggleston
Gagosian Beverly Hills is pleased to present “William Eggleston: At Zenith.”
A Memphis native, Eggleston developed his distinct oeuvre from the immediate world around him, incorporating all shades of life into his vivid photographs, and pioneering an approach that derives its power from a refined form of spontaneous observation. A modern-day flâneur, he captures compelling fragments, events, and personalities of the ordinary world.
Eggleston is largely credited with legitimizing color photography as a fine art form. More than a century after the advent of color film, and a decade after popular media fused with contemporary art, his first museum exhibition at the Museum of Modern Art, New York in 1976 was also the first time that color photography had been considered in this context. Thirty-eight years after this historic moment, Eggleston continues his innovations in photography. In recent years, advances in digital processes allow him to print images on a much larger scale, at times even surpassing the quality of color saturation associated with dye-transfer, the vibrant and exquisite printing process which is his hallmark.
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.
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.
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.
The exhibition Pomellato, Le Joaillier Révolutionnaire opened at Palais de Tokyo, Paris, on June 24. The Italian jewelry house’s trailblazing advertising campaigns—created by some of the most consequential names in photography—act as the narrative arc of the exhibition, curated by Alba Cappellieri. Here, Sarah Godfrey tracks Pomellato’s history, speaks with Cappellieri about what drew her to this project, and examines some of the key photographs from the show.
On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.
In the midst of John Berger’s centennial year, Tara Anne Dalbow considers To Tell a Story, a new book that explores his dynamic exchanges with Susan Sontag, recently published by Canongate Books.
