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Now available
Gagosian Quarterly Spring 2024
The Spring 2024 issue of Gagosian Quarterly is now available with a fresh cover design featuring Jean-Michel Basquiat’s Lead Plate with Hole (1984).
In collaboration with Gisèle Croës Arts d’Extrême-Orient, Gagosian Hong Kong is pleased to present The Shape of Time, an exhibition of exceptional Asian antiques and modern and contemporary works by Georg Baselitz, Cai Guo-Qiang, Chu Teh-Chun, Alberto Giacometti, Andreas Gursky, Liu Dan, Takashi Murakami, Nam June Paik, Sterling Ruby, Richard Serra, and Zao Wou-Ki.
Among the exquisite objects that Gisèle Croës has selected for the exhibition are Longshan culture black pottery (third millennium BC), a crown headdress with glass ornaments from the Tang dynasty (618–907 AD), a gilt bronze mask from the Liao dynasty (916–1125 AD), and a carved wooden Bodhisattva figure (twelfth or thirteenth century AD). Of special interest to Croës are bronze vessels—symbols of dynastic power that for centuries played an essential role in ceremonies connecting the living and the dead—and the exhibition includes key examples from the Shang, Zhou, and Han dynasties.
These rare artifacts are presented alongside modern and contemporary paintings, drawings, sculptures, and photographs that revisit historically persistent subjects and common formal concerns. A bronze Ding vessel (770–481 BC) is shown beside Cai Guo-Qiang’s A Certain Lunar Eclipse: Project for Humankind No. 2 (1991), made by exploding gunpowder to produce epic celestial forms across a seven-panel screen measuring six meters in width. In new two-part ink and wash drawings, Georg Baselitz pairs reconsidered motifs from his own oeuvre with iterations of a nineteenth-century self-portrait by ukiyo-e artist Katsushika Hokusai.
In Untitled (1958), Chu Teh-Chun conflates the Chinese landscape painting tradition with the free spirit of Art Informel and Western abstraction, while in Bangkok III (2013), Andreas Gursky depicts the Chao Phraya River as a dark, reflective flow, conjuring a lineage of painterly depictions of water, from the cascading riverbanks of Song dynasty landscape paintings to Claude Monet’s Nymphéas. Upon closer observation, man-made pollution in the water suggests that Gursky’s sublime image is very much in and of its time.
The title of the exhibition alludes to George Kubler’s groundbreaking 1962 book, which challenged the notion of style by placing the history of objects and images in a larger continuum whereby processes of innovation, replication, and mutation are in continuous dialogue. Spanning millennia, the works are integrated without chronological mandate so that the viewer can discover fresh and unexpected correspondences between past and present.
The Spring 2024 issue of Gagosian Quarterly is now available with a fresh cover design featuring Jean-Michel Basquiat’s Lead Plate with Hole (1984).
Jean-Michel Basquiat’s sisters, Lisane Basquiat and Jeanine Heriveaux, met with filmmaker Tamra Davis, art dealer Larry Gagosian, and author and curator Fred Hoffman to reflect on their experiences with the artist during the 1980s in Los Angeles.
In conjunction with the exhibition The Painter in His Bed, at Gagosian, New York, Georg Baselitz and Richard Calvocoressi discuss the motif of the stag in the artist’s newest paintings.
Ester Coen meditates on the dynamism of Sterling Ruby’s recent projects, tracing parallels between these works and the histories of Futurism, Constructivism, and the avant-garde.
Join Sterling Ruby in his Los Angeles studio as he works on new abstract paintings ahead of his exhibition TURBINES at Gagosian in New York.
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).
On the occasion of Nam June Paik: Art in Process: Part One, curator John G. Hanhardt and Nam June Paik Estate curator Jon Huffman discuss the survey of works spanning the artist’s career.
Bridging the digital and the physical realms, the three-part presentation of paintings and sculptures that make up Takashi Murakami: An Arrow through History at Gagosian, New York, builds on the ongoing collaboration between the artist and RTFKT Studios. Here, Murakami and the RTFKT team explain the collaborative process, the necessity of cognitive revolution, the metaverse, and the future of art to the Quarterly’s Wyatt Allgeier.
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).
On the occasion of Georg Baselitz: Archinto at Museo di Palazzo Grimani, Venice, Artcore Films produced a short documentary featuring the artist. In the video, Baselitz details the origins of the project, how he approached the unique space, and his experiments in process and technique.
Richard Calvocoressi visits Georg Baselitz’s retrospective exhibition at the Centre Pompidou in Paris and reflects on both the historical specificity and timeless themes of the artist’s sixty-year career.
In celebration of five recent projects related to Georg Baselitz, Richard Calvocoressi, Max Hollein, and Katy Siegel speak with the artist and look at his prolific career.
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
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.
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.
Takashi Murakami writes about his commitment to the work of Japanese ceramic artists associated with the seikatsu kōgei, or lifestyle crafts, movement.