Extended through July 9, 2016
I’m trying to see if it’s possible to hold that tipping moment of perception or have several moments coexist . . . like looking at a memory.
Gagosian is pleased to present Erota, a group of recent drawings by Jenny Saville.
Over her twenty-five-year career, Saville has taken the depiction of the human form in unprecedented directions. Her visceral embodiments confront issues of mortality while attesting to a tenacious formal engagement with the problems and innovations of both classical figuration and radical abstraction.
In the figures of large, sprawling nudes, inspired in part by Titian to Canaletto: Drawing in Venice, a recent exhibition at the Ashmolean Museum in Oxford, Saville demonstrates her acute sensitivity to the problems and challenges faced by the Old Masters—including Rembrandt, Raphael, and Titian—while bringing a specifically modern sensibility to bear on classical drawing traditions. The shifting forms and multiple contours of her writhing and coupling figures—in oil stain, pastel, and charcoal on canvas—evoke a world in flux, consistent with the idea that no single reality or perspective can ever be definitive. These corporeal images are like landscapes that reveal themselves to the viewer in real time.
Saville’s forceful marks suggest destruction, regeneration, and a cyclical rhythm of emerging forms, imparting eros, or life force, to her art.
Jenny Saville: Erota
Richard Calvocoressi discusses the inspiration behind the artist’s new body of work.
Five Preoccupations: Jenny Saville
Jenny Saville shares a selection of the books, films, and more that have been her companions in the quiet of the shutdowns in recent months and as she looks ahead to a new exhibition next year.
Jenny Saville and Nicholas Cullinan
Jenny Saville speaks with Nicholas Cullinan, the director of the National Portrait Gallery, London, from her studio. They discuss portraiture, her latest work, and her art historical influences, as well as the shifting nature of perception in the age of digital communication.
Sally Mann and Jenny Saville
The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.
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.
Gagosian Quarterly Spring 2019
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
July 22–28, 2020
In her depictions of the human form, Jenny Saville transcends the boundaries of both classical figuration and modern abstraction. Oil paint, applied in heavy layers, becomes as visceral as flesh itself, each painted mark maintaining a supple, mobile life of its own. As Saville pushes, smears, and scrapes the pigment over her large-scale canvases, the distinctions between living, breathing bodies and their painted representations begin to collapse.
Photo: courtesy the artist
Why Human Bodies Fascinate
On the occasion of her 2016 exhibition Erota at Gagosian Davies Street, London, Jenny Saville speaks with Channel 4 News about her fascination with bodies, her observations on gender, and being an observer.
Extended through July 23, 2018
May 3–July 23, 2018
West 21st Street, New York