Now available
Gagosian Quarterly Summer 2023
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
These flowers sat between powerful men as they signed agreements designed to influence the fate of the world.
—Taryn Simon
Gagosian Rome is pleased to present Taryn Simon’s first solo exhibition in Italy, following her acclaimed exhibition at Gagosian New York earlier this year, and her participation in the 56th Biennale di Venezia in 2015.
Simon’s most recent body of work Paperwork and the Will of Capital comprises twelve unique sculptures and thirty-six editioned photographs. The photographs—large, colorful, and spectacular, with a nod to Pop art, and custom-framed in mahogany to emulate the style of boardroom furniture—speak to the bombast of national and corporate symbolism; the sculptures—stylized concrete flower-presses containing delicate preserved floral specimens and their documentation—operate in a discrete and classified zone.
A storyteller whose grist is the instability of fact, Simon has produced such impactful, research-driven bodies of work as The Innocents (2002); An American Index of the Hidden and Unfamiliar (2007); Contraband (2010); and A Living Man Declared Dead and Other Chapters I–XVIII (2008–11); as well as the more whimsical The Picture Collection (2013) and Birds of the West Indies (2013–14). For Simon, photography has always been the vehicle for larger conceptual ideas; in Paperwork and the Will of Capital, her exacting attention to aesthetic and formal concerns has elevated the medium to the status of painting, as well as expanded her reach into sculpture for the first time.
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
This spring, as part of the Lambert Family Lecture Series at the Wexner Center for the Arts, Taryn Simon joined Teju Cole for an online conversation about her artistic practice and creative process.
In Taryn Simon’s performance work An Occupation of Loss (2016), professional mourners enact rituals of grief, simultaneously broadcasting their lamentations from within a sculptural installation. This video by filmmaker Boris B. Bertram documents the April 2018 performance of this work with Artangel in Islington, London.
Joshua Chuang, the Robert B. Menschel Senior Curator of Photography at the New York Public Library, discusses the institution’s singular Picture Collection, the artist Taryn Simon’s rigorous engagement with it, and four instances of its little-known role in the history of art making.
The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.
James Lawrence explores how contemporary artists have grappled with the subject of the library.
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
Two immersive installations by Taryn Simon presented at MASS MoCA in 2018–19 examined the rituals of cold-water plunges and applause. Text by Angela Brown.
Meredith Mendelsohn discusses the impact of Free Arts NYC and its mission to foster creativity in children and teens, on the occasion of its twenty-year anniversary.
Taryn Simon’s 2016 exhibitions spanned the globe. Angela Brown brings us highlights from six museums.