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Extended through June 30, 2018

About Photography

April 24–June 30, 2018
San Francisco

Installation view Artwork, left to right: © Piero Golia, © Adam McEwen, © Florian Maier-Aichen. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Piero Golia, © Adam McEwen, © Florian Maier-Aichen. Photo: Johnna Arnold

Installation view Artwork, left to right: © Ed Ruscha, © Robert Rauschenberg Foundation/Licensed by VAGA, New York, © Studio lost but found/VG Bild-Kunst, Bonn 2018. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Ed Ruscha, © Robert Rauschenberg Foundation/Licensed by VAGA, New York, © Studio lost but found/VG Bild-Kunst, Bonn 2018. Photo: Johnna Arnold

Installation view Artwork, left to right: © Dike Blair, © Sally Mann, © Nicola Del Roscio Foundation. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Dike Blair, © Sally Mann, © Nicola Del Roscio Foundation. Photo: Johnna Arnold

Installation view Artwork, left to right: © 2018 Cindy Sherman, © Taryn Simon. Photo: Johnna Arnold

Installation view

Artwork, left to right: © 2018 Cindy Sherman, © Taryn Simon. Photo: Johnna Arnold

Installation view Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2018. Photo: Johnna Arnold

Installation view

Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2018. Photo: Johnna Arnold

Installation view Artwork © 2018 Chris Burden/Licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Johnna Arnold

Installation view

Artwork © 2018 Chris Burden/Licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Johnna Arnold

Installation view with Andy Warhol, Screen Tests, 1964–66 (1964–66) Artwork © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Photo: Johnna Arnold

Installation view with Andy Warhol, Screen Tests, 1964–66 (1964–66)

Artwork © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Photo: Johnna Arnold

Installation view with Andy Warhol, Screen Tests, 1964–66 (1964–66) Artwork © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Photo: Johnna Arnold

Installation view with Andy Warhol, Screen Tests, 1964–66 (1964–66)

Artwork © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Photo: Johnna Arnold

Installation view with Andy Warhol, Screen Tests, 1964–66 (1964–66) Artwork © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Photo: Johnna Arnold

Installation view with Andy Warhol, Screen Tests, 1964–66 (1964–66)

Artwork © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Photo: Johnna Arnold

Works Exhibited

Douglas Gordon, Monster Reborn, 2002 Transmounted chromogenic print, 32 × 48 inches (81.3 × 121.9 cm), edition of 11 + 3 AP© Studio lost but found/VG Bild-Kunst, Bonn 2018

Douglas Gordon, Monster Reborn, 2002

Transmounted chromogenic print, 32 × 48 inches (81.3 × 121.9 cm), edition of 11 + 3 AP
© Studio lost but found/VG Bild-Kunst, Bonn 2018

Duane Hanson, Man with Camera, 1991–92 Polychromed bronze and mixed media, 49 × 38 × 34 inches (124.5 × 96.5 × 86.4 cm), 1 of 3 unique versions© Duane Hanson. Photo: Rob McKeever

Duane Hanson, Man with Camera, 1991–92

Polychromed bronze and mixed media, 49 × 38 × 34 inches (124.5 × 96.5 × 86.4 cm), 1 of 3 unique versions
© Duane Hanson. Photo: Rob McKeever

Cindy Sherman, Untitled Film Still #60, 1980 Gelatin silver print, 40 × 30 inches (101.6 × 76.2 cm)© 2018 Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York

Cindy Sherman, Untitled Film Still #60, 1980

Gelatin silver print, 40 × 30 inches (101.6 × 76.2 cm)
© 2018 Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York

Chris Burden, Deluxe Photo Book 1971–73, 1974 Gelatin silver prints, chromogenic prints, and typewritten note in loose-leaf binder with hand-painted cover, 12 x 12 x 3 inches (30.5 x 30.5 x 7.6 cm), edition of 50© Chris Burden/Licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Deluxe Photo Book 1971–73, 1974

Gelatin silver prints, chromogenic prints, and typewritten note in loose-leaf binder with hand-painted cover, 12 x 12 x 3 inches (30.5 x 30.5 x 7.6 cm), edition of 50
© Chris Burden/Licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York

Adam McEwen, Untitled (Bret), 2011 Chromogenic print, 40 × 28 inches (101.6 × 71.1 cm), edition of 3 + 2 AP© Adam McEwen

Adam McEwen, Untitled (Bret), 2011

Chromogenic print, 40 × 28 inches (101.6 × 71.1 cm), edition of 3 + 2 AP
© Adam McEwen

About

Gagosian is pleased to present About Photography, an exhibition by artists, modern and contemporary, who have exhibited with the gallery over the past four decades.

About Photography explores the ways in which artists use photography as a medium, a means to an end, and a catalyst for other art forms. From Andy Warhol to Richard Prince, these artists open up the question of what it means to utilize the photographic medium for representation, as well as in the creation of form. As intellectual challenges continue to unfold, photography pervades not only all other artistic genres, but our every moment as well, a phenomenon that has irrevocably changed the nature of art itself.

The exhibition’s only sculpture, Duane Hanson’s Man with Camera (1991–92), takes center stage: a figure perched on a folding chair poises his camera to take a photograph. Celebrated for their startling realism, Hanson’s figures and the “snapshot of America” that they constitute take on new meaning in a photographic context. Nearby, Andy Warhol’s Screen Test of Edie Sedgwick (1965) is projected on the entrance wall. Richard Avedon’s portraits of Louis Armstrong (1955), Bob Dylan (1963), Malcolm X (1963), and members of Warhol’s Factory (1969–75) create an interlocking narrative about photography and society, contrasting with both the aesthetics and implications of Hanson’s figure.

Fifty years after Diane Arbus began shooting her unsettling black-and-white portraits of ordinary Americans on a medium-format Rolleiflex, producing distinctive, square photographs, Richard Prince’s Untitled (portrait) (2015) borrows the characteristic text and cropping of an Instagram post. An avid documenter and collector of American subcultures, Prince uses mass-media images to redefine concepts of ownership and authorship. Here, his examination of the contemporary channels and distribution of the photograph stands in stark contrast to Arbus’s iconic portraits, including Identical Twins, Roselle, N.J. (1966).

While Ed Ruscha’s deadpan series Vacant Lots (1970–2003) memorializes Los Angeles’s vernacular architecture, now largely overbuilt, the dissonance between nature and the incursion of commerce and popular culture is made evident in Andreas Gursky’s SH II (2014), in which a superhero sits alone in a desolate landscape.

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Deluxe Photo Book

Deluxe Photo Book

Sydney Stutterheim discusses Chris Burden’s Deluxe Photo Book 1971–73 on the occasion of its inclusion in About Photography at Gagosian San Francisco.

Installation view of Urs Fischer’s Untitled (2011) in the exhibition Ouverture, Bourse de Commerce – Pinault Collection, Paris, 2021. Artwork © Urs Fischer, courtesy Galerie Eva Presenhuber, Zurich; Bourse de Commerce – Pinault Collection © Tadao Ando Architect & Associates, Niney et Marca Architectes, Agence Pierre-Antoine Gatier. Photo: Stefan Altenburger

Bourse de Commerce

William Middleton traces the development of the new institution, examining the collaboration between the collector François Pinault and the architect Tadao Ando in revitalizing the historic space. Middleton also speaks with artists Tatiana Trouvé and Albert Oehlen about Pinault’s passion as a collector, and with the Bouroullec brothers, who created design features for the interiors and exteriors of the museum.

Andreas Gursky, Jonathan Ive, 2019, fine art print mounted on dibond, 64 1/2 × 50 ⅝ inches (163.7 × 128.5 cm). National Portrait Gallery, London, commissioned; made possible by the Outset Commission, supported by Scott Collins in partnership with Outset Contemporary Art Fund, 2019 © Andreas Gursky/VG BILD-KUNST, Bonn

Ive by Gursky: A Meeting of Minds

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.

Taryn Simon, details from An American Index of the Hidden and Unfamiliar, 2007; A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11; A Cold Hole, 2018; An Occupation of Loss, 2016; and Paperwork and the Will of Capital, 2015

In Conversation
Taryn Simon and Teju Cole

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.

Still from video documentation of a 2018 performance of Taryn Simon's An Occupation of Loss.

Taryn Simon: An Occupation of Loss

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.

Taryn Simon, “Folder: Broken Objects” (detail), from the series The Picture Collection, 2012, framed archival inkjet print, 47 × 62 inches (119.4 × 157.5 cm) © Taryn Simon

The New York Public Library’s Picture Collection

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.