Extended through June 30, 2018
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.
Adam McEwen’s fictive obituary of the living American novelist Bret Easton Ellis (2007) is not a traditionally captured photograph, but a composite image made into a photographic print. In Monster Reborn (2002), Douglas Gordon presents himself in a Jekyll-and-Hyde photographic diptych; and, in the four-part Self Portrait of You + Me and Me + You + You + Me + Me + You (2011), he employs mirrors alongside photographs, so that artist and viewer can participate equally in the dual process of reflection and refraction.
Chris Burden documented his radical performances between 1971 and 1973 in silver gelatin prints and C-prints, collated into a single book with a hand-painted cover (1974). Each day of the exhibition’s run, a page of the book will be turned to display Burden’s iconoclastic images progressively. For her ongoing Black Square series (2006–), Taryn Simon shows objects, documents, and individuals within a black field that has precisely the same measurements as Kazimir Malevich’s 1915 Suprematist work of the same name. Black Square VII (2012) depicts the Picturephone, an artifact from the 1964 New York World’s Fair, while Black Square XX (2016) shows the ballot count for the European Union membership referendum, or Brexit vote, of the Inner London Borough of Haringey—a tally that went in the minority, with 24.3 percent voting “Leave,” and 75.4 percent “Remain.”
The central role of light in photography is also explored throughout the exhibition. Piero Golia captures the night sky above San Fernando Valley; Richard Phillips’s photorealistic portrait of a woman’s face is expertly painted in grayscale; and Dike Blair’s pensive still-life paintings give quiet, meditative pause and abstract form to otherwise unremarkable objects and details such as half-filled cups and desk edges. With Remembered Light, Untitled (Light on Wall and Bench) (2012), Sally Mann, in one of the many photographs she took of Cy Twombly’s Virginia studio over the course of their friendship, indicates the haptic processes that were part of his environment, while Twombly’s own images, such as Lemon (Gaeta) (2006), offer even more personal glimpses at the objects that populated his daily life. Even without the artist’s actual presence, the intimate photographs vividly evoke his human traces.
Featuring works by Diane Arbus, Richard Avedon, Dike Blair, Chris Burden, Gregory Crewdson, Roe Ethridge, Urs Fischer, Ralph Gibson, Nan Goldin, Piero Golia, Douglas Gordon, Andreas Gursky, Duane Hanson, Seydou Keita, Vera Lutter, Florian Maier-Aichen, Sally Mann, Man Ray, Robert Mapplethorpe, Adam McEwen, Richard Phillips, Jean Pigozzi, Richard Prince, Robert Rauschenberg, Ed Ruscha, Cindy Sherman, Taryn Simon, Patti Smith, Cy Twombly, Jeff Wall, and Andy Warhol.
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.
Gagosian Quarterly Winter 2022
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Urs Fischer: Denominator
Urs Fischer sits down with his friend the author and artist Eric Sanders to address the perfect viewer, the effects of marketing, and the limits of human understanding.
Gagosian Quarterly Fall 2022
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
Cy Twombly: Imperfect Paradise
Eleonora Di Erasmo, cocurator of Un/veiled: Cy Twombly, Music, Inspirations, a program of concerts, video screenings, and works by Cy Twombly at the Fondazione Nicola Del Roscio, Rome, reflects on the resonances and networks of inspiration between the artist and music. The program was the result of an extensive three-year study, done at the behest of Nicola Del Roscio in the Rome and Gaeta offices of the Cy Twombly Foundation, intended to collect, document, and preserve compositions by musicians around the world who have been inspired by Twombly’s work, or to establish an artistic dialogue with them.
Cy Twombly: Making Past Present
In 2020, the Museum of Fine Arts, Boston, announced their plan for a survey of Cy Twombly’s artwork alongside selections from their permanent ancient Greek and Roman collection. The survey was postponed due to the lockdowns necessitated by the coronavirus pandemic, but was revived in 2022 with a presentation at the J. Paul Getty Museum in Los Angeles from August 2 through October 30. In 2023, the exhibition will arrive at the Museum of Fine Arts, Boston. The curator for the exhibition, Christine Kondoleon, and Kate Nesin, author of Cy Twombly’s Things (2014) and advisor for the show, speak with Gagosian director Mark Francis about the origin of the exhibition and the aesthetic and poetic resonances that give the show its title: Making Past Present.
Extended through December 11, 2020
Jay DeFeo in the 1970s
September 10–December 11, 2020