Menu

Close at Hand

Modern and Contemporary Sculpture

January 9–February 24, 2018
San Francisco

Installation view

Installation view

Works Exhibited

Richard Artschwager, Corner, 1992 Paint, wood, Formica, and chrome, 36 × 14 ¼ × 4 ½ inches (91.4 × 36.2 × 11.4 cm), edition of 30© 2017 Richard Artschwager/Artists Rights Society (ARS), New York

Richard Artschwager, Corner, 1992

Paint, wood, Formica, and chrome, 36 × 14 ¼ × 4 ½ inches (91.4 × 36.2 × 11.4 cm), edition of 30
© 2017 Richard Artschwager/Artists Rights Society (ARS), New York

Alex Israel, Casting, 2015 Acrylic on bronze, in 2 parts, 16 × 12 × 5 ¾ inches (40.6 × 30.5 × 14.6 cm), edition of 8© Alex Israel. Photo: Josh White

Alex Israel, Casting, 2015

Acrylic on bronze, in 2 parts, 16 × 12 × 5 ¾ inches (40.6 × 30.5 × 14.6 cm), edition of 8
© Alex Israel. Photo: Josh White

Urs Fischer, Low Lying Cloud, 2016 Cast bronze, acrylic primer, chalk gesso, rabbit skin glue, and oil paint, 8 ¼ × 15 ¼ × 7 ½ inches (21 × 38.7 × 19.1 cm), edition of 2© Urs Fischer. Photo: Mats Nordman

Urs Fischer, Low Lying Cloud, 2016

Cast bronze, acrylic primer, chalk gesso, rabbit skin glue, and oil paint, 8 ¼ × 15 ¼ × 7 ½ inches (21 × 38.7 × 19.1 cm), edition of 2
© Urs Fischer. Photo: Mats Nordman

Mark Grotjahn, Untitled (Moss on Rock Heavy Texture Mask M16.d), 2012 Painted bronze, 43 ½ × 16 × 5 ¼ inches (110.5 × 40.6 × 13.3 cm)© Mark Grotjahn

Mark Grotjahn, Untitled (Moss on Rock Heavy Texture Mask M16.d), 2012

Painted bronze, 43 ½ × 16 × 5 ¼ inches (110.5 × 40.6 × 13.3 cm)
© Mark Grotjahn

Shio Kusaka, (carved 116), 2016 Stoneware, 23 × 10 × 10 inches (58.4 × 25.4 × 25.4 cm)© Shio Kusaka. Photo: Brian Forrest

Shio Kusaka, (carved 116), 2016

Stoneware, 23 × 10 × 10 inches (58.4 × 25.4 × 25.4 cm)
© Shio Kusaka. Photo: Brian Forrest

Sterling Ruby, HEART (RWB. 86), 2017 Ceramic, 24 ¼ × 19 ½ × 3 inches (61.6 × 49.5 × 7.6 cm)© Sterling Ruby Studio

Sterling Ruby, HEART (RWB. 86), 2017

Ceramic, 24 ¼ × 19 ½ × 3 inches (61.6 × 49.5 × 7.6 cm)
© Sterling Ruby Studio

Tatiana Trouvé, Equivalence, 2015 (detail) Patinated bronze, metal, and copper, dimensions variable, edition of 3© Tatiana Trouvé. Photo: Rob McKeever

Tatiana Trouvé, Equivalence, 2015 (detail)

Patinated bronze, metal, and copper, dimensions variable, edition of 3
© Tatiana Trouvé. Photo: Rob McKeever

Rachel Whiteread, Untitled (On/Off), 2001 Stainless steel, 4 parts, 2 ⅝ × 2 ⅝ × 1 ⅛ inches (6.5 × 6.5 × 2.7 cm), edition of 6© Rachel Whiteread

Rachel Whiteread, Untitled (On/Off), 2001

Stainless steel, 4 parts, 2 ⅝ × 2 ⅝ × 1 ⅛ inches (6.5 × 6.5 × 2.7 cm), edition of 6
© Rachel Whiteread

About

Gagosian is pleased to present Close at Hand, an exhibition of modern and contemporary sculpture.

Focusing on intimate gesture and free experimentation, Close at Hand reveals a breadth of formal, conceptual, and material approaches to sculpture, including assemblages, ceramics, and found objects. The exhibition presents varied embodiments of energy, motion, and time—both material and immaterial—within the purview of the human body.

Formalist oppositions between art and object are played out in sculptures by Anthony Caro and Tony Smith. In Table Piece Z-82 ‘Clarinet’ (1982), Caro orchestrates rusted and varnished metal components into a greater abstract whole, while in Mistake (1963), Smith proposes a singular geometric form, which abandons representational clues in order to consider the classic minimalist construct of spectacle and viewer.

Exploration of new materials can be seen in the making strange of common objects through a shift in their perceived properties. With Corner (1992), Richard Artschwager creates a cartoonish illusion that three planks of wood-patterned Formica, cinched tightly with a metal bracket, are exploding from a corner of the room. Rachel Whiteread’s Untitled (On / Off) (2001) a cast light-switch bank in stainless steel, further blurs the line between reality and representation, while Tatiana Trouvé’s Equivalences (2014), bronze cast refuse such as water bottles, cans, and scraps of cardboard are suspended in perfect balance from thin wire cables.

Gestural aspects of the sculptural process are captured in the surfaces of works by John Chamberlain and Franz West. Lucio Fontana’s Concetto Spaziale Cratere (1968) is a hand-formed porcelain sculpture with a jagged aperture that reveals its white interior, as if it has been shot through by one of Chris Burden’s Gold Bullets (2003), taxonomically arranged in two vitrines nearby.

Read more

Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly magazine.

Now available
Gagosian Quarterly Winter 2020

The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.

Alexander Calder poster for McGovern, 1972, lithograph

The Art History of Presidential Campaign Posters

Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.

Tom Eccles and Kiki Smith on Rachel Whiteread

In Conversation
Tom Eccles and Kiki Smith on Rachel Whiteread

On the occasion of Artist Spotlight: Rachel Whiteread, curator Tom Eccles and artist Kiki Smith speak about the work of Rachel Whiteread through the lens of their personal friendships with her. They discuss her public projects from the early 1990s to the present, the relationship between drawing and sculpture in her practice, and the way her works reveal the memories embedded in familiar everyday objects.

Still from the video "In Conversation: Rachel Whiteread and Ann Gallagher"

In Conversation
Rachel Whiteread and Ann Gallagher

Rachel Whiteread speaks to Ann Gallagher about a new group of resin sculptures for an upcoming exhibition at Gagosian in London. They discuss the works’ emphasis on surface texture, light, and reflection.

Andy Warhol cover design for the magazine Aspen 1, no. 3.

Artists’ Magazines

Gwen Allen recounts her discovery of cutting-edge artists’ magazines from the 1960s and 1970s and explores the roots and implications of these singular publications.

Black-and-white photograph of Alexander Calder and Margaret French dancing on a cobblestone street while Louisa Calder plays the accordion in front of a large window outside of James Thrall Soby’s house, Farmington, Connecticut, 1936

An Alphabetical Guide to Calder and Dance

Jed Perl takes a look at Alexander Calder’s lifelong fascination with dance and its relationship to his reimagining of sculpture.