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.
Sculpture is also defined as process, as objects become the byproducts of lived experience, from Sterling Ruby’s roughly formed ceramic basins, heavy with glaze, and Shio Kusaka’s delicate stoneware to Davide Balula’s Mimed Sculpture (Alberto Giacometti, Suspended Ball, 1930–1931) (2017), which describes iconic Giacometti sculptures without any materials at all. As a human mime shapes the air suggestively above an empty plinth, the surrounding works in the exhibition seem to come alive, revealed to be the manifestations of each artist’s complex relationship to space, matter, and history.
Close at Hand includes works by Richard Artschwager, Davide Balula, Joe Bradley, Chris Burden, Alexander Calder, Anthony Caro, John Chamberlain, Urs Fischer, Lucio Fontana, Alex Israel, Shio Kusaka, Henry Moore, Ken Price, Sterling Ruby, Tony Smith, Tatiana Trouvé, Franz West, Rachel Whiteread, and others.
For the duration of the exhibition, performances of Balula’s Mimed Sculpture (Alberto Giacometti, Suspended Ball, 1930–1931) will take place every Friday from 1 to 2pm and every Saturday from 2 to 4pm, with the exception of January 20. The sculpture can be purchased in USD or the equivalent in digital currencies Bitcoin or Ethereum.
Gagosian Quarterly Winter 2022
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Sterling Ruby: TURBINES
Join Sterling Ruby in his Los Angeles studio as he works on new abstract paintings ahead of his exhibition TURBINES at Gagosian in New York.
Rachel Whiteread: Shy Sculpture
On the occasion of the unveiling of her latest Shy Sculpture, in Kunisaki, Japan, Rachel Whiteread joined curator and art historian Fumio Nanjo for a conversation about this ongoing series.They address the origins of these sculptures and the details of each project.
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.
Chloe Barter, John Kasmin, and Paul Moorhouse on Anthony Caro
Join Chloe Barter, John Kasmin, and Paul Moorhouse as they discuss the work and legacy of Anthony Caro. Their conversation took place in conjunction with the exhibition Caro and North American Painters, which included sculptures by Anthony Caro from the 1960s and 1970s, shown together with contemporaneous paintings by his friends and peers.
Tatiana Trouvé: Le grand atlas de la désorientation
In this video, Tatiana Trouvé provides an overview of her latest installation, presented at the Centre Pompidou, Paris. The exhibition, whose title translates to The Great Atlas of Disorientation, includes a selection of drawings and sculptures that create fantastical landscapes where reality engages in infinite exchanges with its doubles.
Extended through December 11, 2020
Jay DeFeo in the 1970s
September 10–December 11, 2020