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.
Before the Smoke Has Cleared
Angela Brown provides a glimpse into the charged ecologies of recent drawings and sculptures by Tatiana Trouvé. These works will be included in On the Eve of Never Leaving, Trouvé’s first solo exhibition in Los Angeles, opening in November 2019.
Urs Fischer and choreographer Madeline Hollander speak with novelist Natasha Stagg about the ways in which choreographic experimentation and an interest in our ability to project emotion onto objects led to the one-of-a-kind project PLAY.
Sterling Ruby: Disjointed Monuments to Nothing
Alessandro Rabottini investigates the theoretical and formal underpinnings of Sterling Ruby’s career through the lens of the artist’s series ACTS.
Gagosian Quarterly Fall 2019
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Shy Sculpture: Nissen Hut
Rachel Whiteread’s public sculpture Nissen Hut was unveiled in October 2018 in Yorkshire’s Dalby Forest. Curator Tamsin Dillon explores the dynamic history of these structures and provides a firsthand account of the steps leading up to the work’s premiere.
Nature and Inspiration: Henry Moore at Houghton Hall
Sebastiano Barassi reflects on the centrality of nature in the work of Henry Moore—as form, material, inspiration, and site.
The Mysteries of Château du Dé
January 14–February 29, 2020
Extended through November 30, 2019
Foglie di bronzo / Leaves of Bronze
September 12–November 30, 2019
May 30–August 23, 2019
March 21–May 11, 2019