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Extended through July 13, 2019

Continuing Abstraction

June 10–July 13, 2019
Basel

Installation view Artwork, left to right: © 2019 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; © 2019 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; © 2019 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York

Installation view

Artwork, left to right: © 2019 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; © 2019 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; © 2019 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York

Installation view Artwork, left to right: © 2019 Robert Ryman/Artists Rights Society (ARS), New York; © Mark Grotjahn; © Albert Oehlen

Installation view

Artwork, left to right: © 2019 Robert Ryman/Artists Rights Society (ARS), New York; © Mark Grotjahn; © Albert Oehlen

Installation view Artwork, left to right: © Joe Bradley, © Mary Weatherford

Installation view

Artwork, left to right: © Joe Bradley, © Mary Weatherford

Installation view Artwork, left to right: © Theaster Gates, © Cy Twombly Foundation, © Joe Bradley

Installation view

Artwork, left to right: © Theaster Gates, © Cy Twombly Foundation, © Joe Bradley

Installation view Artwork, left to right: © 2019 Richard Serra/Artists Rights Society (ARS), New York; © Joe Bradley

Installation view

Artwork, left to right: © 2019 Richard Serra/Artists Rights Society (ARS), New York; © Joe Bradley

Works Exhibited

Jackson Pollock, Moon Vibrations, c. 1953–55 Oil on canvas, mounted on masonite, 43 × 34 inches (109.2 × 86.4 cm)© 2019 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Jackson Pollock, Moon Vibrations, c. 1953–55

Oil on canvas, mounted on masonite, 43 × 34 inches (109.2 × 86.4 cm)
© 2019 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

Helen Frankenthaler, With Blue, 1953 Oil on linen, 35 × 31 inches (88.9 × 78.7 cm)© 2019 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Helen Frankenthaler, With Blue, 1953

Oil on linen, 35 × 31 inches (88.9 × 78.7 cm)
© 2019 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Willem de Kooning, Untitled, 1948 Oil on masonite, 24 × 48 inches (61 × 121.9 cm)© 2019 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York

Willem de Kooning, Untitled, 1948

Oil on masonite, 24 × 48 inches (61 × 121.9 cm)
© 2019 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York

Brice Marden, Study 2000, 2000 Oil on linen, 24 ¼ × 18 inches (61.6 × 45.7 cm)© 2019 Brice Marden/Artists Rights Society (ARS), New York

Brice Marden, Study 2000, 2000

Oil on linen, 24 ¼ × 18 inches (61.6 × 45.7 cm)
© 2019 Brice Marden/Artists Rights Society (ARS), New York

Mary Weatherford, Ruby, Ruby, 2019 Flashe and neon on linen, 84 ½ × 58 inches (214.6 × 147.3 cm)© Mary Weatherford

Mary Weatherford, Ruby, Ruby, 2019

Flashe and neon on linen, 84 ½ × 58 inches (214.6 × 147.3 cm)
© Mary Weatherford

Joe Bradley, City at Dawn, 2019 Oil on canvas, 60 × 77 ¼ inches (152.4 × 196.2 cm)© Joe Bradley

Joe Bradley, City at Dawn, 2019

Oil on canvas, 60 × 77 ¼ inches (152.4 × 196.2 cm)
© Joe Bradley

Cy Twombly, Untitled, 1957 Oil-based house paint, wax crayon, lead pencil, and pastel on paper, laid down on canvas, 19 1⁄2 × 27 1⁄2 inches (49.5 × 69.9 cm)© Cy Twombly Foundation

Cy Twombly, Untitled, 1957

Oil-based house paint, wax crayon, lead pencil, and pastel on paper, laid down on canvas, 19 1⁄2 × 27 1⁄2 inches (49.5 × 69.9 cm)
© Cy Twombly Foundation

About

Gagosian is pleased to announce the opening of Continuing Abstraction, a group exhibition to inaugurate the new gallery in Basel. The new space is located at Rheinsprung 1, and opens on the occasion of Art Basel 2019.

The exhibition explores the trajectory of abstraction in the United States and Europe from the immediate postwar period to the present, tracing artists’ diverse approaches to materiality and gesture—from the dripped and poured paint of Abstract Expressionism to the multireferential innovations at the forefront of painting today.

The earliest works included are by Willem de Kooning: January (1947–48) and Untitled (1948). These paintings serve as a fulcrum between the observation-based abstraction set in motion by Cubism and Expressionism and the nonobjectivity that characterized much of postwar American abstraction. In de Kooning’s paintings, biomorphic forms appear as fragments that transform into thick painterly strokes; while in Jackson Pollock’s Moon Vibrations (c. 1953–55), the figure disappears entirely, and the canvas becomes a record of an event—the act of painting itself. In Helen Frankenthaler’s With Blue from the same year, the events unfold more slowly, with areas of semitransparent paint soaked into the canvas over time; and in works by Cy Twombly and Robert Ryman from the late 1950s and early ’60s, gesture teeters between legibility and obfuscation, pattern and chaos. Mark Grotjahn’s Untitled (Capri 50.85) (2018) takes repetitive gesture to a new extreme, with its arcs of thick paint evoking sedimentary cross sections or horizonless landscapes.

For Mark Rothko and Brice Marden, the materiality of paint and the evocative nature of color are key, pulling the viewer into seemingly immeasurable voids. The meditative power of color in these works is countered by the measured seriality of Donald Judd’s aluminum wall sculptures and by the delicate and imperfect geometries of Agnes Martin’s untitled canvas completed around 1999, wherein carefully rendered graphite lines create horizontal bands of luminous, pale blue space. In Mary Weatherford’s Ruby, Ruby (2019), a red neon light casts an artificial glow across the canvas, combining the industrial coolness of Minimalism with the unique tactility of Flashe paint, applied in thin transparent layers.

Read more

Gagosian Quarterly Summer 2019

Now available
Gagosian Quarterly Summer 2019

The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.

Helen Frankenthaler in gondola with various friends, Venice, June 1966

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992 marks the first time that Frankenthaler’s paintings have been exhibited in Venice since her inclusion in the 1966 Biennale as part of the US Pavilion. This video, including interviews with the show’s curator, John Elderfield; the chairman of the Helen Frankenthaler Foundation, Clifford Ross; and the Foundation’s executive director, Elizabeth Smith, provides viewers with an in-depth look at the fourteen paintings included in the exhibition.

Thelma Golden and David Adjaye.

The Studio Museum in Harlem

Established in 1968, the Studio Museum in Harlem has served as a crucial institution in the development, presentation, and promotion of artists of African descent. With the museum now preparing for the construction of a new home, Gagosian’s Mark Francis spoke with Thelma Golden, director and chief curator, and Sir David Adjaye OBE, the project’s principal architect, about the building plans and the centrality of artists in their collaboration.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.

Roy Lichtenstein: 1961 to 1965

Roy Lichtenstein: 1961 to 1965

Gillian Pistell examines Roy Lichtenstein’s aesthetic developments in the years 1961 to 1965.