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Now available
Gagosian Quarterly Summer 2024
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
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.
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
In this video, Flavin Judd, the artist’s son and artistic director of Judd Foundation, discusses a historic large-scale work by his father from 1970, ahead of its presentation at Art Basel Unlimited 2024.
Richard Armstrong, director emeritus of the Solomon R. Guggenheim Museum and Foundation, joins the Quarterly’s Alison McDonald to discuss his election to the board of the Helen Frankenthaler Foundation, as well as the changing priorities and strategies of museums, foundations, and curators. He reflects on his various roles within museums and recounts his first meeting with Frankenthaler.
In tandem with the 60th Biennale di Venezia, the city’s Gallerie dell’Accademia is featuring the exhibition Willem de Kooning and Italy, an in-depth examination of the artist’s time in Italy and of the influence of that experience on his work. On September 20 of last year, the curators of the exhibition, the American Gary Garrels and the Italian Mario Codognato, engaged in a lengthy conversation about the exhibition for a press conference at the museum. An edited transcript of that conversation is published below for the first time.
In conjunction with her exhibition The Flaying of Marsyas at Museo di Palazzo Grimani, Venice, Mary Weatherford discusses the featured paintings, which are directly inspired by Titian’s late, eponymous masterpiece of circa 1570–76 and reflect her enduring fascination with the painting.
Larry Gagosian celebrates the unmatched life and legacy of Brice Marden.
In celebration of the centenary of Roy Lichtenstein’s birth, Irving Blum and Dorothy Lichtenstein sat down to discuss the artist’s life and legacy, and the exhibition Lichtenstein Remembered curated by Blum at Gagosian, New York.
Gagosian and the Art Students League of New York hosted a conversation on Roy Lichtenstein with Daniel Belasco, executive director of the Al Held Foundation, and Scott Rothkopf, senior deputy director and chief curator of the Whitney Museum of American Art, New York. Organized in celebration of the centenary of the artist’s birth and moderated by Alison McDonald, chief creative officer at Gagosian, the discussion highlights multiple perspectives on Lichtenstein’s decades-long career, during which he helped originate the Pop art movement. The talk coincides with Lichtenstein Remembered, curated by Irving Blum and on view at Gagosian, New York, through October 21.
Actor and art collector Steve Martin reflects on the friendship and professional partnership between Roy Lichtenstein and art dealer Irving Blum.
In conjunction with the exhibition Drawing within Nature: Paintings from the 1990s at Gagosian in New York, Carol Armstrong and John Elderfield discuss Helen Frankenthaler’s paintings and large-scale works on paper dating from 1990 to 1995.
The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.
Violinist Alina Ibragimova performs Bach’s Sonata for Solo Violin No. 1 in G Major: Adagio (BWV 1001, c. 1720) from within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies, a nonprofit organization that commissions artists to produce site-specific projects and present performances, in collaboration with Gagosian, this recorded performance took place on May 8, 2022 before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).
Cellist Mario Brunello performs Bach’s Cello Suite No. 1 in G Major: Prelude (BWV 1007, c. 1717–23) within Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget. Organized by Bold Tendencies—a nonprofit that commissions artists to produce site-specific projects and present performances—in collaboration with Gagosian, this recorded performance took place on May 8, 2022, before a live concert of Olivier Messiaen’s Quatuor pour la fin du temps (Quartet for the End of Time, 1941).
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
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.
In this second installment of a two-part essay, Julian Rose continues his exploration of Donald Judd’s engagement with architecture. Here, he examines the artist’s proposals for projects in Bregenz, Austria, and in Basel, arguing that Judd’s approach to shaping space provides a model for contemporary architectural production.
Inspired by the recent retrospective of Helen Frankenthaler’s woodcuts at the Dulwich Picture Gallery, London, William Davie writes about the artist’s innovative journey with printmaking. Davie illuminates Frankenthaler’s formative collaborations with master printers Tatyana Grosman and Kenneth Tyler.
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.
In this ongoing series, curator Hans Ulrich Obrist has devised a set of thirty-seven questions that invite artists, authors, musicians, and other visionaries to address key elements of their lives and creative practices. Respondents are invited to make a selection from the larger questionnaire and to reply in as many or as few words as they desire. For this installment, we are honored to present the artist Theaster Gates, whose Serpentine Pavilion 2022 Black Chapel opened in London on June 10.
Richard Shiff speaks with Caitlin Murray, director of archives and programs at Judd Foundation, about the archive of Donald Judd, how to approach materials that occupy the gray area between document and art, and some of the considerations unique to stewarding an archive housed within and adjacent to spaces conceived by the artist.