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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

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
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.

Helen Frankenthaler in her studio in Provincetown. Black and white image.

Abstract Climates: Helen Frankenthaler in Provincetown

Lise Motherwell, a stepdaughter of Helen Frankenthaler and vice president of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director of the Foundation, recently cocurated an exhibition of the artist’s work entitled Abstract Climates: Helen Frankenthaler in Provincetown. Here they discuss the origin of the exhibition, the relationship between the artist’s work and her summers spent in Provincetown, and the presentations at the Provincetown Art Association and Museum, in 2018, and the Parrish Art Museum, Water Mill, New York, in 2019.

Richard Serra, Hands Scraping, 1968, film still.

The Art of Perception: Richard Serra’s Films

For eleven years, from 1968 to 1979, Richard Serra created a collection of films and videos that felt out the uncharted phenomenological boundaries of the medium. Carlos Valladares explores a selection of these works.

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.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.

Helen Frankenthaler, Riverhead, 1963 (detail).

Frankenthaler

On the occasion of the exhibition Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, at the Museo di Palazzo Grimani in Venice, Italy, art historians John Elderfield and Pepe Karmel discuss the concept of the panorama in relation to the artist’s work. Their conversation traces developments in Frankenthaler’s approach to composition, the boundaries and conventions of abstraction, and how, in many ways, her career continually challenged established theories of art history.