Jeff Wall: The Space of Photography
Jeff Wall leads a tour through his most recent exhibition in New York.
Gagosian is pleased to announce Jeff Wall’s first exhibition with the gallery. The majority of the works included are on view for the first time.
From his pioneering use in the 1970s of backlit color transparencies—a medium then synonymous with advertising—to his intricately constructed scenes of enigmatic incidents from daily life, literature, and film, Wall has expanded the definition of the photograph, both as object and illusion.
The triptych I giardini/The Gardens (2017) was photographed in the gardens of the Villa Silvio Pellico in Moncalieri, outside of Turin, Italy. Though Wall has made several works that combine two or more images, this is the first in which the order, read from left to right, represents a passage of time. It therefore has a narrative aspect absent from any previous picture group. The three images—individually titled Appunto/Complaint, Disappunto/Denial, and Diffida/Expulsion order—trace the relations between either two or four characters through three depicted moments. A doubling effect occurs again in Pair of interiors (2018), a diptych showing either one or two couples in a lamplit living room, and in Summer Afternoons (2013), which shows what appears to be another equally introverted, younger couple in a sunny apartment. Each person appears in his or her own picture, creating uncertainty about whether the diptych depicts one or more “summer afternoons.”
Jeff Wall leads a tour through his most recent exhibition in New York.
The artist speaks with David Rimanelli about his newest works, the physicality of photography, and the persistence of certain motifs throughout his career.
The Fondation Beyeler, Riehen/Basel, has staged a comprehensive Jeff Wall exhibition including more than fifty works spanning five decades. Here, Barry Schwabsky reflects on the enduring power of and mystery in Wall’s photography.
Join Jeff Wall as he leads a tour through his latest exhibition in Beverly Hills. The artist speaks about the genesis and creation of each photograph, addressing the aesthetic decisions involved.
Jeff Wall speaks to Gary Dufour about his new photographs, made on the beachfront of English Bay in Vancouver, Canada, that record the endlessly varied and shifting patterns created in seaweed by the ebb and flow of the tide.
Daniel Spaulding considers formal and technical developments in the photographer’s work against the background of global shifts of power and politics, specifically the fall of the Berlin Wall in 1989.
Catalyzed by Laws of Motion—a group exhibition pairing artworks from the 1980s on by Jeff Koons, Cady Noland, Rosemarie Trockel, and Jeff Wall with contemporary sculptures by Josh Kline and Anicka Yi—Wyatt Allgeier discusses the convergences and divergences in these artists’ practices with an eye to the economic worlds from which they spring.
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
Benjamin Nugent reflects on questions of verisimilitude and American life in the group exhibition I Don’t Like Fiction, I Like History at Gagosian, Beverly Hills.
On the occasion of a major survey of Andreas Gursky’s work at the Hayward Gallery in London, Gursky and Jeff Wall discuss the state of photography and the evolution of the medium.