Installation view
Artwork, left to right: © Josh Kline; © 2019 Rosemarie Trockel/Artists Rights Society (ARS), New York; © Jeff Wall. Photo: Glen Cheriton
Installation view
Artwork, left to right: © Josh Kline; © 2019 Rosemarie Trockel/Artists Rights Society (ARS), New York. Photo: Glen Cheriton
Installation view
Artwork, left to right: © Josh Kline, © Cady Noland, © Jeff Wall, © Josh Kline. Photo: Glen Cheriton
Installation view
Artwork, left to right: © Jeff Wall, © Cady Noland, © Josh Kline. Photo: Glen Cheriton
Installation view
Artwork, left to right: © Cady Noland, © Anicka Yi, © Jeff Wall. Photo: Glen Cheriton
Installation view
Artwork, left to right: © Jeff Wall, © Anicka Yi. Photo: Glen Cheriton
Installation view
Artwork, left to right: © Jeff Koons, © Anicka Yi. Photo: Glen Cheriton
Anicka Yi
A Thousand Leaves, 2018
Silicone, maple, cane, Shoji paper, plexiglass, stainless steel, and LEDs, 36 × 72 × 6 inches (91.4 × 182.9 × 15.2 cm)
© Anicka Yi
Jeff Koons
New Hoover Deluxe Shampoo Polishers, 1980
Two shampoo polishers, acrylic, and fluorescent lights, 56 × 22 × 15 inches (142.2 × 55.9 × 38.1 cm)
© Jeff Koons
Jeff Wall
Men move an engine block, 2008
Gelatin silver print, 54 ½ × 69 ½ inches (138.5 × 176.5 cm)
© Jeff Wall
I want to fuse the writing of life—the notion that all living things have their own stories, contexts, perspectives, and histories—with the study of life, which also now includes an embrace of nonhuman perspectives.
—Anicka Yi
Gagosian is pleased to present Laws of Motion, an exhibition of works by Josh Kline, Jeff Koons, Cady Noland, Rosemarie Trockel, Jeff Wall, and Anicka Yi. Laws of Motion debuted at Gagosian Hong Kong in November, and has since been expanded with additional works by Kline, Trockel, Wall, and Yi. Its title refers to Karl Marx’s application of scientific laws to systems of capital.
Forty years ago, the art of Koons, Noland, Trockel, and Wall merged strategies of commercial display and formalism, isolating inherent social archetypes and stereotypes. Laws of Motion begins with key artworks from the 1970s that responded to a world saturated in the aesthetics and language of advertising, exploiting its techniques while making visible its latent and subconscious pull.
Koons’s paradigmatic series The New examines themes of domestic use and hygienic order, employing industrial readymades such as vacuum cleaners stacked and isolated in gleaming museum vitrines. The built-in obsolescence of domestic tools and consumer products contrasts with their aspirational qualities, raising philosophical questions of newness and desire. While Noland’s assemblage of emptied beer bottles and a discarded mailbox conjures a potent image of American male delinquency, Trockel’s sculptures—electric burners mounted on the wall or placed on plinths—reduce or elevate a central symbol of domestic life to geometric abstraction, obliquely engaging a feminist discourse.
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 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.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
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.
Jeff Wall leads a tour through his most recent exhibition in New York.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
The artist speaks with David Rimanelli about his newest works, the physicality of photography, and the persistence of certain motifs throughout his career.
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.
Learn more about Jeff Koons’s Easyfun-Ethereal series in this video featuring Rebecca Sternthal, one of the organizers behind the most recent exhibition of these works in New York.
Derek Blasberg speaks with Diane Brown, president and founder of RxART, and with contributing artists Dan Colen, Urs Fischer, and Jeff Koons about the transformative power of visual art.
Jeff Koons speaks with Alison McDonald and Maura Harty about his longstanding commitment to protecting the rights of children.
The FLAG Art Foundation hosted a conversation between Jeff Koons and FLAG founder Glenn Fuhrman, in which the two discuss the dichotomy between sexuality and childhood innocence in Koons’s oeuvre, remaking Made in Heaven with Lady Gaga, what drives Koons to make more work, and several works including Cat on a Clothesline (1994–2001) and Winter Bears (1988).
Derek Blasberg speaks with Scott Rothkopf, a curator at the Whitney Museum of American Art, about the last thirty-six hours of the Jeff Koons retrospective, which also marked the end of the museum’s tenure in uptown Manhattan.
Jeff Koons’s flowering sculpture Split-Rocker, at once imposing and adorable, has cast a spell on New York City’s Rockefeller Center. Derek Blasberg interviews Matt Donham, Koons’s landscape designer on the project, to find out more.
Jeff Koons’s first, mammoth one-man show opens at the Whitney today, which is also the last show at the museum’s Madison Avenue location.
