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American Pastoral

January 23–March 14, 2020
Britannia Street, London

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Installation video

Installation view Artwork, left to right: © 2020 Cindy Sherman, © Banks Violette, © Taryn Simon. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © 2020 Cindy Sherman, © Banks Violette, © Taryn Simon. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Estate of Jack Goldstein, © Mark Tansey, © Jeff Koons, © Richard Prince, Thomas Moran. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Estate of Jack Goldstein, © Mark Tansey, © Jeff Koons, © Richard Prince, Thomas Moran. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Richard Prince; Albert Bierstadt; © Joe Bradley; © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Richard Prince; Albert Bierstadt; © Joe Bradley; © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Joe Bradley; © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; © John Currin; Winslow Homer. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Joe Bradley; © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; © John Currin; Winslow Homer. Photo: Lucy Dawkins

Installation view Artwork, left to right: © John Currin, Winslow Homer, © John Currin, © The Estate of Diane Arbus, Joseph DeCamp. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © John Currin, Winslow Homer, © John Currin, © The Estate of Diane Arbus, Joseph DeCamp. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Ed Ruscha, Thomas Cole. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Ed Ruscha, Thomas Cole. Photo: Lucy Dawkins

Installation view Artwork, left to right: © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York; © Sally Mann; © Estate of Roy Lichtenstein/DACS 2020. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York; © Sally Mann; © Estate of Roy Lichtenstein/DACS 2020. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Theaster Gates, © Adam McEwen, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Theaster Gates, © Adam McEwen, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Sally Mann, © Estate of Roy Lichtenstein/DACS 2020. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Sally Mann, © Estate of Roy Lichtenstein/DACS 2020. Photo: Lucy Dawkins

Installation view Artwork, left to right: Thomas Moran, © Richard Prince. Photo: Lucy Dawkins

Installation view

Artwork, left to right: Thomas Moran, © Richard Prince. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Banks Violette, © Richard Prince, © Adam McEwen. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Banks Violette, © Richard Prince, © Adam McEwen. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Roe Ethridge, © Cady Noland. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Roe Ethridge, © Cady Noland. Photo: Lucy Dawkins

Installation view Artwork, left to right: © Richard Prince, © Jeff Wall. Photo: Lucy Dawkins

Installation view

Artwork, left to right: © Richard Prince, © Jeff Wall. Photo: Lucy Dawkins

Works Exhibited

Jeff Koons, Toy Cannon, 2006–12 Bronze and live flowering plants, 72 × 121 ¼ × 59 ⅜ inches (182.9 × 307.8 × 150.7 cm), edition of 3 + 1 AP© Jeff Koons

Jeff Koons, Toy Cannon, 2006–12

Bronze and live flowering plants, 72 × 121 ¼ × 59 ⅜ inches (182.9 × 307.8 × 150.7 cm), edition of 3 + 1 AP
© Jeff Koons

Roe Ethridge, Picket Fence II, 2017 Dye sublimation print on aluminum, 49 ½ × 33 inches (125.7 × 83.8 cm), edition of 5 + 1 AP© Roe Ethridge

Roe Ethridge, Picket Fence II, 2017

Dye sublimation print on aluminum, 49 ½ × 33 inches (125.7 × 83.8 cm), edition of 5 + 1 AP
© Roe Ethridge

Sally Mann, Deep South, Untitled (Little House), 1998 Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10© Sally Mann

Sally Mann, Deep South, Untitled (Little House), 1998

Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10
© Sally Mann

Ed Ruscha, HYDRAULIC EMPIRE, 2019 Acrylic on canvas, 30 × 30 inches (76.2 × 76.2 cm)© Ed Ruscha

Ed Ruscha, HYDRAULIC EMPIRE, 2019

Acrylic on canvas, 30 × 30 inches (76.2 × 76.2 cm)
© Ed Ruscha

Thomas Moran, Sunset, Amagansett, 1905 Oil on canvas, 30 × 40 inches (76.2 × 101.6 cm)Photo: Rob McKeever

Thomas Moran, Sunset, Amagansett, 1905

Oil on canvas, 30 × 40 inches (76.2 × 101.6 cm)
Photo: Rob McKeever

Helen Frankenthaler, Tumbleweed, 1982 Acrylic on canvas, 25 ⅜ × 52 ⅝ inches (64.5 × 133.7 cm)© 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Helen Frankenthaler, Tumbleweed, 1982

Acrylic on canvas, 25 ⅜ × 52 ⅝ inches (64.5 × 133.7 cm)
© 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

About

Gagosian is pleased to present American Pastoral.

From nineteenth-century industrialization to contemporary patterns of immigration, the pursuit of the American Dream has long been a rich topic of inquiry for artists in the United States. For many, this notion is encapsulated by the imagined tranquility and comfort of rural life—an aspiration arising from the Western tradition of landscape painting, with its picturesque, arcadian lands and idyllic communities.

Titled after Philip Roth’s 1997 novel about the social discord that undermines the life of an outwardly untroubled New Jersey family, American Pastoral is a group exhibition that seeks to challenge this idealized vision by delving into the cultural, political, and economic tensions that lie beneath its surface. In this exhibition, modern and contemporary works are juxtaposed with historical American landscapes, ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene, Gloucester Harbor (1926).

Read more

Still from "Sally Mann: Vinculum".

Sally Mann: Vinculum

Join Sally Mann at her studio in Lexington, Virginia. Filmed at work in her darkroom and within the surrounding landscape, she discusses her exploratory approach to making and printing pictures, what draws her to the landscape of the American South, and her newest body of work, Vinculum.

Katy Hessel, Matthew Holman, and Eleanor Nairne

In Conversation
Katy Hessel, Matthew Holman, and Eleanor Nairne on Helen Frankenthaler

Broadcaster and art historian Katy Hessel; Matthew Holman, associate lecturer in English at University College London; and Eleanor Nairne, curator at the Barbican Art Gallery, London, discuss Helen Frankenthaler’s early training, the development of her signature soak-stain technique and subsequent shifts in style, and her connections to the London art world.

John Currin, Memorial, 2020 (detail), oil on canvas, 62 × 40 inches (157.5 × 101.6 cm)

John Currin: Monuments to Lust

Natasha Stagg reports on a trip to John Currin’s New York studio.

Installation view of Urs Fischer’s Untitled (2011) in the exhibition Ouverture, Bourse de Commerce – Pinault Collection, Paris, 2021. Artwork © Urs Fischer, courtesy Galerie Eva Presenhuber, Zurich; Bourse de Commerce – Pinault Collection © Tadao Ando Architect & Associates, Niney et Marca Architectes, Agence Pierre-Antoine Gatier. Photo: Stefan Altenburger

Bourse de Commerce

William Middleton traces the development of the new institution, examining the collaboration between the collector François Pinault and the architect Tadao Ando in revitalizing the historic space. Middleton also speaks with artists Tatiana Trouvé and Albert Oehlen about Pinault’s passion as a collector, and with the Bouroullec brothers, who created design features for the interiors and exteriors of the museum.

Damien Hirst's Reclining Woman on the cover of Gagosian Quarterly, Fall 2021

Now available
Gagosian Quarterly Fall 2021

The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.

Theaster Gates, A Song for Frankie, 2017–21, 5,000 records, DJ booth, and record player

Social Works: The Archives of Frankie Knuckles Organized by Theaster Gates

Theaster Gates, steward of the Frankie Knuckles record collection, is engaging with the late DJ and musician’s archive of records, ephemera, and personal effects. For the Quarterly’s “Social Works” supplement, guest edited by Antwaun Sargent, Gates presents a selection of Knuckles’s personal record collection. Chantala Kommanivanh, a Chicago-based artist, educator, and musician—and the records manager for Rebuild Foundation, Chicago—provides annotations, contextualizing these records’ importance and unique qualities. Ron Trent, a dear friend of Knuckles’s, speaks to the legacy evinced by these materials.

News

Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins

Tour

American Pastoral

Thursday, March 5, 2020, 6:30pm
Gagosian, Britannia Street, London

Join Gagosian for a tour of the group exhibition American Pastoral. The show juxtaposes modern and contemporary works with historical American landscapes ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene, Gloucester Harbor (1926). Gagosian’s Alice Godwin will focus on a select grouping of exhibited works that seek to challenge the idealized vision of the American Dream that has long been a rich topic of inquiry for artists in the United States. To attend the free event, RSVP to londontours@gagosian.com. Space is limited.

Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins