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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

Gregory Crewdson, Red Star Express, 2018–19, digital pigment print, 56 ¼ × 94 ⅞ inches (127 × 225.7 cm)

Gregory Crewdson: An Eclipse of Moths

Gregory Crewdson discusses his new work with actor Cate Blanchett.

The crowd at the public funeral of Reverend Dr. Martin Luther King, Jr., in April 1968. Photo by Moneta Sleet Jr.

Now available
Gagosian Quarterly Fall 2020

The Fall 2020 issue of Gagosian Quarterly is now available.

Ed Ruscha, At That, 2020, dry pigment and acrylic on paper.

“Things Fall Apart”: Ed Ruscha’s Swiped Words

Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by the artist, detailing the ways these words in motion evoke the experience of the current moment.

Photo: Moneta Sleet, Jr., 1965. Johnson Publishing Company Archive. Courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution.

Theaster Gates: Black Image Corporation

As a prelude to his first-ever solo exhibition in New York, Theaster Gates discusses his prescient work with the photographic archive of Chicago’s Johnson Publishing Company and his formation of Black Image Corporation as a conceptual project. In conversation with Louise Neri, he expands on his strategies as artist and social innovator in his quest to redeem and renew the sacred power of Black images and Black space. 

Helen Frankenthaler, Cool Summer, 1962, oil on canvas, 69 ¾ × 120 inches (177.2 × 304.8 cm), Collection Helen Frankenthaler Foundation.

Building a Legacy
The Helen Frankenthaler Foundation on COVID-19 Relief Funding

The Quarterly’s Alison McDonald speaks with Clifford Ross, Frederick J. Iseman, and Dr. Lise Motherwell, members of the board of directors of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director, about the foundation’s decision to establish a multiyear initiative dedicated to providing $5 million in covid-19 relief for artists and arts professionals.

Andy Warhol catalogue. Philadelphia: Institute of Contemporary Art, 1965.

Book Corner
On Collecting with Norman Diekman

Rare-book expert Douglas Flamm speaks with designer Norman Diekman about his unique collection of books on art and architecture. Diekman describes his first plunge into book collecting, the history behind it, and the way his passion for collecting grew.

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