An Ideal Landscape

Richard Armstrong, director emeritus of the Solomon R. Guggenheim Museum and Foundation, joins the Quarterly’s Alison McDonald to discuss his election to the board of the Helen Frankenthaler Foundation, as well as the changing priorities and strategies of museums, foundations, and curators. He reflects on his various roles within museums and recounts his first meeting with Frankenthaler.

In this video, Urs Fischer elaborates on the creative process behind his public installation Wave, at Place Vendôme, Paris.

Invited to exhibit at Château La Coste in Provence, Jennifer Guidi created a new body of work that engaged with the cantilevered architecture of the gallery building, designed by Richard Rogers, and with the artistic heritage of the region. Amie Corry reports on the evolution of the exhibition and on its place within Guidi’s larger practice.

In conjunction with the exhibition Drawing within Nature: Paintings from the 1990s at Gagosian in New York, Carol Armstrong and John Elderfield discuss Helen Frankenthaler’s paintings and large-scale works on paper dating from 1990 to 1995.

Urs Fischer sits down with his friend the author and artist Eric Sanders to address the perfect viewer, the effects of marketing, and the limits of human understanding.

Inspired by the recent retrospective of Helen Frankenthaler’s woodcuts at the Dulwich Picture Gallery, London, William Davie writes about the artist’s innovative journey with printmaking. Davie illuminates Frankenthaler’s formative collaborations with master printers Tatyana Grosman and Kenneth Tyler.

In this ongoing series, curator Hans Ulrich Obrist has devised a set of thirty-seven questions that invite artists, authors, musicians, and other visionaries to address key elements of their lives and creative practices. Respondents are invited to make a selection from the larger questionnaire and to reply in as many or as few words as they desire. For this installment, we are honored to present the artist Theaster Gates, whose Serpentine Pavilion 2022 Black Chapel opened in London on June 10.

Coinciding with the 59th Venice Biennale, an exhibition at the Museo di Palazzo Grimani in Venice presents new paintings by Mary Weatherford inspired by Titian’s The Flaying of Marsyas (c. 1570–76). Francine Prose traces the development of these works.

On the occasion of Neil Jenney: AMERICAN REALISM TODAY, the artist sat down with Gagosian curator Michael Cary to discuss paintings from Jenney’s recent series Modern Africa (2015–)—a subseries of the New Good Paintings (2015–)—and the preceding series, Good Paintings (1971–2015).

On the eve of Awol Erizku’s exhibition in New York, he and Urs Fischer discuss what it means to be an image maker, the beauty of blurring genres, the fetishization of authorship, and their shared love for Los Angeles.