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Brice Marden

These paintings are of themselves

November 13–December 23, 2021
541 West 24th Street, New York

Installation view Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Installation view

Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Installation view Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Installation view

Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Installation view Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Installation view

Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Installation view Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Installation view

Artwork © 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Rob McKeever

Works Exhibited

Brice Marden, Chalk, 2013–21 Oil, graphite, and chalk on linen, 96 × 72 inches (243.8 × 182.9 cm)© 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio

Brice Marden, Chalk, 2013–21

Oil, graphite, and chalk on linen, 96 × 72 inches (243.8 × 182.9 cm)
© 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio

Brice Marden, Rowdy, 2013–21 Oil, graphite, and chalk on linen, 96 × 72 inches (243.8 × 182.9 cm)© 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio

Brice Marden, Rowdy, 2013–21

Oil, graphite, and chalk on linen, 96 × 72 inches (243.8 × 182.9 cm)
© 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio

Brice Marden, Prelude, 2011–21 Oil and graphite on linen, 96 × 72 inches (243.8 × 182.9 cm)© 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio

Brice Marden, Prelude, 2011–21

Oil and graphite on linen, 96 × 72 inches (243.8 × 182.9 cm)
© 2021 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio

About

Gagosian is pleased to present These paintings are of themselves, an exhibition of ten new paintings and nine new works on paper by Brice Marden. This is Marden’s first exhibition at Gagosian in Chelsea. A group of eight paintings, some of which were initiated as early as 2013, were completed in 2021; one additional canvas, Prelude (2011–21), and a separate larger, two-panel painting, Rocks (2008/2017–21), are also on view.

These paintings evoke the daily and seasonal shifts in natural light and color that Marden observes when working in his studio in Tivoli in upstate New York. He begins with drawing, filling some canvases with gestural glyphs that occupy a realm between writing and painting. Over these, he applies sinuous, multihued networks of linear brushstrokes, establishing interrelationships between the compositions’ straight and curving lines, and between their contours—whether defined or implied—and perimeters.

Each vertical panel measures 8 by 6 feet, comprised of an upper 6-by-6-foot square with a 2-by-6-foot section beneath. The paintings’ lower registers echo the form of a predella—the horizontal panel of smaller companion paintings that Renaissance artists added at the base of an altarpiece. Stained with dilute washes of earthy terre verte, these residual sections import the palette of the larger areas above them.

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541 West 24th Street, New York

541 West 24th Street
New York, ny 10011

+1 212 741 1111
newyork@gagosian.com

Hours: Tuesday–Saturday 10–6

Press

Gagosian
Hallie Freer
hfreer@gagosian.com
+1 212 744 2313

Polskin Arts
Meagan Jones
meagan.jones@finnpartners.com
+1 212 593 6485

Julia Esposito
julia.esposito@finnpartners.com
+1 212 715 1643

Jasper Johns, Untitled, 2011, acrylic over intaglio on paper mounted on Fred Siegenthaler “confetti” paper, 11 ¾ × 7 ¾ inches (29.8 × 19.7 cm)

The Generative Surface

Eileen Costello explores the oft-overlooked importance of paper choice to the mediums of drawing and printmaking, from the Renaissance through the present day.

Brice Marden: Sketchbook (Gagosian, 2019); Lee Lozano: Notebooks 1967–70 (Primary Information, 2010); Stanley Whitney: Sketchbook (Lisson Gallery, 2018); Kara Walker: MCMXCIX (ROMA, 2017); Louis Fratino,Sept ’18–Jan. ’19 (Sikkema Jenkins & Co., 2019); Jean-Michel Basquiat: The Notebooks (Princeton University Press, 2015); Keith Haring Journals (Penguin Classics Deluxe Edition, 2010).

Book Corner
Private Pages Made Public

Megan N. Liberty explores artists’ engagement with notebooks and diaries, thinking through the various meanings that arise when these private ledgers become public.

River Café menu with illustration by Ed Ruscha.

The River Café Cookbook

London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

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.

Brice Marden: Four Quartets

Brice Marden: Four Quartets

Four paintings by Brice Marden have been incorporated into a new dance commission based on T. S. Eliot’s Four Quartets, with choreography by Pam Tanowitz, and music by Kaija Saariaho. The performance will premiere on July 6, 2018 at the Richard B. Fisher Center for the Performing Arts at Bard as part of the SummerScape Festival. Gideon Lester, the Fisher Center’s artistic director for theater and dance, spoke with Marden about the canvases that form the set design.

Robert Pincus-Witten on Brice Marden

Robert Pincus-Witten on Brice Marden

In honor of Robert Pincus-Witten, we share an essay he wrote in 1991 on Brice Marden’s Grove Group.