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Social Works II

Curated by Antwaun Sargent

October 7–December 16, 2021
Grosvenor Hill, London

Installation Views

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Installation video

Installation view with Sumayya Vally, Prompts for a City: Whitechapel, minaret/pew and podium/market table (2021) Artwork © Sumayya Vally. Photo: Prudence Cuming Associates

Installation view with Sumayya Vally, Prompts for a City: Whitechapel, minaret/pew and podium/market table (2021)

Artwork © Sumayya Vally. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Lubaina Himid, © Sumayya Vally, © Isaac Julien. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Lubaina Himid, © Sumayya Vally, © Isaac Julien. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Isaac Julien, © Tyler Mitchell, © David Adjaye. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Isaac Julien, © Tyler Mitchell, © David Adjaye. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Tyler Mitchell, © David Adjaye. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Tyler Mitchell, © David Adjaye. Photo: Prudence Cuming Associates

Installation view with David Adjaye, Asaase II (2021) Artwork © David Adjaye. Photo: Prudence Cuming Associates

Installation view with David Adjaye, Asaase II (2021)

Artwork © David Adjaye. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © David Adjaye, © Alexandria Smith. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © David Adjaye, © Alexandria Smith. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Alexandria Smith, © Amanda Williams, © Grace Wales Bonner, © Lubaina Himid. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Alexandria Smith, © Amanda Williams, © Grace Wales Bonner, © Lubaina Himid. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Amanda Williams, © Kahlil Robert Irving, © Grace Wales Bonner, © Lubaina Himid. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Amanda Williams, © Kahlil Robert Irving, © Grace Wales Bonner, © Lubaina Himid. Photo: Prudence Cuming Associates

Installation view with Tyler Mitchell, The Hewitt Family (2021) Artwork © Tyler Mitchell. Photo: Prudence Cuming Associates

Installation view with Tyler Mitchell, The Hewitt Family (2021)

Artwork © Tyler Mitchell. Photo: Prudence Cuming Associates

Installation view Artwork, front to back: © Kahlil Robert Irving, © Amanda Williams, © Rick Lowe Studio. Photo: Prudence Cuming Associates

Installation view

Artwork, front to back: © Kahlil Robert Irving, © Amanda Williams, © Rick Lowe Studio. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Rick Lowe Studio, © Kahlil Robert Irving, © Amanda Williams. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Rick Lowe Studio, © Kahlil Robert Irving, © Amanda Williams. Photo: Prudence Cuming Associates

Installation view Artwork, front to back: © Kahlil Robert Irving, © Amanda Williams. Photo: Prudence Cuming Associates

Installation view

Artwork, front to back: © Kahlil Robert Irving, © Amanda Williams. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Amanda Williams, © Kahlil Robert Irving, © Rick Lowe Studio. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Amanda Williams, © Kahlil Robert Irving, © Rick Lowe Studio. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © Rick Lowe Studio, © Kahlil Robert Irving, © Manuel Mathieu. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © Rick Lowe Studio, © Kahlil Robert Irving, © Manuel Mathieu. Photo: Prudence Cuming Associates

Installation view with Isaac Julien, Lessons of the Hour (2019) Artwork © Isaac Julien. Photo: Prudence Cuming Associates

Installation view with Isaac Julien, Lessons of the Hour (2019)

Artwork © Isaac Julien. Photo: Prudence Cuming Associates

Installation view Artwork, left to right: © David Adjaye, © Sumayya Vally. Photo: Prudence Cuming Associates

Installation view

Artwork, left to right: © David Adjaye, © Sumayya Vally. Photo: Prudence Cuming Associates

Works Exhibited

David Adjaye, Asaase II, 2021 Rammed earth, 118 ⅛ × 43 ⅜ × 45 ⅞ inches (299.9 × 110 × 116.5 cm), edition of 5 + 2 AP© David Adjaye. Photo: Prudence Cuming Associates

David Adjaye, Asaase II, 2021

Rammed earth, 118 ⅛ × 43 ⅜ × 45 ⅞ inches (299.9 × 110 × 116.5 cm), edition of 5 + 2 AP
© David Adjaye. Photo: Prudence Cuming Associates

Lubaina Himid, A Fashionable Marriage: The Art Critic, 1986 Watercolor and pencil on paper with newspaper and rubber collage, 29 ⅜ × 21 ⅝ inches (74.5 × 55 cm)© Lubaina Himid. Photo: Prudence Cuming Associates

Lubaina Himid, A Fashionable Marriage: The Art Critic, 1986

Watercolor and pencil on paper with newspaper and rubber collage, 29 ⅜ × 21 ⅝ inches (74.5 × 55 cm)
© Lubaina Himid. Photo: Prudence Cuming Associates

Kahlil Robert Irving, Dreams in the line and memories (/whipped), 2021 (detail) Glazed and unglazed ceramic with decals and luster on wood platform, 7 × 100 × 55 inches (17.8 × 254 × 139.7 cm)© Kahlil Robert Irving

Kahlil Robert Irving, Dreams in the line and memories (/whipped), 2021 (detail)

Glazed and unglazed ceramic with decals and luster on wood platform, 7 × 100 × 55 inches (17.8 × 254 × 139.7 cm)
© Kahlil Robert Irving

Isaac Julien, To See Ourselves as Others See Us (Lessons of the Hour), 2021 Inkjet print mounted on aluminum, 63 × 84 inches (160 × 213.3 cm)© Isaac Julien. Photo: Prudence Cuming Associates Ltd

Isaac Julien, To See Ourselves as Others See Us (Lessons of the Hour), 2021

Inkjet print mounted on aluminum, 63 × 84 inches (160 × 213.3 cm)
© Isaac Julien. Photo: Prudence Cuming Associates Ltd

Rick Lowe, Black Wall Street Journey #17 (Greenwood), 2021 Acrylic and paper collage on canvas, 108 × 108 inches (274.3 × 274.3 cm)© Rick Lowe Studio. Photo: Thomas Dubrock

Rick Lowe, Black Wall Street Journey #17 (Greenwood), 2021

Acrylic and paper collage on canvas, 108 × 108 inches (274.3 × 274.3 cm)
© Rick Lowe Studio. Photo: Thomas Dubrock

Manuel Mathieu, toofarfromhome, 2021 Acrylic, chalk, charcoal, paper, fabric, ink, soil, and tape, in 2 parts, each: 72 × 60 inches (182.9 × 152.4 cm)© Manuel Mathieu. Photo: Prudence Cuming Associates

Manuel Mathieu, toofarfromhome, 2021

Acrylic, chalk, charcoal, paper, fabric, ink, soil, and tape, in 2 parts, each: 72 × 60 inches (182.9 × 152.4 cm)
© Manuel Mathieu. Photo: Prudence Cuming Associates

Tyler Mitchell, Georgia Hillside (Redlining), 2021 Archival pigment print, 63 × 78 inches (160 × 198.1 cm), edition of 3 + 2 AP© Tyler Mitchell

Tyler Mitchell, Georgia Hillside (Redlining), 2021

Archival pigment print, 63 × 78 inches (160 × 198.1 cm), edition of 3 + 2 AP
© Tyler Mitchell

Alexandria Smith, set adrift on Memory’s bliss, 2021 Mixed media on wood assemblage, 60 × 48 inches (152.4 × 121.9 cm)© Alexandria Smith. Photo: Prudence Cuming Associates

Alexandria Smith, set adrift on Memory’s bliss, 2021

Mixed media on wood assemblage, 60 × 48 inches (152.4 × 121.9 cm)
© Alexandria Smith. Photo: Prudence Cuming Associates

Grace Wales Bonner, Darkness and Light, 2021 Speakers, books, and mixed media, 38 ⅜ × 102 ⅜ × 31 ½ inches (97.5 × 260 × 80 cm)© Grace Wales Bonner. Photo: Prudence Cuming Associates Ltd

Grace Wales Bonner, Darkness and Light, 2021

Speakers, books, and mixed media, 38 ⅜ × 102 ⅜ × 31 ½ inches (97.5 × 260 × 80 cm)
© Grace Wales Bonner. Photo: Prudence Cuming Associates Ltd

Amanda Williams, What black is this you say?—“Although rarely recognized as such, ‘The Candy Lady’ and her ‘Candy Store’ provided one of your earliest examples of black enterprise, cooperative economics, black women CEOs and good customer service”—black (07.24.20), 2021 Oil and mixed media on canvas, 60 × 60 inches (152.4 × 152.4 cm)© Amanda Williams. Photo: Prudence Cuming Associates

Amanda Williams, What black is this you say?—“Although rarely recognized as such, ‘The Candy Lady’ and her ‘Candy Store’ provided one of your earliest examples of black enterprise, cooperative economics, black women CEOs and good customer service”—black (07.24.20), 2021

Oil and mixed media on canvas, 60 × 60 inches (152.4 × 152.4 cm)
© Amanda Williams. Photo: Prudence Cuming Associates

About

Alice Smith, Grammy-nominated singer and songwriter, will perform in the gallery during the opening of the exhibition on Thursday, October 7.

Gagosian is pleased to present Social Works II, the sequel to the American chapter that was on view at the gallery in New York.

Curated by Antwaun Sargent, Social Works II foregrounds artists from the African diaspora and their insights into the relationship between space—personal, public, institutional, and psychic—and social and artistic practice. Bringing together intergenerational artists working in different mediums, Social Works II considers geography and its role in informing how identity is created and experienced through communities and spaces.

Sumayya Vally, principal of the Johannesburg/London-based studio Counterspace and architect of the 2021 Serpentine Pavilion, has produced a fragment of wall that will transform itself over time, functioning as an interactive site for research and ritual. Architect and artist David Adjaye presents a group of sculptural forms made using a rammed earth technique inherited from West African architectural vernacular. Examining ideas of landscape in the context of metropolitan London, Adjaye probes the relationship between the earth and the built environment.

In Lubaina Himid’s mixed-media collage A Fashionable Marriage: The Art Critic (1986)—a study for her noted 1987 installation of painted and cut-out figures, A Fashionable Marriage—the protagonist of the British Black Arts movement of the 1980s riffs on Marriage A-la-Mode, painter William Hogarth’s eighteenth-century moralizing satire of the British upper class. Himid turns Hogarth’s critique of greed and overconsumption into a broader moral commentary on the British slave trade. Isaac Julien, a pioneer of multiscreen installation, presents the London premiere of a single-screen version of Lessons of the Hour (2019), a contemplative journey into the life and work of Frederick Douglass, the visionary African American abolitionist. The film is accompanied here by a large-scale photographic artwork produced especially for the exhibition.

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Artists

David Adjaye
Lubaina Himid
Kahlil Robert Irving
Isaac Julien
Rick Lowe
Manuel Mathieu
Tyler Mitchell
Alexandria Smith
Sumayya Vally
Grace Wales Bonner
Amanda Williams

Press

Gagosian
+44 20 7495 1500
Ashleigh Barice
presslondon@gagosian.com

Bolton & Quinn
+44 20 7221 5000
Erica Bolton
erica@boltonquinn.com

Daisy Taylor
daisy@boltonquinn.com

Manuel Mathieu, Siblings 2, 2021, mixed media, 70 × 62 inches (117.8 × 157.5 cm)

Social Works II: Manuel Mathieu | The Delusion of Power

Artist Manuel Mathieu reflects on Haiti, Francisco Goya, and conceptualizations of power, examining their roles in his practice.

Rendering for Prompts for a City: Whitechapel, minaret/pew and podium/market table (2021), Sumayya Vally’s project for Social Works II. Image: Sumayya Vally, Counterspace

Social Works II: Sumayya Vally and Sir David Adjaye

Sumayya Vally speaks with Sir David Adjaye about rethinking and expanding the definition of architecture. The conversation forms part of “Social Works II,” a supplement guest edited by Antwaun Sargent for the Winter 2021 issue of the Quarterly.

Tyler Mitchell, Untitled (Lunarlander), 2021

Social Works II: Tyler Mitchell | A New Landscape

Tyler Mitchell speaks with Antwaun Sargent about Black representation, the diversity of Southern landscapes, and the importance of play in his new series of photographs. The conversation forms part of “Social Works II,” a supplement guest edited by Sargent for the Winter 2021 issue of the Quarterly.

Kahlil Robert Irving, Downtown Norfolk, Nebraska (1998), 2017, unglazed and glazed ceramic, enamel, luster, and image transfers.

Social Works II: Kahlil Robert Irving

Antwaun Sargent speaks with Kahlil Robert Irving in advance of the opening of Social Works II and presents a portfolio of Irving’s sculptures.

Still from "In Conversation: David Adjaye, Rick Lowe, and Thelma Golden"

In Conversation
David Adjaye, Rick Lowe, and Thelma Golden

Rick Lowe and Sir David Adjaye join Thelma Golden, director and chief curator of the Studio Museum in Harlem, New York, for a conversation on the occasion of the exhibition Social Works at Gagosian, New York. The trio explore Adjaye and Lowe’s shared interests in architecture, community building, and the relationship between space and the Black body.

Rick Lowe painting in his studio.

Behind the Art
Rick Lowe: In the Studio

Join Rick Lowe in his Houston studio as he speaks about his recent paintings, describing their connections to his long engagement with the activity of dominoes and to his community-based projects created in the tradition of social sculpture.

News

Grace Wales Bonner’s digital art installation for the façade of Flannels, London, 2021. Artwork © Grace Wales Bonner. Photo: courtesy W1 Curates

Public Installation

W1 Curates
Grace Wales Bonner

November 22–28, 2021
Flannels, London
www.w1curates.com

Work by Grace Wales Bonner is viewable twenty-four hours a day on a three-story building on Oxford Street in London, presented by W1 Curates. Bonner creates conceptual shrines to Black Atlantic style and history, stressing the ritualistic importance of learning about and connecting to one’s cultural roots. The installation also includes segments from a film Wales Bonner made in collaboration with Tyler Mitchell to celebrate the publication of A Magazine Curated by Grace Wales Bonner. Both artists currently have work on view in Social Works II at Gagosian, Grosvenor Hill, London.

Grace Wales Bonner’s digital art installation for the façade of Flannels, London, 2021. Artwork © Grace Wales Bonner. Photo: courtesy W1 Curates

Tyler Mitchell’s digital art installation for the façade of Flannels, London, 2021. Artwork © Tyler Mitchell. Photo: courtesy W1 Curates

Public Installation

W1 Curates
Tyler Mitchell

November 15–21, 2021
Flannels, London
www.w1curates.com

Photographs by Tyler Mitchell are viewable twenty-four hours a day on a three-story building on Oxford Street in London, presented by W1 Curates. Mitchell’s soulful practice slips seamlessly between autonomous art and commercial assignments, conjures intimate dreamscapes that celebrate Black family, community, and youth. The installation also includes segments from a film Mitchell made in collaboration with Grace Wales Bonner to celebrate the publication of A Magazine Curated by Grace Wales Bonner. Both artists currently have work on view in Social Works II at Gagosian, Grosvenor Hill, London.

Tyler Mitchell’s digital art installation for the façade of Flannels, London, 2021. Artwork © Tyler Mitchell. Photo: courtesy W1 Curates

Isaac Julien’s Lessons of the Hour – Frederick Douglass (Doppelgänger) (2021) on Piccadilly Lights, London, 2021

Screening

Isaac Julien
Lessons of the Hour – Frederick Douglass (Doppelgänger)

Thursday, October 14, 2021, 7pm
Piccadilly Lights, London

As part of a commissioning program curated by the Royal Academy of Arts, Isaac Julien’s Lessons of the Hour – Frederick Douglass (Doppelgänger) (2021) will be screened outdoors at London’s Piccadilly Circus to coincide with Frieze London. The film is a special edition of Lessons of the Hour (2019), a contemplative journey into the life and work of Frederick Douglass, the visionary African American abolitionist. A single-screen version of the film is on view in the exhibition Social Works II at Gagosian, Grosvenor Hill, London, through December 18.

Isaac Julien’s Lessons of the Hour – Frederick Douglass (Doppelgänger) (2021) on Piccadilly Lights, London, 2021