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Anselm Kiefer

Exodus

November 19, 2022–March 25, 2023
Gagosian at Marciano Art Foundation, Los Angeles

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Installation video

Works Exhibited

Anselm Kiefer, Thou didst blow with thy wind, the sea covered them: they sank as lead, 2020 Emulsion, oil, acrylic, shellac, gold leaf, metal, and straw on canvas, 27 feet 6 ¾ inches × 31 feet 2 inches (8.4 × 9.5 m)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Thou didst blow with thy wind, the sea covered them: they sank as lead, 2020

Emulsion, oil, acrylic, shellac, gold leaf, metal, and straw on canvas, 27 feet 6 ¾ inches × 31 feet 2 inches (8.4 × 9.5 m)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Parabole, 2019–22 Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, resin, and satellite dish on canvas, 27 feet 6 ¾ inches × 25 feet (8.4 × 7.6 m)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Parabole, 2019–22

Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, resin, and satellite dish on canvas, 27 feet 6 ¾ inches × 25 feet (8.4 × 7.6 m)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, En Sof, 2020–22 Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, metal, and wood on canvas, 27 feet 6 ¾ inches × 25 feet (8.4 × 7.6 m)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, En Sof, 2020–22

Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, metal, and wood on canvas, 27 feet 6 ¾ inches × 25 feet (8.4 × 7.6 m)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Exodus, 2012–21 Emulsion, oil, acrylic, shellac, gold leaf, metal, rope, paper, straw, and clay on canvas, 27 feet 6 ¾ inches × 37 feet 4 ⅞ inches (8.4 × 11.4 m)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Exodus, 2012–21

Emulsion, oil, acrylic, shellac, gold leaf, metal, rope, paper, straw, and clay on canvas, 27 feet 6 ¾ inches × 37 feet 4 ⅞ inches (8.4 × 11.4 m)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2020 Emulsion, oil, acrylic, shellac, and straw on canvas, 27 feet 6 ¾ inches × 24 feet 11 ¼ inches (8.4 × 7.6 m)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2020

Emulsion, oil, acrylic, shellac, and straw on canvas, 27 feet 6 ¾ inches × 24 feet 11 ¼ inches (8.4 × 7.6 m)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Wolkensäule (Column of Clouds), 2009–21 Emulsion, oil, acrylic, shellac, metal, straw, rock, and moss on canvas, 27 feet 6 ¾ inches × 21 feet 9 ⅞ inches (8.4 × 6.7 m)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Wolkensäule (Column of Clouds), 2009–21

Emulsion, oil, acrylic, shellac, metal, straw, rock, and moss on canvas, 27 feet 6 ¾ inches × 21 feet 9 ⅞ inches (8.4 × 6.7 m)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2020–21 Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, metal, plaster, straw, wood, and fabric on canvas, 185 ⅛ × 110 ¼ inches (470 × 280 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2020–21

Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, metal, plaster, straw, wood, and fabric on canvas, 185 ⅛ × 110 ¼ inches (470 × 280 cm)
© Anselm Kiefer. Photo: Georges Poncet

About

I have been a stranger in a strange land.
—Exodus 2:22

Gagosian is pleased to announce Exodus, an exhibition of new work by Anselm Kiefer in New York and Los Angeles, to open on November 12 at 555 West 24th Street, New York, and on November 19 at Gagosian at Marciano Art Foundation, 4357 Wilshire Boulevard, Los Angeles.

The large-scale paintings on view in New York and Los Angeles employ a wide range of materials including paint, terra-cotta, fabric, rope, wire, found objects, sediment of electrolysis, and metal—including copper and gold leaf. Mixing the abject and the exalted, these works are imbued with gesture, a sense of metamorphosis, and alchemical symbolism.

Kiefer’s syncretic approach to materials extends to his understanding of history, literature, and mythology as forces that inform the present. In this new body of work, he incorporates inscriptions in Hebrew from the book of Exodus, with thematic references to its narrative blended with a diversity of other sources. Full of symbolic thresholds between peoples, places, and times, the paintings are metaphysical allegories that meditate on loss and deliverance, dispossession and homecoming.

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Gagosian at Marciano Art Foundation, Los Angeles

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Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

Now available
Gagosian Quarterly Winter 2022

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.

Darkly lit road, trees, and building exterior at La Ribaute, Barjac, France.

Anselm Kiefer: Architect of Landscape and Cosmology

Jérôme Sans visits La Ribaute in Barjac, France, the vast studio-estate transformed by Anselm Kiefer over the course of decades. The labyrinthine site, now open to the public, stands as a total work of art, reflecting through its grounds, pavilions, and passageways major themes in Kiefer’s oeuvre: regeneration, mythology, memory, and more. 

Two dress sculptures in the landscape at Barjac

La Ribaute: Transitive, It Transforms

Camille Morineau writes of the triumph of the feminine at Anselm Kiefer’s former studio-estate in Barjac, France, describing the site and its installations as a demonstration of women’s power, a meditation on inversion and permeability, and a reversal of the long invisibility of women in history and myth.

Rainer Maria Rilke, 1928. Photo: Lou Andreas-Salomé

Rainer Maria Rilke: Duino Elegies

Bobbie Sheng explores the symbiotic relationship between the poet and visual artists of his time and tracks the enduring influence of his poetry on artists working today.

ERLEND HØYERSTEN

Mythologies: A Conversation with Erlend Høyersten

Gagosian’s Georges Armaos speaks with the director of ARoS Aarhus Art Museum, Denmark, about the exhibition Mythologies: The Beginning and End of Civilizations, the art of Anselm Kiefer, and the role of museums during times of crisis.

Anselm Kiefer, Volkszählung (Census), 1991, steel, lead, glass, peas, and photographs, 163 ⅜ × 224 ½ × 315 inches (4.1 × 5.7 × 8 m)/

Cast of Characters

James Lawrence explores how contemporary artists have grappled with the subject of the library.