Installation view
Artwork © Louise Bonnet. Photo: Martin Wong
Installation view
Artwork © Louise Bonnet. Photo: Martin Wong
Installation view
Artwork © Louise Bonnet. Photo: Martin Wong
Installation view
Artwork © Louise Bonnet. Photo: Martin Wong
Louise Bonnet
Red Pantyhose, 2022
Oil on linen, 84 × 70 inches (213.4 × 177.8 cm)
© Louise Bonnet. Photo: Jeff McLane
Louise Bonnet
Green Pantyhose, 2022
Oil on linen, 84 × 144 inches (213.4 × 365.8 cm)
© Louise Bonnet. Photo: Jeff McLane
Louise Bonnet
Purple Pantyhose, 2022
Oil on linen, 84 × 70 inches (213.4 × 177.8 cm)
© Louise Bonnet. Photo: Jeff McLane
Louise Bonnet
Projection 1, 2022
Oil on linen, 84 × 70 inches (213.4 × 177.8 cm)
© Louise Bonnet. Photo: Charles White
Louise Bonnet
Projection 2, 2022
Oil on linen, 84 × 144 inches (213.4 × 365.8 cm)
© Louise Bonnet. Photo: Charles White
Louise Bonnet
Projection 3, 2022
Oil on linen, 84 × 70 inches (213.4 × 177.8 cm)
© Louise Bonnet. Photo: Charles White
There are all these rules about openings in the body, about things leaking out. That’s interesting to me—the body out of control.
—Louise Bonnet
Gagosian is pleased to present Onslaught, an exhibition of new paintings by Louise Bonnet that coincides with her inclusion in The Milk of Dreams at the 59th Biennale di Venezia, which opened on April 23. This is her first exhibition in Asia and comprises two groupings of three large canvases, displayed as triptychs.
In Onslaught, Bonnet focuses on corporeal fluids as objects of societal disgust, investigating art historical precedents for their depiction and considering the ways in which modern aesthetic and ideological conventions complicate the ways in which they are now received (“We are much more prudish about certain things now than people were in the 1500s,” she observes). The paintings explore our sense of mortification at our own bodies and the way they seem to betray us by leaking, sagging, or failing in various ways. “I’m interested in shame and the body in my paintings,” she states, “and bodily functions bring extra shame and embarrassment.”
Join Louise Bonnet in her Los Angeles studio as she works on new paintings ahead of her exhibition Onslaught, at Gagosian, Hong Kong.
Gagosian hosted a conversation between Louise Bonnet and Stefanie Hessler, director of Swiss Institute, New York, inside 30 Ghosts, the artist’s exhibition of new paintings at Gagosian, New York. The pair explores the work’s recurring themes—the cycles of life, continuity and the future, and death—and discuss how the conceptual and pictorial structures Bonnet borrows from seventeenth-century Dutch still-life painting converge to form a metaphor for hard labor, basic animal urges, and the things we often try, but fail, to hide.
Cultural critic Naomi Fry joined Louise Bonnet for a conversation on the occasion of Louise Bonnet Selects, a film program curated by the artist as part of a series copresented by Gagosian and Metrograph. The pair discussed how the protagonists of the seven selected films are ruled, betrayed, changed, or unsettled by their bodies, focusing on David Cronenberg’s The Brood (1979).
Join Gagosian for a panel discussion with Louise Bonnet; Johanna Burton, director of the Museum of Contemporary Art, Los Angeles; and Celinda M. Vázquez, chief external affairs officer of Planned Parenthood Los Angeles (PPLA), on the occasion of Bonnet’s donation to PPLA of the proceeds from the sale of her painting Red Study (2022).
Louise Bonnet speaks with Freja Harrell about her new painting, her donation to Planned Parenthood Los Angeles, and the role of art in the fight for reproductive justice.
Poet and novelist Dodie Bellamy visits the artist Louise Bonnet at her Los Angeles studio as she prepares for an exhibition of new works in Hong Kong and the inclusion of one of her paintings in the 59th Biennale di Venezia. The two discuss the power of horror, the intensity of memory, and their creative processes.
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
Ali Subotnick investigates the artist’s surreal new series of drawings.
The artist describes her new body of work from her Los Angeles studio.
Los Angeles painter Louise Bonnet reminisces about the films that influenced her development as an artist.
Filmmaker and author Miranda July joined Louise Bonnet on a video call to discuss life during lockdown, the luminosity of oil paint, and Bonnet’s forthcoming exhibition of new work. Longtime friends—and newly neighbors—the two reflect on their shared history and shared interests in the unconscious, vagueness, and the mixture of humor and pain.
