Installation video
Installation view
Artwork, left to right: © Tomma Abts, © Cecily Brown. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Stanley Whitney; © 2023 Frank Bowling. All rights reserved/Artists Rights Society (ARS), New York/DACS, London; © Tomma Abts. Photo: Lucy Dawkins
Installation view with Brice Marden, Rivers (2020–21)
Artwork © 2023 Brice Marden/Artists Rights Society (ARS), New York. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Gerhard Richter 2023 (13032023); © Stanley Whitney; © 2023 Frank Bowling. All rights reserved/Artists Rights Society (ARS), New York/DACS, London. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Stanley Whitney, © Suzan Frecon. Photo: Lucy Dawkins
Installation view with David Reed, #593-3 (2005–22)
Artwork © David Reed/Artists Rights Society (ARS), New York. Photo: Lucy Dawkins
Installation view with Charline von Heyl, Circus (2022)
Artwork © Charline von Heyl. Photo: Lucy Dawkins
Installation view with Albert Oehlen, Martin Rev or Alan Vega (2022)
Artwork © Albert Oehlen. Photo: Lucy Dawkins
Installation view with Richard Aldrich, Untitled (2019/2022–23)
Artwork © Richard Aldrich. Photo: Lucy Dawkins
Installation view with Suzanne Jackson, Palimpsest Grit (2022–23)
Artwork © Suzanne Jackson. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Oscar Murillo, © Jadé Fadojutimi. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Jadé Fadojutimi, © Thilo Heinzmann. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Thilo Heinzmann, © Ryan Sullivan. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Ryan Sullivan, © 2023 Jennie C. Jones. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Ryan Sullivan, © Oscar Murillo. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © John Zurier, © 2023 Jennie C. Jones. Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Tauba Auerbach, © John Zurier: Photo: Lucy Dawkins
Installation view
Artwork, left to right: © Nathlie Provosty, © Tauba Auerbach. Photo: Lucy Dawkins
Frank Bowling
Passtheball, 2022
Acrylic, acrylic gel, and found objects on canvas with marouflage, 127 ¾ × 73 ½ inches (324.5 × 186.7 cm)
© Frank Bowling. All rights reserved/Artists Rights Society (ARS), New York/DACS, London, 2023. Photo: Anna Arca
Cecily Brown
It’s not yesterday anymore, 2022
Oil on linen, in 3 parts, overall: 67 × 123 inches (170.2 × 312.4 cm)
© Cecily Brown. Photo: Genevieve Hanson
Jadé Fadojutimi
And willingly imprinting the memory of my mistakes, 2023
Acrylic, oil, oil pastel, and oil stick on canvas, 118 ⅛ × 196 ⅞ inches (300 × 500 cm)
© Jadé Fadojutimi. Photo: Mark Blower
Suzan Frecon
persian mare mars, 2022
Oil on linen, in 2 parts, overall: 108 × 87 ⅜ inches (274.3 × 221.9 cm)
© Suzan Frecon. Photo: Robert McKeever
Suzanne Jackson
Palimpsest Grit, 2022–23
Acrylic, canvas, graphite, aluminum, raw silk, shredded mail, twine, string, wood, braided string, acrylic detritus, and mesh, 105 × 62 × 2 ½ inches (266.7 × 157.5 × 6.4 cm)
© Suzanne Jackson. Photo: David Kaminsky
Brice Marden
Rivers, 2020–21
Oil and graphite on linen, 96 × 72 inches (243.8 × 182.9 cm)
© 2023 Brice Marden/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio
Oscar Murillo
manifestation, 2020–22
Oil, oil stick, graphite, and spray paint on canvas and linen, 110 ¼ × 106 ¼ inches (280 × 269.9 cm)
© Oscar Murillo. Photo: Tim Bowditch and Reinis Lismanis
Albert Oehlen
Martin Rev or Alan Vega, 2022
Acrylic, spray paint, oil, and enamel on canvas, 72 × 69 inches (182.9 × 175.3 cm)
© Albert Oehlen. Photo: Jeff McLane
David Reed
#593-3, 2005–22
Acrylic on polyester, 105 × 49 inches (266.7 × 124.5 cm)
© David Reed. Photo: Robert McKeever
Gerhard Richter
Abstraktes Bild (Abstract Painting) (952-1), 2017
Oil on canvas, 78 ¾ × 78 ¾ inches (200 × 200 cm)
© Gerhard Richter 2023 (13032023)
Charline von Heyl
Circus, 2022
Oil, acrylic, and charcoal on canvas, 82 × 78 inches (208.3 × 198.1 cm)
© Charline von Heyl. Photo: Jason Mandella
Gagosian is pleased to announce To Bend the Ear of the Outer World: Conversations on contemporary abstract painting, an exhibition of new and recent works by more than forty artists from the Americas, United Kingdom, and Germany. The exhibition has been organized by guest curator Gary Garrels, who, in collaboration with the artists, has selected a single painting by each, with most works presented here for the first time. This is Gagosian’s first exhibition to be sited across its two galleries in Mayfair, at Grosvenor Hill and Davies Street.
The exhibition in London examines the significance of abstract painting today, from Garrels’s perspective. Juxtaposing a diverse range of approaches to contemporary abstraction, the exhibition brings together works by three generations of artists, including some never before shown by Gagosian.
Participating artists include Tomma Abts, Richard Aldrich, Tauba Auerbach, Frank Bowling, Mark Bradford, Cecily Brown, Vija Celmins, Matt Connors, Tomm El-Saieh, Jadé Fadojutimi, Suzan Frecon, Katharina Grosse, Mark Grotjahn, Wade Guyton, David Hammons, Mary Heilmann, Thilo Heinzmann, Richard Hoblock, Jacqueline Humphries, Suzanne Jackson, Jennie C. Jones, Brice Marden, Helen Marden, Julie Mehretu, Oscar Murillo, Albert Oehlen, Laura Owens, Nathlie Provosty, David Reed, Gerhard Richter, Amy Sillman, Pat Steir, Ryan Sullivan, Lesley Vance, Charline von Heyl, Mary Weatherford, Stanley Whitney, Pamela Helena Wilson, Terry Winters, Christopher Wool, and John Zurier.
To Bend the Ear of the Outer World is the conceptual successor of Oranges and Sardines (2008–09), an exhibition of abstract painting organized by Garrels at the Hammer Museum, Los Angeles, which included work by some of the same artists. The titles of both exhibitions are derived from verses by Frank O’Hara.
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In conjunction with Marks and Whispers, at Gagosian, Rome, Oscar Murillo and Alessandro Rabottini sit down to discuss the artist’s paintings and works on paper in the exhibition, as well as how the show emphasizes the formal, political, and social dimensions of the color red in Murillo’s work of the last decade.
Ahead of two exhibitions—The Flooded Garden at Tate Modern, London, and Marks and Whispers at Gagosian, Rome—curator Alessandro Rabottini visited Oscar Murillo’s London studio to discuss the connections between them.
Stanley Whitney invited professor and musician-biographer John Szwed to his studio on Long Island, New York, as he prepared for an upcoming survey at the Buffalo AKG Art Museum to discuss the resonances between painting and jazz.
In conjunction with her exhibition The Flaying of Marsyas at Museo di Palazzo Grimani, Venice, Mary Weatherford discusses the featured paintings, which are directly inspired by Titian’s late, eponymous masterpiece of circa 1570–76 and reflect her enduring fascination with the painting.
In conjunction with Franz West: Papier, the gallery’s presentation of paper-based works by Franz West at Frieze Masters 2023, artist Oscar Murillo and arts writer, critic, and broadcaster Ben Luke sit down to discuss Murillo’s collaboration in selecting the works on view, as well as his personal experiences meeting the late artist in London.
Larry Gagosian celebrates the unmatched life and legacy of Brice Marden.
Ahead of her exhibition in Athens this fall, Helen Marden met with longtime friend Kiki Smith at Marden’s home in New York’s West Village to discuss the bravery of color and the power of intuition.
The exhibition Katharina Grosse Studio Paintings, 1988–2022: Returns, Revisions, Inventions premiered at the Mildred Lane Kemper Art Museum, Saint Louis, in September 2022. It continues its tour with presentations at the Kunstmuseum Bern, through June 2023, and the Kunstmuseum Bonn, opening in April 2024. To mark this momentous survey, the show’s curator, Sabine Eckmann, met with Grosse to discuss the evolution of her practice.
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
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).
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 her exhibition Katharina Grosse: Repetitions without Origin at Gagosian, Beverly Hills, the artist spoke with art historian Graham Bader, associate professor of art history at Rice University, about the throughlines in her practice.
From October 21 to 23, 2021, Gagosian Quarterly presented a special English-language online screening of Claudia Müller’s Katharina Grosse: Think Big!
The artist speaks with Mark Godfrey about his new paintings, touching on the works’ relationship to John Graham, the Rothko Chapel, and Leigh Bowery.
The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.
Jacoba Urist profiles the legendary collector.
Albert Oehlen speaks to Mark Godfrey about a recent group of abstract paintings, “academic” art, reversing habits, and questioning rules.
This film by Albert Oehlen, with music by Tim Berresheim, takes us inside the artist’s studio in Switzerland as he works on a new painting.
Hans Ulrich Obrist interviews the artist on the occasion of his recent exhibition at the Serpentine Galleries, London.
Hans Ulrich Obrist traces the history behind Richter’s Cage paintings and speaks with the artist about their creation.
