Extended through September 26, 2024
Andy Warhol
Mao, 1972
Acrylic, silkscreen ink, and pencil on linen, 176 × 135 ⅞ inches (447 × 345 cm)
© 2024 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
Icons from a Half Century of Art presents exceptional paintings and sculptures by Jean-Michel Basquiat, David Hockney, Jasper Johns, Donald Judd, Gerhard Richter, Mark Rothko, Richard Serra, Frank Stella, Cy Twombly, and Andy Warhol.
Jessica Beck examines Andy Warhol’s return to painting in the 1970s, focusing on the artist’s Mao series.
From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
On January 22, Gagosian, in partnership with Castelli Gallery, opened an exhibition of historic works by Jasper Johns at the 980 Madison Avenue gallery in New York. A survey of the crosshatch paintings and drawings that dominated his practice from 1973 to 1983, the presentation united works that have rarely been seen with loans from sources including distinguished American museums. The exhibition commemorates the fiftieth anniversary of this body of work’s debut at Castelli Gallery in 1976. Here, Larry Gagosian speaks with the Quarterly’s Alison McDonald about the impetus for this project, his memories of seeing the exhibition in 1976, and the enduring impact of these paintings on artists and collectors.
In this video, musical ensemble Sō Percussion performs Steve Reich’s “Music for Pieces of Wood” inside the exhibition Richard Serra: Running Arcs (For John Cage), 1992, at Gagosian, New York.
Nearly fifty years ago, Samuel Beckett and Jasper Johns met in Paris and began a collaboration on what would become Foirades/Fizzles, a deluxe limited-edition artist’s book published by Petersburg Press in 1976. Now, on the occasion of the Jasper Johns retrospective at the Philadelphia Museum of Art and New York’s Whitney Museum of American Art, Gagosian Quarterly looks back to the genesis of this project with a conversation between independent researcher Anthony Atlas and Gagosian director Bob Monk. Their discussion focuses on the creative encounter between the artist and the writer and on how the book and related works became a generative source in Johns’s art.
The Fall 2025 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Blue Liz as Cleopatra (1962) on the cover.
Carlos Valladares tracks the artist’s engagements with Hollywood glamour, thinking through the ways in which the star system and its marketing engine informed his work.
The Spring 2025 issue of Gagosian Quarterly is now available, featuring Cy Twombly’s Paesaggio (1986) on the cover.
Jenny Saville reflects on Cy Twombly’s poetic engagement with the world, with time and tension, and with growth in this excerpt from her Marion Barthelme Lecture, presented at the Menil Collection, Houston, in 2024.
In the second part of a two-part essay, art historian John B. Ravenal considers Jasper Johns’s continued engagement with the motif of woodgrain.
Gagosian director Jessica Beck speaks with Lee Mergner, author and publisher of JazzTimes, about Basquiat’s lifelong engagement with jazz on the occasion of “Bebop Revolution: JLCO with Wynton Marsalis,” two nights celebrating bebop and the genre’s influence on the painter at Jazz at Lincoln Center, New York.
Vincent Gardner, trombonist, composer, and arranger in the Jazz at Lincoln Center Orchestra, speaks about the bebop genre and Jean-Michel Basquiat with the Quarterly’s Alison McDonald on the occasion of “Bebop Revolution: JLCO with Wynton Marsalis,” two nights celebrating bebop at Jazz at Lincoln Center, New York.
As American identity once again comes into question during a politically charged election cycle, the Quarterly revisits the motif of the American flag in art. Here, John B. Ravenal contextualizes Robert Lazzarini’s new wall-based flag sculptures and elucidates the tensions they lay bare in the symbol of our nation.
Jessica Beck addresses Jean-Michel Basquiat’s 1982 trip to Italy, considering the effects of the country’s art and history on the young painter’s process and iconography. She focuses in particular on the painting Untitled (1982).
In the first part of a two-part essay, art historian John B. Ravenal considers Jasper Johns’s continued engagement with the motif of woodgrain.
The Fall 2024 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Mao (1972) on the cover.
Join Gagosian for a conversation between director, producer, and writer Sophia Heriveaux and actor, director, and writer Roger Guenveur Smith inside the exhibition Jean-Michel Basquiat: Made on Market Street, at Gagosian, Beverly Hills. Heriveaux and Guenveur Smith both share a personal connection to Basquiat: Heriveaux is the artist’s niece and Guenveur Smith was one of his friends and collaborators. The pair discuss Basquiat’s work and legacy, as well as his lasting impact on contemporary art and culture.
In this video, Flavin Judd, the artist’s son and artistic director of Judd Foundation, discusses a historic large-scale work by his father from 1970, ahead of its presentation at Art Basel Unlimited 2024.
The Spring 2024 issue of Gagosian Quarterly is now available with a fresh cover design featuring Jean-Michel Basquiat’s Lead Plate with Hole (1984).
Jean-Michel Basquiat’s sisters, Lisane Basquiat and Jeanine Heriveaux, met with filmmaker Tamra Davis, art dealer Larry Gagosian, and author and curator Fred Hoffman to reflect on their experiences with the artist during the 1980s in Los Angeles.
