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Art Fair

Paris Photo 2017

November 9–12, 2017, booth B16
Grand Palais, Paris
www.parisphoto.com

Patti Smith, an internationally acclaimed musician, writer, and visual artist, has chosen a selection of her own photographs to be shown alongside works by other artists including Richard Avedon, Balthus, Gregory Crewdson, Peter Lindbergh, Vera Lutter, Sally Mann, Taryn Simon, Deborah Turbeville, Cy Twombly, and Andy Warhol. Smith began taking photographs in 1978, eventually developing an emotionally unfiltered archive of solitary moments, to which she is continually adding. Her lifelong fascination with eulogy and remembrance is reflected in her selection of works by other artists. “Curated by Patti Smith” provides a glimpse of Smith and her fellow travelers, and is a coming-together of people, places, and relics.

Patti Smith, Robert Mapplethorpe’s Slippers, NYC, 2002 © Patti Smith

Patti Smith, Robert Mapplethorpe’s Slippers, NYC, 2002 © Patti Smith

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Photo: Kate Simon

Artist Spotlight

Ed Ruscha

September 16–22, 2020

At the start of his artistic career, Ed Ruscha called himself an “abstract artist . . . who deals with subject matter.” Abandoning academic connotations that came to be associated with Abstract Expressionism, he looked instead to tropes of advertising and brought words—as form, symbol, and material—to the forefront of painting. Working in diverse media with humor and wit, he oscillates between sign and substance, locating the sublime in landscapes both natural and artificial. Ruscha’s formal experimentations and clever use of the American vernacular have evolved in form and meaning as technology alters the essence of human communication.

Photo: Kate Simon

Nathaniel Mary Quinn. Photo: Ike Edeani

Art Fair

Frieze London Online
Nathaniel Mary Quinn

October 9–16, 2020

Gagosian is pleased to present new works by Nathaniel Mary Quinn for the online edition of Frieze London. A suite of drawings by Quinn will premiere concurrently on the Gagosian website and in the Frieze Viewing RoomIn addition, a selection of paintings and a large-scale work on paper will be on view at Gagosian, Davies Street, London, through November 21. With its wide plate glass window, this storefront exhibition space will act as the artist’s “solo booth” for Frieze London.

Nathaniel Mary Quinn. Photo: Ike Edeani

Piero Golia with his set of eight porcelain plates The Best Is Yet to Come (2020), Los Angeles, 2020. Artwork © Piero Golia. Photo: Joshua White/JWPictures.com

galleryplatform.la

Piero Golia
The Best Is Yet to Come

July 30–August 6, 2020

Sometimes you want to look back at what you did, and then you realize that you only care about the future. 
—Piero Golia

Gagosian is pleased to present recent work by Piero Golia online for galleryplatform.la. Golia transforms everyday objects and commonplace events into exceptional works of art that defy established conventions and build narratives. His diverse practice includes both artworks that take physical form, often at an architectural scale, and others that are immaterial or conceptual. For his most recent project, Golia hired a painter to illustrate a set of eight porcelain plates with images from his past artistic output. Each is unique in terms of content, size, and shape; together, they become a self-portrait of the places, objects, and interventions constituting his life and work. From his celebrated sculpture Untitled (My Gold Is Yours), exhibited at the Venice Biennale in 2013, to a 2019 intervention involving the hiring of a landscape painter and an airplane, the set comprises a narrative retrospective of the artist’s career.

Piero Golia with his set of eight porcelain plates The Best Is Yet to Come (2020), Los Angeles, 2020. Artwork © Piero Golia. Photo: Joshua White/JWPictures.com

Ed Ruscha, At That, 2020, dry pigment and acrylic on paper.

“Things Fall Apart”: Ed Ruscha’s Swiped Words

Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by the artist, detailing the ways these words in motion evoke the experience of the current moment.

The crowd at the public funeral of Reverend Dr. Martin Luther King, Jr., in April 1968. Photo by Moneta Sleet Jr.

Now available
Gagosian Quarterly Fall 2020

The Fall 2020 issue of Gagosian Quarterly is now available.

The cover of Emma Cline’s book "Daddy"

Northeast Regional

A short story by Emma Cline, published here on the occasion of her forthcoming collection of stories entitled Daddy.

Henri Matisse, The Music Lesson, 1917, oil on canvas, domestic interior scene of people in the livingroom at the piano, reading chair, and window

Lockdown: Henri Matisse’s Domestic Interiors

John Elderfield reexamines Matisse’s Piano Lesson (1916) and Music Lesson (1917), considering the works’ depictions of domestic space during the tumult of World War I.

Isabelle Waldberg, with Construction (1943), in her studio, New York, 1943.

Isabelle Waldberg

Jacquelynn Baas profiles Isabelle Waldberg, writing on the sculptor’s many friendships and the influence of her singular creations.

Jay DeFeo working on The Rose (then titled Deathrose), photographed by Burt Glinn in 1960.

Jay DeFeo

Suzanne Hudson speaks with Leah Levy, executive director of the Jay DeFeo Foundation, about the artist’s life and work.

Photo: Moneta Sleet, Jr., 1965. Johnson Publishing Company Archive. Courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution.

Theaster Gates: Black Image Corporation

As a prelude to his first-ever solo exhibition in New York, Theaster Gates discusses his prescient work with the photographic archive of Chicago’s Johnson Publishing Company and his formation of Black Image Corporation as a conceptual project. In conversation with Louise Neri, he expands on his strategies as artist and social innovator in his quest to redeem and renew the sacred power of Black images and Black space. 

Bebe Miller and Cynthia Oliver in motion dancing, mid-jump, against a white background

Bebe Miller and Cynthia Oliver

The legendary choreographers discuss their history together, the evolution of Cynthia Oliver’s boom!, imposed boundaries on “Black dance,” and the choreographies of the pandemic.

Helen Frankenthaler, Cool Summer, 1962, oil on canvas, 69 ¾ × 120 inches (177.2 × 304.8 cm), Collection Helen Frankenthaler Foundation.

Building a Legacy
The Helen Frankenthaler Foundation on COVID-19 Relief Funding

The Quarterly’s Alison McDonald speaks with Clifford Ross, Frederick J. Iseman, and Dr. Lise Motherwell, members of the board of directors of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director, about the foundation’s decision to establish a multiyear initiative dedicated to providing $5 million in covid-19 relief for artists and arts professionals.

Titus Kaphar: Can Beauty Open Our Hearts to Difficult Conversations?

Titus Kaphar: Can Beauty Open Our Hearts to Difficult Conversations?

In this TED talk, presented during the sweeping protests against racism and police violence following the killing of George Floyd, Titus Kaphar describes how the beauty of a painting can draw the viewer in and allow difficult conversations to emerge. Kaphar discusses his own work and shares the idea behind NXTHVN, a new national arts model he founded to empower artists of color through education and access.

A portrait of LL Cool J, Brooklyn, New York, 1991, but Anton Corbijn

Anton Corbijn

Natasha Prince interviews the Dutch photographer and filmmaker about his relationships with musicians and gets the backstory on some of his most legendary images. Ivan Shaw puts Corbijn’s practice and aesthetic innovations into context. 

Andrea Domenico Remps, Cabinet of Curiosities, c. 1690, oil on canvas, 39 × 54 inches (99 × 137 cm), Opificio delle Pietre Dure, Florence, Italy.

For Sale: Baby Shoes. Never Worn.

Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.