Georg Baselitz and the Possibilities of Print
On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.
Theaster Gates: Dave, All My Relations
A conversation between Theaster Gates and Jessica Bell Brown, with an introduction by Sydney Stutterheim.
In Conversation
Mary Weatherford and Mark Lee: Persephone
Ahead of Persephone, an exhibition of new paintings by Mary Weatherford inside Hong Kong’s historic Pedder Building, the Quarterly’s Wyatt Allgeier met with Weatherford and the architect Mark Lee to talk about their collaboration. Here, they discuss how custom architectural interventions—from mirrored columns to strategic light play—transform the gallery, evoking Persephone’s mythic journey through the underworld and back into the light of spring.
The Bad Ones Don’t Deserve It
Albert Oehlen in conversation with Max Dax.
Katharina Grosse: Messeplatz Project 2025
For Art Basel 2025, the fair has commissioned Katharina Grosse to create CHOIR, a large-scale, site-responsive painting for the Messeplatz Project. The curator for the project, Natalia Grabowska, met with Grosse in her studio in Berlin ahead of the work’s creation to talk through the process; Grosse’s approach to the specifics of the Messeplatz’s architecture; and the importance of unscripted encounters.
Rachel Whiteread: Casting History
From her Judenplatz Holocaust Memorial in Vienna to her casting of George Orwell’s World War II office at the BBC, Rachel Whiteread has long engaged with the emotional and historical complexities of addressing deeply troubling moments in human history through art. This month, Whiteread will debut a new work for the inaugural exhibition at the Goodwood Art Foundation in Sussex, England.
Adriana Varejão: Pratos
Through June 22, the Hispanic Society Museum & Library, New York, is presenting a solo exhibition of Adriana Varejão’s work, including a new set of paintings from her Pratos (Plates) series and a site-specific outdoor sculpture. To accompany the show, Varejão has curated a selection of historical ceramic plates from the museum’s collection. Here, Louis Vaccara details the conceptual and formal references—and evolutions—in these works.
Adriana Varejão: Don’t Forget, We Come From the Tropics
In conjunction with the exhibition Adriana Varejão: Don’t Forget, We Come From the Tropics at the Hispanic Society Museum & Library, New York, Laura Dias Leite produced a video directed by Luisa Marques in which the artist discusses the genesis of the show. The exhibition debuts the latest works in Varejão’s Plate series (2011–), which, shown alongside historic ceramic plates from the museum’s collection, pose questions about aesthetic hierarchies.
On Willem de Kooning: Albert Oehlen In Conversation with John Corbett
On the occasion of Willem de Kooning: Endless Painting, curated by Cecilia Alemani and comprising paintings from 1944 through 1986 and two sculptures, the Quarterly revisits a conversation between Albert Oehlen and John Corbett from 2013. The pair reflect on de Kooning’s late work and its lasting influence on them.
Alex Israel: Noir
Sam Wasson brings his deep knowledge of cinema, Hollywood, and film noir to Alex Israel’s new paintings of Los Angeles.
In Conversation
Takashi Murakami and Hans Ulrich Obrist
In conjunction with the exhibition Japanese Art History à la Takashi Murakami at Gagosian, London, Takashi Murakami and Hans Ulrich Obrist, curator and artistic director of Serpentine, London, sit down to discuss the artist’s exploration and contemporizing of ancient Japanese artworks and movements. The two delve into Murakami’s investigation of Iwasa Matabei’s seventeenth-century masterwork Rakuchū-Rakugai-zu (Scenes in and around Kyoto) and the Kyoto-based style of Rinpa painting, among other examples.
Back to the Future: Takashi Murakami’s Kyoto Paintings
Ed Schad, curator and publications manager at the Broad, Los Angeles, examines Takashi Murakami’s prolonged engagement with the practice and concept of the copy. An exhibition of new paintings by the artist, Japanese Art History à la Takashi Murakami, opened at Gagosian, London, on December 10, 2024; Schad reflects on Murakami’s recent works in the wake of his visit to the artist’s 2024 exhibition at Kyoto City Kyocera Museum of Art.
