Felix Art Fair 2021
July 29–August 1, 2021
Hollywood Roosevelt, Los Angeles
Gagosian is pleased to participate, for the first time, in the Felix Art Fair at the Hollywood Roosevelt, with a presentation of contemporary paintings, sculptures, photographs, and works on paper.
The tension between the real-world grit portrayed in the featured works and the stylish period decor of the Hollywood Roosevelt hotel—whose interior was designed to evoke dreams of the city’s golden era—mirrors the chasm between everyday reality and romantic imagination. In their pursuit of truthfulness, the featured artists provide an illuminating contrast between real life and Los Angeles’s more elusive fantasies of glamour and fame.
In the hyperrealistic sculpture High School Student (1990–92), Duane Hanson reproduces his subject with uncanny verisimilitude, registering every detail of a scruffy teenage boy—an incongruous guest in a luxury hotel. With similar objective precision, Ed Ruscha’s work on paper Metro Mattress #6 (2015) depicts a worn-down mattress in a state of neglect, as if discarded on the street. Ruscha isolates the motif in the center of the page, rendering it both prosaic and strange. In Study for Bedroom Painting #74 (1983), Tom Wesselmann combines a schematic female nude with colorful interior elements in a manner both abstract and Pop. And in the photograph Black Square XXIII, Phoenix canariensis, Woolsey Fire (2019), Taryn Simon pictures a charred palm tree against a night sky. Brought to California from the Canary Islands, the tree fueled and survived a devastating wildfire.
To receive a pdf with detailed information on the works in Gagosian’s booth, please contact the gallery at email@example.com.
To attend the fair, purchase tickets at felixfair.com.
Duane Hanson, High School Student, 1990–92, 1 of 2 unique versions © 2021 Estate of Duane Hanson/Licensed by VAGA at Artists Rights Society (ARS), New York
August 5–18, 2021
I see my work as fairly self-contained, almost circular. If you tried to graph it in a linear way, it wouldn’t work. There are too many references going backwards. The work is a little like a spiral because a spiral goes forward and then circles back on itself, then passes itself again.
Gagosian is pleased to present seven works on paper by Robert Therrien (1947–2019) for galleryplatform.la. In addition to sculptures and photographs, Therrien produced an extensive body of work on paper, which conveys a similar fantastical wit. Made using bleach, dye, customized stencils, and other mediums, these delicate drawings, prints, and mixed-media works often incorporate macabre motifs such as gallows and black clouds, suggesting a fascination with folklore beyond the elusive magical potential of ordinary things.
Robert Therrien, No title (drowning or diving girl), 2009 © Robert Therrien/Artists Rights Society (ARS), New York. Photo: Joshua White
June 23–29, 2021
A storyteller and researcher driven by the mutability of fact and the documentary potential of fiction, Taryn Simon directs our attention to systems of organization—bloodlines, circulating picture collections, mourning rituals, ceremonial flower arrangements—revealing the structures of power and authority hidden within. Working in photography, sculpture, text, sound, performance, and installation, she traces lineages of objects, families, nations, and histories.
Photo: Brigitte Lacombe
Frieze Los Angeles Online
July 27–August 1, 2021
Gagosian is pleased to participate in the inaugural Los Angeles edition of Frieze Viewing Room with a survey of works by Chris Burden (1946–2015). The works will be available simultaneously on the Gagosian website and in the Frieze Viewing Room.
Ranging from ink-on-paper drawings to monumental site-specific sculptures, the presentation commemorates Burden’s significant career and body of work on what would have been the milestone of his seventy-fifth year. A radical figure with a fierce political consciousness, Burden possessed a unique ability to wield conceptual art as a tool for sociopolitical change. Dealing in incisive metaphors for the power dynamics of industry and institution, his work remains piercingly relevant today.
Chris Burden, The Hidden Force, 1995, installation view, McNeil Island Corrections Center, Washington (commissioned by the Washington State Arts Commission in 1993, decommissioned in 2011) © Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York
Light and Lightning: Wonder-Reactions at Walter De Maria's The Lightning Field
In this second installment of a two-part essay, John Elderfield resumes his investigation of Walter De Maria’s The Lightning Field (1977), focusing this time on how the hope to see lightning there has led to the work’s association with the Romantic conception of the sublime.
Gagosian Quarterly Summer 2021
The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.
Fashion & Art: Valentino Des Ateliers
Author and curator Gianluigi Ricuperati speaks to the Quarterly’s Wyatt Allgeier about his curatorial involvement in Valentino Des Ateliers, a collaborative project devised by Valentino’s creative director, Pierpaolo Piccioli, in partnership with Ricuperati. Working in a symbiotic manner, Piccioli and the Valentino Haute Couture team engaged in a dialogue with artists Joel S. Allen, Anastasia Bay, Benni Bosetto, Katrin Bremermann, Guglielmo Castelli, Maurizio Cilli, Danilo Correale, Luca Coser, Jamie Nares, Francis Offman, Andrea Respino, Wu Rui, Sofia Silva, Alessandro Teoldi, Patricia Treib, and Malte Zenses, along with the participation of Kerstin Bratsch, to arrive at a singular couture collection.
Mixtape: Spencer Sweeney
Spencer Sweeney shares a selection of songs that have punctuated his journey through the pandemic and ponders the expressive powers of a playlist.
The New York Public Library’s Picture Collection
Joshua Chuang, the Robert B. Menschel Senior Curator of Photography at the New York Public Library, discusses the institution’s singular Picture Collection, the artist Taryn Simon’s rigorous engagement with it, and four instances of its little-known role in the history of art making.
Conclusions Never Reached: Nancy Rubins in Fluid Space
Sara Softness reflects on a new series of sculptures by Nancy Rubins, Fluid Space (2019–21), “visual poems” that hint at the invisible and the unknown.
Social Works: The Archives of Frankie Knuckles Organized by Theaster Gates
Theaster Gates, steward of the Frankie Knuckles record collection, is engaging with the late DJ and musician’s archive of records, ephemera, and personal effects. For the Quarterly’s “Social Works” supplement, guest edited by Antwaun Sargent, Gates presents a selection of Knuckles’s personal record collection. Chantala Kommanivanh, a Chicago-based artist, educator, and musician—and the records manager for Rebuild Foundation, Chicago—provides annotations, contextualizing these records’ importance and unique qualities. Ron Trent, a dear friend of Knuckles’s, speaks to the legacy evinced by these materials.
Tatiana Trouvé: From March to May
A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.
Taryn Simon and Teju Cole
This spring, as part of the Lambert Family Lecture Series at the Wexner Center for the Arts, Taryn Simon joined Teju Cole for an online conversation about her artistic practice and creative process.
Social Works: Carrie Mae Weems and Maya Phillips
A pairing of photography and poetry from “Social Works,” a supplement guest edited by Antwaun Sargent for the Summer 2021 issue of the Quarterly.
Gregory Corso: A Most Dangerous Art
On the occasion of the forthcoming publication of The Golden Dot: Last Poems by Gregory Corso, Raymond Foye reflects on the poet’s enduring engagement with the human condition and explores the unique structure of this final collection.
Dennis Hopper’s Taos Ride
Douglas Dreishpoon reflects on speaking with Hopper at the Harwood Museum of Art, Taos, New Mexico, in 2009.