April 7–13, 2021
Albert Oehlen’s oeuvre is a testament to the innate freedom of the creative act. Through expressionist brushwork, surrealist methodology, and self-conscious amateurism he engages with the history of abstract painting, pushing the basic components of abstraction to new extremes. Oehlen is perhaps best known for his embrace of “bad” painting. Alongside his many rules, he allows a certain awkwardness to enter his work, introducing unsettling gestures, crudely drawn figures, visceral smears of artificial pigments, bold hues, and flesh tones. In this way, he attests to the infinite combinations of form made possible through painting, and shows that these combinations can be manipulated at the artist’s will to produce novel perceptual challenges for the viewer.
June 17–23, 2020
Mary Weatherford makes large paintings comprising grounds of spontaneously sponged paint on heavy linen canvases, often surmounted by one or more carefully shaped and placed colored neon tubes. The canvas—prepared with white gesso mixed with marble dust and worked on with Flashe paint, a highly pigmented but readily diluted emulsion—supports startlingly diverse applications of color, while the surface of the paint ranges from matte and velvety to transparent and translucent. Weatherford’s use of color and light is based on her direct experience of specific locations, as well as her memories of such experiences.
Photo: Antony Hoffman
June 10–16, 2020
Theaster Gates’s practice traverses an extraordinary range, from collecting to social gathering, architecture and object making, experimental music and sound, and the ethical and physical reconstruction of civic life. His interdisciplinary fusion of archiving, performance, institution building, painting, and sculpting is deeply rooted in African American histories and cultures, and revolves around the transformation of objects, edifices, and communities through art and cultural activity.
Photo: Chris Strong
Basel Online 2020
In our most significant online sales presentation to date, Gagosian unveils important works by modern and contemporary masters through two separate online platforms—Gagosian Online and Art Basel Online. These individually curated selections offer collectors direct access to artworks of the highest caliber. To experience the presentation in its entirety, viewers will need to visit both gagosian.com and artbasel.com. The works on gagosian.com will rotate every forty-eight hours, for a total of five cycles.
Helen Frankenthaler, Orange Underline, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York
May 28–June 30, 2020
Gagosian is pleased to present recent paintings by Ed Ruscha online for galleryplatform.la. Fifty years ago, Ruscha purchased a set of vellum drum skins from a leather shop in Los Angeles. He has continued to collect these vintage objects, and since 2011 he has used them as canvases for the works on view in his solo exhibition Drum Skins at the Blanton Museum of Art in Austin, Texas.
Installation view, Ed Ruscha: Drum Skins, Blanton Museum of Art, Austin, Texas, January 11–October 4, 2020. Artwork © Ed Ruscha
May 27–June 2, 2020
In his paintings, drawings, and sculptures, Mark Grotjahn interweaves and revitalizes various historical modes of abstraction, probing the limits between gesture and geometry, impulse and exactitude. His works unfold according to precise yet mutating rubrics, resulting in an expansive vocabulary of visual motifs that migrate from one series to the next in almost obsessive permutations. By finding variations within his immediately identifiable style, Grotjahn reveals the complexities of authorial gesture.
Photo: Olivier Zahm
May 20–26, 2020
Moving between diverse styles and subjects, Dan Colen investigates the conceptual stakes of materiality and mark making. Alongside explorations in unconventional mediums including chewing gum, flowers, and metal studs, he continually returns to oil painting and representation, conducting an ever-evolving inquiry into the objecthood and authority of painting as a medium.
Photo: Eric Piasecki
May 13–19, 2020
Widely known for her in situ paintings, in which explosive color is sprayed directly onto architecture, interiors, and landscapes, Katharina Grosse embraces the events and incidents that arise as she works, opening up surfaces and spaces to the countless perceptual possibilities of the medium. Approaching painting as an experience in immersive subjectivity, she uses a spray gun, distancing the artistic act from the hand, and stylizing gesture as a propulsive mark.
Photo: Zan Wimberley
May 6–12, 2020
Painter, sculptor, filmmaker, and installation artist Titus Kaphar confronts history by dismantling classical structures and styles of visual representation in Western art in order to subvert them. Dislodging entrenched narratives from their status as “past” so as to understand and estimate their impact on the present, he exposes the conceptual underpinnings of contested nationalist histories and colonialist legacies and how they have served to manipulate both cultural and personal identity.
Titus Kaphar in his studio with his painting The Aftermath (2020), New Haven, Connecticut, 2020. Artwork © Titus Kaphar. Photo: John Lucas
Frieze New York Online
May 6–15, 2020
Gagosian is pleased to present a selection of new works on paper and recent sculptures by Katharina Grosse for the online edition of Frieze New York. These works will premiere simultaneously on the inaugural Frieze Viewing Room and the Frieze app.
In the presentation a selection of new works on paper are exhibited for the first time. Also available are four sculptures from a series made in 2017, cast from cut polystyrene into slabs of aluminum that preserve the innate lightness of the original medium.
Katharina Grosse, Untitled, 2019 © Katharina Grosse und VG Bild-Kunst, Bonn, 2020
April 29–May 5, 2020
In his photographs, Roe Ethridge uses the real to suggest—or disrupt—the ideal. Through commercial images of fashion models, products, and advertisements, as well as intimate moments from his own daily life, he subverts the residual authority of established artistic genres such as the still life or the portrait, merging them with the increasingly pervasive image culture of the present. The continuous cross-pollination of fine art and applied photography has come to be the hallmark of Ethridge’s practice.
Photo: Vincent Dilio
April 30–May 31, 2020
Gagosian is pleased to participate in artmonte-carlo online 2020 with a trio of works by Sterling Ruby. This special digital presentation will include one of Ruby’s abstract, introspective WIDW paintings—titled after an elided form of the word “window”—as well as an entry from his DRFTRS series of hybrid collages resembling blasted landscapes. Also available will be one of Ruby’s ceramic vessels, which incorporate refired reclaimed clay fragments from his own studio.
Sterling Ruby, DRFTRS (7201), 2020 (detail) © Sterling Ruby
Online Viewing Room
Frieze New York 2020
May 4–10, 2020
On the occasion of the online edition of Frieze New York, Gagosian is pleased to offer an important painting by Cecily Brown in its Online Viewing Room. Made in 2001, the work is from a crucial moment in Brown’s development of her exuberant yet elusive figuration—the breakthrough period of her ascent that is best represented in global museums and most desired by collectors. This special offering is a rare chance to acquire one of the most celebrated and exhibited paintings from this formative period.
Cecily Brown, Figures in a Landscape 1, 2001 © Cecily Brown
Taipei Connections 2020
May 2–10, 2020
Gagosian is pleased to present works by Sarah Sze and Stanley Whitney for the inaugural edition of Taipei Connections, an interactive digital platform organized by the directors of Taipei Dangdai 2020.
Split Stone (7:34) (2018), Sze’s first outdoor sculpture, consists of a granite boulder split open like a geode and inlaid with a pixelated image of a sunset. A Million Midnights (2019), a large-scale oil-on-linen painting by Whitney, stacks irregular blocks of luminous tones within the loose structure of a square canvas.
Sarah Sze, Split Stone (7:34), 2018, installation view, Museo Nazionale Romano, Crypta Balbi, Rome © Sarah Sze. Photo: Matteo D’Eletto, M3 Studio
April 22–28, 2020
Light and color pervade every aspect of Jennifer Guidi’s work. The Los Angeles artist’s radiant, mandala-like paintings are marked by tonal and chromatic shifts that operate in concert with richly textured surfaces. Mixing sand into oils and acrylics, she produces immersive abstract compositions that borrow from the pared-down structures of Minimalism while evoking a powerful archetypal symbolism.
Photo: Brica Wilcox
April 15–21, 2020
Stanley Whitney has been deeply invested in chromatic experimentation throughout his career, but it was the experience of Italian art and architecture, both ancient and modern, that informed his unique understanding of the nuanced relationship between color and geometry. His highly dynamic abstract paintings unlock the grid, imbuing it with new and unexpected cadences of color, rhythm, and space. Deriving inspiration from sources as diverse as Sandro Botticelli and Piet Mondrian, free jazz and American quilt-making, Whitney composes in varying scales with vibrant blocks and bars that articulate a chromatic call-and-response within each canvas.
April 8–14, 2020
A peerless bricoleur, Sarah Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia installations that prompt microscopic observation while evoking a macroscopic perspective on the infinite. In recent years she has returned to painting—the medium in which she first trained—producing works that translate her processes of sculptural accumulation into the making of collaged paintings that are detailed, dynamic, and highly textural.
Photo: courtesy MacArthur Foundation
One Artist, One Work, One Week
Launching April 8, 2020
As arts institutions worldwide temporarily close their doors to support efforts to contain the COVID-19 pandemic, exhibitions everywhere are being canceled, postponed, or curtailed. For artists who have invested time, energy, and resources preparing shows now directly affected by the health crisis, Gagosian is launching Artist Spotlight—a new, multifaceted program that invites individual artists to use the gallery’s online channels as an open platform, to present their work to the world and continue generating support for their studios.
Clockwise from top left: Sarah Sze, photo: courtesy MacArthur Foundation; Urs Fischer, photo: Chad Moore; Jennifer Guidi, photo: Brica Wilcox; Titus Kaphar, photo: John Lucas; and Jenny Saville, photo: Pal Hansen/Getty Images
Art Basel Hong Kong Online
March 20–25, 2020
Works by Georg Baselitz, Jennifer Guidi, Tetsuya Ishida, Jia Aili, Takashi Murakami, Mary Weatherford, Tom Wesselmann, and Zeng Fanzhi were available exclusively online. The selection was also on view in the Art Basel Hong Kong Online Viewing Rooms, accessible through artbasel.com and the Art Basel app.
Takashi Murakami, Kiki, 2018–20 © 2020 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved
The Armory Show 2020
March 5–8, 2020, Pier 94, booth 601
Piers 90 and 94, New York
Gagosian is pleased to participate in the Armory Show 2020 with a solo booth of works by Rudolf Polanszky including wall-mounted Reconstructions and two sculptures that transfer Polanszky’s signature improvisational process to a floor-based setting.
Rudolf Polanszky, Reconstructions, 2015 © Rudolf Polanszky
Online Viewing Room
Frieze Los Angeles 2020
February 10–19, 2020
Gagosian will launch its latest Online Viewing Room on the occasion of Frieze Los Angeles, with available works by Chris Burden, Alex Israel & Bret Easton Ellis, Neil Jenney, Albert Oehlen, Chris Ofili, David Reed, Ed Ruscha, Bill Whiskey Tjapaltjarri, Tatiana Trouvé, and Jonas Wood. Many of the artworks included in this virtual presentation consider the political, geographical, and social landscapes of Los Angeles.
The Frieze Los Angeles 2020 Online Viewing Room will open at 12:00am on Monday, February 10, in Hong Kong, and close at 11:59pm on Wednesday, February 19, in Los Angeles and San Francisco.
For more information about the Online Viewing Room or the work to be featured, please contact firstname.lastname@example.org.
Chris Burden, L.A.P.D. Uniform, 1993 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York
Frieze Los Angeles 2020
How to Shrink L.A.
February 14–16, 2020, booth C06
Paramount Picture Studios, Los Angeles
Gagosian is pleased to participate in Frieze Los Angeles 2020. Taking Los Angeles’s system of highways as a literal and figurative backdrop, the selection includes Richard Prince’s full-scale car sculpture Untitled (2008) and Chris Burden’s ominously oversize L.A.P.D. Uniform (1993). The booth also includes work by Jean-Michel Basquiat, John Chamberlain, Urs Fischer, Theaster Gates, Piero Golia, Alex Israel, Sally Mann, Adam McEwen, Cady Noland, Sterling Ruby, Ed Ruscha, Taryn Simon, Robert Therrien, Andy Warhol, Tom Wesselmann, and others.
Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York
Michael Craig-Martin at artgenève
January 30–February 2, 2020
Colorful flags by Michael Craig-Martin will be installed among the booths of artgenève. The flags—depicting mass-produced everyday items, such as sunglasses and shoes—probe the relationship between object and image, harnessing the human capacity to imagine absent forms through symbols and pictures. In July 2019, the work was installed in London, as part of Art in Mayfair, organized by the Royal Academy of Arts and Bond Street.
Michael Craig-Martin’s installation of flags on Bond Street, London, 2019
January 30–February 2, 2020, booth B25
Gagosian is pleased to participate in artgenève 2020, with modern and contemporary works by Davide Balula, Georg Baselitz, Helen Frankenthaler, Simon Hantaï, Damien Hirst, Grant Levy-Lucero, Henri Matisse, Olivier Mosset, Giuseppe Penone, Pablo Picasso, David Reed, Sterling Ruby, Spencer Sweeney, and Tom Wesselmann, among others.
Helen Frankenthaler, Omen, 1980 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York
FOG Design+Art 2020
January 16–19, 2020, booth 204
Fort Mason Festival Pavilion, San Francisco
Gagosian is pleased to participate in FOG Design+Art 2020 with a presentation of works by Michael Heizer and Mary Weatherford. Together, Heizer and Weatherford conjure a dialogue about our complex interaction with the environment at large. In two works from Heizer’s ongoing Negative Wall Sculptures, unrefined rocks are contained by a smooth manmade alloy, yet they remain imposing—even seemingly impossible—in the apparent negation of their enormous weight. Weatherford’s works on paper feature abstracted landscapes that do not set urban and rural environments against one another, but immerse us instead in the artist’s personal impressions of a world outside of time.
Michael Heizer, Scoria Negative Wall Sculpture, 2007 © Michael Heizer