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Frank Gehry, Wishful Thinking, 2021, installation view, Gagosian, Beverly Hills © Frank O. Gehry. Photo: Joshua White

Public Installation

Frank Gehry
Wishful Thinking

February 19–March 20, 2022
Walt Disney Concert Hall, Los Angeles
www.laphil.com

Frank Gehry’s immersive installation Wishful Thinking (2021) will be installed in BP Hall at Walt Disney Concert Hall in Los Angeles, following its debut at Gagosian, Beverly Hills, last yearBased on a scene from Alice’s Adventures in Wonderland, the work depicts the Mad Hatter’s tea party as a group of ten surreal figures, twice life-size. Fashioned from brilliantly painted metal, Gehry’s abstracted interpretations of Lewis Carroll’s characters surround an internally lit table, the glowing heart of the scene. Three overlapping woven steel “tapestries” of trees evoke the episode’s forest setting, while a mirror on the opposite wall implicates the viewer. The crumpled surfaces of Wishful Thinking’s figures establish a new visual connection with some of Gehry’s best-known designs. The installation will be free and open to the public.

Frank Gehry, Wishful Thinking, 2021, installation view, Gagosian, Beverly Hills © Frank O. Gehry. Photo: Joshua White

Installation view, Arakawa: Waiting Voices, Gagosian, Basel, November 25, 2021–January 22, 2022. Artwork © 2021 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Annik Wetter

Lecture

Arakawa and Arakawa + Gins
Art and Architecture

Wednesday, January 12, 2022, 12pm est

Tiffany Lambert, curator at the Japan Society in New York, will discuss the relationship between Arakawa’s art and his collaborative architecture practice with Madeline Gins. Taking Arakawa’s conceptual works from the 1960s and the 1980s—including paintings and drawings on view in the exhibition Arakawa: Waiting Voices at Gagosian, Basel, through January 22—as a starting point, this online talk examines the compelling connections between these works and the pair’s idea of using the built form as a way to investigate and transform the relationship between body and environment. To join the online event, register at zoom.us.

Installation view, Arakawa: Waiting Voices, Gagosian, Basel, November 25, 2021–January 22, 2022. Artwork © 2021 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Annik Wetter

Richard Serra, Hand Catching Lead, 1968 (still), Museum of Modern Art, New York © 2022 Richard Serra/Artists Rights Society (ARS), New York

Screening

The Films and Videos of Richard Serra

January 5, 7, 8, and 9, 2022
Centre Pompidou, Paris
www.centrepompidou.fr

In conjunction with the installation of Richard Serra’s sculpture Transmitter (2020) at Gagosian, Le Bourget, the gallery and Centre Pompidou, Paris, will present a four-day retrospective of the artist’s films and videos, drawn from the collections of the Centre Pompidou; the Museum of Modern Art, New York; and Anthology Film Archives, New York. This is the first time that all of Serra’s film and video work will be shown together in Europe. Each of the six screenings will be introduced by an esteemed curator or scholar, including Eric de Bruyn, Enrico Camporesi, Søren Grammel, Marcella Lista, Philippe-Alain Michaud, and Marie Muracciole. The event is free and open to the public.

Richard Serra, Hand Catching Lead, 1968 (still), Museum of Modern Art, New York © 2022 Richard Serra/Artists Rights Society (ARS), New York

Still from Mirror (1975), directed by Andrei Tarkovsky

Screening

Kon Trubkovich Selects

December 10–19, 2021
Metrograph, New York
metrograph.com

Kon Trubkovich has curated a selection of films under the title of The Russians Love Their Children Too, as part of a series copresented by Gagosian and Metrograph in the theater and online. The program, comprising ten films, explores Russian and Eastern European cinema through various angles. From the documentaries of Sergei Loznitsa to quintessential masterpieces such as Andrei Tarkovsky’s Mirror (1975), the selected films contain elements key to Trubkovich’s life and art practice. To attend a screening, purchase tickets at metrograph.com.

Additionally, on December 18, Trubkovich will be in conversation with director Sergei Loznitsa following the screening of The Event.

Still from Mirror (1975), directed by Andrei Tarkovsky

Jeff Wall, Approach, 2014 © Jeff Wall

In Conversation

ICP Talks
Jeff Wall and David Campany

Wednesday, December 8, 2021, 6pm EST

As part of ICP Talks, an online lecture series organized by the International Center of Photography in New York, Jeff Wall will be joined by David Campany, ICP’s managing director of programs, in a discussion about the artist’s practice. Wall will consider how his interest in scale and the beholder in the exhibition space shape his image making as he moves between documentary and more cinematographic pictures. To join the event, purchase tickets at buy.acmeticketing.com.

Jeff Wall, Approach, 2014 © Jeff Wall

Andy Warhol, Blow Job, 1964 (still) © 2021 The Andy Warhol Museum, Pittsburgh, a museum of the Carnegie Institute. All rights reserved

In Conversation

The Films of Andy Warhol
John G. Hanhardt, Bruce Jenkins, Tom Kalin

Thursday, December 2, 2021, 7pm EST

To celebrate the publication of The Films of Andy Warhol Catalogue Raisonné, 1963–1965, Volume 2, the Whitney Museum of American Art, New York, is hosting a conversation about Andy Warhol’s practice as a filmmaker. John G. Hanhardt, general editor of the catalogue raisonné, will be joined by film scholar Bruce Jenkins and filmmaker Tom Kalin, both contributors to the publication, to discuss the history of Warhol’s engagement with cinema and share insights into why Warhol’s films have been influential for generations of artists. To join the online event, register at whitney.zoom.us.

Andy Warhol, Blow Job, 1964 (still) © 2021 The Andy Warhol Museum, Pittsburgh, a museum of the Carnegie Institute. All rights reserved

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Announcements

Ed Ruscha, Boom Town, 2021 © Ed Ruscha

Support

The Met 150
Limited-Edition Print Portfolio

The Metropolitan Museum of Art, New York, has released The Met 150, a limited-edition print portfolio featuring works by twelve contemporary artists from around the world who have a strong history and connection with the museum, including Ed Ruscha, Richard Serra, and Sarah Sze. Commissioned in celebration of the museum’s 150th anniversary in 2020, the portfolios are produced in an edition of sixty by the renowned artists’ workshop Gemini G.E.L in Los Angeles. The twelve signed prints are housed together in a red linen clamshell box and are accompanied by essays written by the Met director Max Hollein and Sharon Coplan Hurowitz, co-publisher. Proceeds from sales support the museum. To purchase a portfolio, contact the Mezzanine Gallery at the Met Store at + 1 212 650 2908.

Ed Ruscha, Boom Town, 2021 © Ed Ruscha

Sally Mann, Blackwater 3, 2008–12 © Sally Mann

Award

Sally Mann
Prix Pictet

Sally Mann is the winner of the ninth cycle of the Prix Pictet, which aims to harness the power of photography to draw global attention to issues of sustainability, particularly concerning the environment. The thematic focus of this award cycle is “fire.” Mann has been recognized for her Blackwater series (2008–12), a multifaceted exploration of the Great Dismal Swamp, which spans the border of Virginia and North Carolina. Viewed by the artist as “a vessel for the memories of the complex struggles enacted upon it,” the swamp was long a treacherous refuge for people escaping slavery, and had been devastated by wildfires by the time Mann photographed it. The award ceremony took place at the Victoria and Albert Museum in London on December 15, 2021, in advance of the opening of an exhibition at the museum showcasing the twelve photographic series shortlisted for the prize.

Sally Mann, Blackwater 3, 2008–12 © Sally Mann

View of Giuseppe Penone’s website, giuseppepenone.com

Launch

Giuseppe Penone Website

Giuseppe Penone has launched a website, giuseppepenone.com, offering an in-depth overview of his career to audiences everywhere. The bilingual (English/Italian) site features hundreds of works made over five decades—including many in major public collections and from the artist’s personal collection—which are searchable both chronologically and thematically. Designed and developed by Wiedner Studio, the site also contains extensive biographical information, writings by the artist, and a news section.

View of Giuseppe Penone’s website, giuseppepenone.com

Left: Percival Everett, Grand Canyon, Inc. / Richard Prince, Untitled (Original Cowboy) (New York: Picture Books | Gagosian, 2021). Right: Ottessa Moshfegh, My New Novel / Issy Wood, The down payment (New York: Picture Books | Gagosian, 2021)

Launch

Picture Books

In December 2021, Gagosian will launch Picture Books, an imprint dedicated to publishing fiction by leading authors alongside contributions by celebrated contemporary artists. The series, conceived by Emma Cline, author of Daddy (2020), pairs each writer with an artist, who is given carte blanche to produce an image in conversation with the text. Book and image—in the form of a printed poster—are packaged together in limited hardcover editions designed by Peter Mendelsund, author, designer, and creative director of The Atlantic.

Left: Percival Everett, Grand Canyon, Inc. / Richard Prince, Untitled (Original Cowboy) (New York: Picture Books | Gagosian, 2021). Right: Ottessa Moshfegh, My New Novel / Issy Wood, The down payment (New York: Picture Books | Gagosian, 2021)

Edmund de Waal’s studio, London, 2014. Artwork © Edmund de Waal. Photo: Hélène Binet

Playlist

Edmund de Waal
In the Studio

On the occasion of his Artist Spotlight, Edmund de Waal has created a playlist of music he listens to in his studio. Ranging in genre from contemporary classical to rock, electronic, and African folk, the selection features composers and musicians such as Philip Glass, Talking Heads, LCD Soundsystem, and Michael Kiwanuka. The twenty-three tracks are synthy, expansive, rhythmically hypnotic, or just generally dreamy—sharing a meditative quality with de Waal’s visual artwork.

Listen Now

Edmund de Waal’s studio, London, 2014. Artwork © Edmund de Waal. Photo: Hélène Binet

Still from “Edmund de Waal Introduces ‘Letters to Camondo’”

Video

Edmund de Waal Introduces “Letters to Camondo”

In this video, Edmund de Waal introduces his new book, Letters to Camondo (2021). The book consists of a sequence of haunting imaginary letters from de Waal to Count Moïse de Camondo, the owner of a Parisian palace turned into a memorial for his son, who died in World War I. The Camondo family lived a few doors away from de Waal’s forebears, the Ephrussis. Both families were collectors and part of Belle Époque Parisian high society. Both were also targets of antisemitism. De Waal describes the particular resonance of this home, now the Musée Nissim de Camondo, as a “house for a lost family” and discusses his need to write this story.

Still from “Edmund de Waal Introduces ‘Letters to Camondo’”

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Museum Exhibitions

Alberto Giacometti, L’objet invisible, 1934–35 © Succession Alberto Giacometti (ADAGP + Fondation Giacometti), 2022

Opening Today

Alberto Giacometti–André Breton
Amitiés surréalistes

January 19–April 10, 2022
Institut Giacometti, Paris
www.fondation-giacometti.fr

From 1930 to 1935, Alberto Giacometti spent time within the Surrealist group, where he established lasting friendships with André Breton and other artists and intellectuals of the movement. This exhibition, whose title translates to Surrealist Friendships, brings together several emblematic works from that period by Giacometti as well as works by Salvador Dalí, Man Ray, Meret Oppenheim, Pablo Picasso, and others.

Alberto Giacometti, L’objet invisible, 1934–35 © Succession Alberto Giacometti (ADAGP + Fondation Giacometti), 2022

Installation view, Katharina Grosse: Chill Seeping from the Walls Gets between Us, Helsinki Art Museum, June 8, 2021–January 23, 2022. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2021. Photo: Hanna Kukorelli/HAM Helsinki Art Museum

Closing this Week

Katharina Grosse
Chill Seeping from the Walls Gets between Us

Through January 23, 2022
Helsinki Art Museum
www.hamhelsinki.fi

Katharina Grosse is taking over the main exhibition halls on the museum’s upper level with two new installations, one of which has been painted on-site. Focusing on painting as a process and intervention, she transforms the exhibition spaces into artworks engaging in an active correspondence with the architecture, where visitors become participants as they move through her boldly colored installations.

Installation view, Katharina Grosse: Chill Seeping from the Walls Gets between Us, Helsinki Art Museum, June 8, 2021–January 23, 2022. Artwork © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2021. Photo: Hanna Kukorelli/HAM Helsinki Art Museum

Installation view, Giuseppe Penone: Sève et pensée, Bibliothèque nationale de France, Paris, October 12, 2021–January 23, 2022. Artwork © ADAGP, Paris, 2021. Photo: Archivio Penone

Closing this Week

Giuseppe Penone
Sève et pensée

Through January 23, 2022
Bibliothèque nationale de France, Paris
www.bnf.fr

Sève et pensée (Sap and Thought), an exhibition at the Bibliothèque nationale de France’s François-Mitterand location, centers on Giuseppe Penone’s spectacular installation Pensieri e linfa (Sap and Thought) (2021), produced especially for the site, which features a frottage rubbing of a 30-meter-long acacia tree trunk on a length of canvas. Handwritten text by the artist runs along both sides of the imprint. Also included are previously unseen works, drawings, photographs, and books, as well as a series of eighteen recent prints that Penone has gifted to the library.

Installation view, Giuseppe Penone: Sève et pensée, Bibliothèque nationale de France, Paris, October 12, 2021–January 23, 2022. Artwork © ADAGP, Paris, 2021. Photo: Archivio Penone

Installation view, Urs Fischer, Bourse de Commerce, Paris, May 22–December 31, 2021. Artwork © Urs Fischer

On View

Urs Fischer

Through January 29, 2022
Bourse de Commerce, Paris
www.pinaultcollection.com

Urs Fischer’s Untitled (2011) is being presented in the rotunda of the newly renovated Bourse de Commerce. Fischer has reconceived the sculpture to suit the scale of the space, whose Belle Epoque architecture has been redesigned by architect Tadao Ando. The work consists of a group of larger-than-life candles—replicas of Giambologna’s sixteenth-century Mannerist masterpiece The Rape of the Sabine Women; Fischer’s longtime friend, artist Rudolf Stingel; and an assortment of chairs—that are lit and melt down over the course of the exhibition.

Installation view, Urs Fischer, Bourse de Commerce, Paris, May 22–December 31, 2021. Artwork © Urs Fischer

Sally Mann, Georgia, Untitled (Beaver Log), 1996 © Sally Mann

On View

Sally Mann in
Picturing the South: 25 Years

Through February 6, 2022
High Museum of Art, Atlanta
high.org

In 1996, the High Museum of Art began commissioning photographers from around the world to engage with and explore the rich social and geographic landscape of the American South for its Picturing the South initiative. Organized on the occasion of the project’s twenty-fifth anniversary, this exhibition brings together all of the commissions for the first time. Taken as a whole, the photographs amount to a complex and layered archive of the region that addresses broad themes, including racial justice, the legacy of slavery, the social implications of the evolving landscape, and the distinct and diverse character of the region’s people. Work by Sally Mann is included.

Sally Mann, Georgia, Untitled (Beaver Log), 1996 © Sally Mann

Alexander Calder, Têtes et queue, 1965, installation view, Neue Nationalgalerie, Berlin © 2021 Calder Foundation, New York/Artists Rights Society (ARS), New York. Photo: Stephanie von Becker

On View

Alexander Calder
Minimal/Maximal

Through February 13, 2022
Neue Nationalgalerie, Berlin
www.smb.museum

This exhibition traces the unique relationship between size, scale, and spatiality in Alexander Calder’s works, while juxtaposing his organic forms with the strict geometry of Mies van der Rohe’s building in a poetic dialogue. Calder’s outdoor sculpture Têtes et queue (1965), which was originally installed at the museum’s inauguration, now returns to its terrace.

Alexander Calder, Têtes et queue, 1965, installation view, Neue Nationalgalerie, Berlin © 2021 Calder Foundation, New York/Artists Rights Society (ARS), New York. Photo: Stephanie von Becker

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

On View

Gregory Crewdson in
Colección Jumex: Temperatura Ambiente

Through February 13, 2022
Museo Jumex, Mexico City
www.fundacionjumex.org

This exhibition, whose title translates to Ambient Temperature, presents thirty-five works from the museum’s collection with the aim of creating a journey from the suffocating heat of the desert to the air-conditioned, impersonal spaces of contemporary life. Through videos, photographs, installations, and sculptures by international artists, the exhibition considers heat poetically—how it travels through the body, affecting experiences and emotions—against the backdrop of global climate change. Work by Gregory Crewdson is included.

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Gregory Crewdson, Untitled, 2003–08 © Gregory Crewdson

On View

Gregory Crewdson in
True Pictures?: Zeitgenössische Fotografie aus Kanada und den USA

Through February 13, 2022
Sprengel Museum Hannover, Germany
www.sprengel-museum.de

This group exhibition, whose subtitle translates to Contemporary Photography from Canada and the USA, presents work by more than thirty North American artists spanning three generations whose photography is informed by our digital age—both through their employment of digital technologies and in terms of their engagement with the “flood of images” that defines visual culture of the twenty-first century. Work by Gregory Crewdson is included.

Gregory Crewdson, Untitled, 2003–08 © Gregory Crewdson

Installation view, Andreas Gursky, Museum Küppersmühle für Moderne Kunst, Duisburg, Germany, September 9, 2021–January 30, 2022. Artwork © Andreas Gursky/VG-Bild-Kunst, Bonn, Germany 2021. Photo: Inga Barnick, Installationsansichten MKM, 2021

On View

Andreas Gursky

Through February 13, 2022
Museum Küppersmühle für Moderne Kunst, Duisburg, Germany
museum-kueppersmuehle.de

This monographic exhibition of Andreas Gursky’s work includes nearly sixty photographs spanning four decades, starting with early works from the Ruhr region in Germany, which Gursky often used as a setting during his studies with Bernd and Hilla Becher at the Kunstakademie Düsseldorf. Also included are well-known iconographic images and large-format photographs that provide a comprehensive overview of the artist’s practice.

Installation view, Andreas Gursky, Museum Küppersmühle für Moderne Kunst, Duisburg, Germany, September 9, 2021–January 30, 2022. Artwork © Andreas Gursky/VG-Bild-Kunst, Bonn, Germany 2021. Photo: Inga Barnick, Installationsansichten MKM, 2021

Alex Israel, Self-Portrait (TikTok), 2021, K11 Collection © Alex Israel

On View

Alex Israel
Freeway

Through February 15, 2022
Fosun Foundation, Shanghai
www.fosunfoundation.com

Freeway features Alex Israel’s interpretations of the iconic Los Angeles motifs of sunshine, waves, and the sky, informed by his unique perspective on mass media and popular culture through the lens of his multiple identities as artist, entrepreneur, filmmaker, and talk-show host. This survey exhibition, covering the past decade of the artist’s career, includes works in a range of mediums, and is the first time that Israel’s Self-Portrait and Sky Backdrop series have been presented in China.

Alex Israel, Self-Portrait (TikTok), 2021, K11 Collection © Alex Israel

Walter De Maria, The 2000 Sculpture, 1992 © Estate of Walter De Maria. Photo: Franca Candrian, Kunsthaus Zürich

On View

Walter De Maria
The 2000 Sculpture

Through February 20, 2022
Kunsthaus Zürich
www.kunsthaus.ch

Walter De Maria’s The 2000 Sculpture (1992) comprises a total of two thousand white plaster rods each 50 centimeters long and varying between 11.8 and 12 centimeters tall. The individual elements have five, seven, or nine sides. Following a specific rhythm, they are arranged on a surface covering 500 square meters, in a total of twenty rows each with one hundred rods. The result is a kind of herringbone pattern, with the rods seeming to move toward or away from the viewer, depending on where he or she stands. This creates a tension between predictable regularity and individual perception that is underscored by the light and space surrounding the arrangement.

Walter De Maria, The 2000 Sculpture, 1992 © Estate of Walter De Maria. Photo: Franca Candrian, Kunsthaus Zürich

Helen Frankenthaler, Untitled, 1967, Blanton Museum of Art, The University of Texas at Austin, Gift of the Helen Frankenthaler Foundation © 2021 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York/Chiron Press, New York

On View

Without Limits
Helen Frankenthaler, Abstraction, and the Language of Print

Through February 20, 2022
Blanton Museum of Art, University of Texas at Austin
blantonmuseum.org

Without Limits celebrates the generous gift from the Helen Frankenthaler Foundation to the Blanton Museum of Art of ten prints and six proofs that span five decades of the artist’s career. Frankenthaler began creating prints in 1961, approaching lithography, screen printing, etching, and woodcut printing with curiosity and vision. Collaborating with master printmakers at studios such as Universal Limited Art Editions (ulae), Mixografia, and Tyler Graphics, Ltd., she contributed to a printmaking renaissance in the mid-twentieth century. Her work is presented alongside prints by other artists in the Blanton’s collection who also use the medium to capture and translate their own abstract visions.

Helen Frankenthaler, Untitled, 1967, Blanton Museum of Art, The University of Texas at Austin, Gift of the Helen Frankenthaler Foundation © 2021 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York/Chiron Press, New York

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