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Richard Prince: High Times (New York: Gagosian, 2018)

Online Reading

Richard Prince
High Times

Richard Prince: High Times is available for online reading from July 5 through August 3 as part of the From the Library series. Published on the occasion of the eponymously titled exhibition at Gagosian, West 21st Street, New York, in 2018, the book includes reproductions of Prince’s latest paintings alongside his earlier Hippie Drawings that serve as their main sources. Integrated among these fascinating images are recent essays by the artist; reprints of historical texts by Eve Babitz, Joan Didion, and Kim Gordon; and a new essay by Rachel Kushner. Plastic inserts throughout the book house postcards, facsimiles of ephemeral materials related to 1960s culture from Prince’s personal collection, and a seven-inch recording of Prince’s 1985 composition “Loud Song.”

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Richard Prince: High Times (New York: Gagosian, 2018)

Piero Golia, Still Life (Rotating device), 2019 © Piero Golia

Tour

Piero Golia
Still Life

Monday, July 6, 2020, 12pm EDT

Join Gagosian for a virtual tour of Piero Golia: Still Life, an exhibition on view at Gagosian, Britannia Street, London, through July 31. The Los Angeles–based artist will speak online with Berlin-based artist Jonathan Monk about the surreal “sculptural happening” Golia has engineered but will never see in person due to restrictions on international travel during the pandemic. To watch the live conversation, register at zoom.us.

Piero Golia, Still Life (Rotating device), 2019 © Piero Golia

Rudolf Polanszky (New York: Gagosian, 2020)

Online Reading

Rudolf Polanszky

Rudolf Polanszky is available for online reading from July 1 through July 30 as part of Artist Spotlight: Rudolf Polanszky. Published on the occasion of his first exhibition with Gagosian, the book highlights recent paintings and sculptures by the Viennese artist dating from 2014 to 2019. To make his richly textured assemblages, Polanszky uses salvaged industrial materials such as acrylic glass, aluminum, mirrored foil, silicone, and wire, recombining them into purely aesthetic forms divorced from their original contexts. An essay by Francesco Stocchi considers the artist’s work in relation to the concept of the void, while an illuminating conversation with the artist by Hans Ulrich Obrist offers an overview of Polanszky’s career.

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Rudolf Polanszky (New York: Gagosian, 2020)

Giuseppe Penone: The Inner Life of Forms (New York: Gagosian, 2018)

Online Reading

Giuseppe Penone
The Inner Life of Forms

An excerpt of Giuseppe Penone: The Inner Life of Forms is available for online reading from July 1 through July 30 as part of the From the Library series. The selected essay, Sculpting Time by archaeologist and art historian Salvatore Settis, draws Penone’s work into dialogue with classical and preclassical history. The full monograph, edited by Carlos Basualdo of the Philadelphia Museum of Art, is the most comprehensive survey of the artist’s oeuvre to date. The book consists of two components: a three-part, in-depth dialogue between Basualdo and Penone and essays by Emily Braun, Tim Ingold, Rémi Labrusse, and Settis; and twelve individual booklets containing eleven new texts by longtime Penone scholar and collaborator Daniela Lancioni that explore the core themes and interests embodied in the artist’s work.

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Giuseppe Penone: The Inner Life of Forms (New York: Gagosian, 2018)

Installation view, Sarah Sze, Gagosian, Paris, May 23–July 18, 2020. Artwork © Sarah Sze. Photo: Rebecca Fanuele

In Conversation

Sarah Sze
Anaïd Demir

Thursday, June 25, 2020, 12pm EDT

This event has been postponed. The new date will be announced shortly.

Sarah Sze will speak with French art critic Anaïd Demir on the École des Beaux-Arts de Paris Instagram Live account. The pair will discuss Sze’s current exhibition at Gagosian, Paris, as well the artist’s dynamic practice that addresses the precarious nature of materiality and grapples with matters of entropy and temporality. To watch the live conversation, visit École des Beaux-Arts’s Instagram.

Installation view, Sarah Sze, Gagosian, Paris, May 23–July 18, 2020. Artwork © Sarah Sze. Photo: Rebecca Fanuele

Photo: Aubrey Mayer

In Conversation

Adam McEwen
Thyrza Nichols Goodeve

Monday, June 22, 2020, 1pm EDT

Adam McEwen will speak with writer Thyrza Nichols Goodeve as part of the Brooklyn Rail’s Daily Social Environment series. The pair will discuss McEwen’s practice within the context of art-making today, including his film Escape from New York (2014) and fictional obituaries of living people. To register for the online event, visit brooklynrail.org.

Escape from New York, which captures the monotonous, almost hypnotic experience of speeding outbound through the four major tunnels in the island of Manhattan, is currently on view through the windows of Gagosian, Park & 75, New York. 

Photo: Aubrey Mayer

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Announcements

Still from “Rudolf Polanszky: Translinear Structures”

Video

Rudolf Polanszky: Translinear Structures
KA21/Cast Your Art

Rudolf Polanszky speaks about his art in this video from KA21, produced on the occasion of his retrospective exhibition presented by Zeit Kunst Niederösterreich in 2015. Installed in a historical church in Krems, Austria, the exhibition reflected the artist’s ongoing engagement with philosophy, mathematics, and epistemology, articulated through abstract and poetic visual forms.

Still from “Rudolf Polanszky: Translinear Structures”

Tom Wesselmann, Great American Nude #1, 1961 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York

Tom Wesselmann
Digital Catalogue Raisonné

The Wildenstein Plattner Institute (WPI), in partnership with the Estate of Tom Wesselmann, announces the preparation of a digital catalogue raisonné of the works of Tom Wesselmann. The first installment will be published on the Great American Nudes series. In advance of publication, a publicly available searchable database of all works recorded by the artist’s Estate, which incorporates ongoing research for the forthcoming catalogue raisonné, called the Tom Wesselmann Digital Corpus, has been launched.

Parallel with this effort, the Estate of Tom Wesselmann, Almine Rech, and Gagosian are also pleased to announce the forthcoming publication of Tom Wesselmann: The Great American Nudes. Edited by Susan Davidson, the monograph will be the first comprehensive publication dedicated to Wesselmann’s most famous body of work, made between 1961 and 1973. The book will include full color reproductions of each artwork, as well as related drawings, studies, and relevant works from associated series.

For collectors to confirm that a work in their possession will be included in the digital catalogue raisonné, please visit wpi.art to begin the submission process.

Tom Wesselmann, Great American Nude #1, 1961 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York

Giuseppe Penone, Attorno alla scultura, attorno allo scultore (Around the Sculpture, Around the Sculptor), 1984, Centre Pompidou, Paris © 2020 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: © Archivio Penone

Donation

Giuseppe Penone
Philadelphia Museum of Art and Centre Pompidou

Giuseppe Penone has given the Philadelphia Museum of Art and the Centre Pompidou in Paris major gifts of works on paper. Each institution received more than three hundred pieces spanning five decades of the artist’s career, beginning in the late 1960s. The work reflects the artist’s wide range of influences and the connections he draws between humans and nature in exploring the involuntary processes of breathing, growth, and aging through materials such as stones, branches, and leaves. Both institutions plan to have exhibitions by Penone in 2022.

Giuseppe Penone, Attorno alla scultura, attorno allo scultore (Around the Sculpture, Around the Sculptor), 1984, Centre Pompidou, Paris © 2020 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: © Archivio Penone

Still from “Virtual Studio Visits: Mary Weatherford”

Video

Mary Weatherford
Virtual Studio Visit with Klaus Biesenbach

In the Virtual Studio Visit series from the Museum of Contemporary Art, Los Angeles, director Klaus Biesenbach digitally connects with artists around the world. Here, he speaks with Mary Weatherford at her working space in Hemel-en-Aarde Valley, South Africa. The pair discuss Weatherford’s show Canyon—Daisy—Eden, at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York, and her practice in general.

Still from “Virtual Studio Visits: Mary Weatherford”

Nancy Rubins, Monochrome II, 2010–18, installation view, Crystal Bridges Museum of American Art,  Bentonville, Arkansa © Nancy Rubins

Video

Nancy Rubins
Monochrome II

Nancy Rubins’s Monochrome II (2010–18) has been permanently installed in the North Forest of Crystal Bridges Museum of American Art in Bentonville, Arkansas. In this video Rubins speaks about her thought process around the work, which is composed of recycled aluminum canoes and small boats, anchored around a steel armature.

Nancy Rubins, Monochrome II, 2010–18, installation view, Crystal Bridges Museum of American Art,  Bentonville, Arkansa © Nancy Rubins

Theaster Gates, Black Vessel for a Saint, 2017 © Theaster Gates. Photo: Gene Pittman

Permanent Installation

Theaster Gates
Black Vessel for a Saint

The Walker Art Center in Minneapolis has permanently installed Theaster Gates’s Black Vessel for a Saint (2017) in the Minneapolis Sculpture Garden. In 2014, St. Laurence Church, located just a few blocks from Theaster Gates’s Chicago studio and considered an architectural beacon in the neighborhood for more than a century, was demolished. Among the objects and materials that Gates collected from the building was a life-size stone statue of St. Laurence, a venerated Roman martyr and the patron saint of librarians and archivists. Gates included the statue in several exhibitions in Europe, revealing new meanings in each location, before placing it in its permanent home in the Sculpture Garden in 2017, within a shrine built from custom-made black bricks.

Theaster Gates, Black Vessel for a Saint, 2017 © Theaster Gates. Photo: Gene Pittman

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Museum Exhibitions

Peter Lindbergh, Linda Evangelista, Michaela Bercu & Kirsten Owen, Pont-à-Mousson, 1988 © Peter Lindbergh

Closing this Week

Peter Lindbergh
Untold Stories

Through July 12, 2020
Kunstpalast, Düsseldorf, Germany
www.kunstpalast.de

Peter Lindbergh believed that fashion photography can—and should—exist without putting fashion in the center. His images transcend their own context, becoming part of contemporary culture and photographic history. Untold Stories celebrates the legacy of Lindbergh, who passed away in September 2019, while showcasing his highly personal approach to fashion photography.

Peter Lindbergh, Linda Evangelista, Michaela Bercu & Kirsten Owen, Pont-à-Mousson, 1988 © Peter Lindbergh

Ed Ruscha, I Don’t Hardly Disbelieve It, 2018 © Ed Ruscha

Closing this Week

Ed Ruscha
Drum Skins

Through July 12, 2020
Blanton Museum of Art, Austin, Texas
blantonmuseum.org

This show features more than a dozen new works by Ed Ruscha painted on found drum heads. Ruscha sourced the paintings’ visual iconography and language from the American vernacular.

Ed Ruscha, I Don’t Hardly Disbelieve It, 2018 © Ed Ruscha

Installation view, Mary Weatherford: Canyon—Daisy—Eden, Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, February 1–July 12, 2020. Artwork © Mary Weatherford. Photo: Jeremy Lawson

Closing this Week

Mary Weatherford
Canyon—Daisy—Eden

Through July 12, 2020
Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York
tang.skidmore.edu

Over the past three decades, Mary Weatherford has developed a rich and diverse painting practice, from her early-1990s target paintings based on operatic heroines to her expansive, gestural canvases overlaid with neon glass tubing. This exhibition presents a survey of Weatherford’s career, drawing from several distinct bodies of work made between 1989 and 2017. Showing the artist experimenting with color, scale, and materials, these works together reveal the continuity of Weatherford’s interest in human experience, both personal and historical.

Installation view, Mary Weatherford: Canyon—Daisy—Eden, Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, February 1–July 12, 2020. Artwork © Mary Weatherford. Photo: Jeremy Lawson

Cindy Sherman, Untitled (#93), 1981, Astrup Fearnley Museet, Oslo © Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York

On View

The Cindy Sherman Effect
Identität und Transformation in der zeitgenössischen Kunst

Through July 19, 2020
Kunstforum Wien, Vienna
www.kunstforumwien.at

Cindy Sherman’s work has long questioned issues of identity, including the ways in which it can be constructed and transformed, and elements of fiction. The exhibition, whose title translates to Identity and Transformation in Contemporary Art, juxtaposes Sherman’s work with that of other contemporary artists, including Douglas Gordon, working in a variety of media.

Cindy Sherman, Untitled (#93), 1981, Astrup Fearnley Museet, Oslo © Cindy Sherman. Photo: courtesy the artist and Metro Pictures, New York

Installation view, Amuse-Bouche: The Taste of Art, Museum Tinguely, Basel, February 19–July 26, 2020. Artwork, left to right: © Opavivará!; © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photo: Gina Folly © 2020 Museum Tinguely, Basel

On View

Amuse-Bouche
The Taste of Art

Through July 26, 2020
Museum Tinguely, Basel
www.tinguely.ch

Amuse-Bouche: The Taste of Art presents works—some with a participatory element—by more than forty-five international artists from the Baroque period to the present that explore taste as a dimension of aesthetic perception. Breaking with the usual museum practice of appealing primarily to the sense of sight, works in the exhibition offer art historical and phenomenological encounters with the sense of taste. Work by Urs Fischer, Damien Hirst, Cindy Sherman, Andy Warhol, and Tom Wesselmann is included.

Installation view, Amuse-Bouche: The Taste of Art, Museum Tinguely, Basel, February 19–July 26, 2020. Artwork, left to right: © Opavivará!; © Damien Hirst and Science Ltd. All rights reserved, DACS 2020. Photo: Gina Folly © 2020 Museum Tinguely, Basel

Helen Frankenthaler, Canal, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

On View

Helen Frankenthaler in
The Fullness of Color: 1960s Painting

Through August 2, 2020
Solomon R. Guggenheim Museum, New York
www.guggenheim.org

In the 1960s a group of avant-garde painters began to push abstraction in new directions, their attempts leading to the emergence of several divergent styles. Works in this presentation chart several of the varied and complex courses nonrepresentational art followed in the 1960s and into the 1970s. This exhibition reflects the museum’s historical engagement with this artistic period. Work by Helen Frankenthaler is included.

Helen Frankenthaler, Canal, 1963 © 2020 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York

Installation view, Marking Time: Process in Minimal Abstraction, Solomon R. Guggenheim Museum, New York, December 18, 2019–August 2, 2020. Artwork, left to right: © 2020 David Reed/Artists Rights Society (ARS), New York; © Park Seo-Bo; © Chryssa; © 2020 Jacob El Hanani; © 2020 Brice Marden/Artists Rights Society (ARS), New York

On View

Marking Time
Process in Minimal Abstraction

Through August 2, 2020
Solomon R. Guggenheim Museum, New York
www.guggenheim.org

During the 1960s and 1970s, many artists working with abstraction rid their styles of compositional, chromatic, and virtuosic flourishes. As some turned toward such minimal approaches, a singular emphasis on their interaction with materials emerged. The resulting pieces invite viewers to imaginatively reenact aspects of the creative process. Featuring paintings and works on paper, Marking Time explores how drawing attention to the creative process fosters a distinctively empathetic mode of engagement. Work by Brice Marden and David Reed is included.

Installation view, Marking Time: Process in Minimal Abstraction, Solomon R. Guggenheim Museum, New York, December 18, 2019–August 2, 2020. Artwork, left to right: © 2020 David Reed/Artists Rights Society (ARS), New York; © Park Seo-Bo; © Chryssa; © 2020 Jacob El Hanani; © 2020 Brice Marden/Artists Rights Society (ARS), New York

Vera Lutter, LACMA from the Bridge, III: April 3–5, 2017, 2017 © Vera Lutter

On View

Vera Lutter
Museum in the Camera

Through August 9, 2020
Los Angeles County Museum of Art
www.lacma.org

Between February 2017 and January 2019, Vera Lutter documented the Los Angeles County Museum of Art using a camera obscura, creating photographs that examine the museum’s exterior architecture, gallery interiors, and permanent collection.

Vera Lutter, LACMA from the Bridge, III: April 3–5, 2017, 2017 © Vera Lutter

Installation view, Theaster Gates: Black Chapel, Haus der Kunst, Munich, October 25, 2019–August 16, 2020. Artwork © Theaster Gates

On View

Theaster Gates
Black Chapel

Through August 16, 2020
Haus der Kunst, Munich
hausderkunst.de

For the sixth iteration of Haus der Kunst’s Der Öffentlichkeit commission series, Theaster Gates has created the expansive Black Chapel. This multipartite installation directly responds to the architecture of Haus der Kunst’s Middle Hall, exposing it to a complex politically and spiritually charged narrative while rendering it as an inviting social space. Two large pavilions, as well as vitrines, contain sculptures, photographs, and documents. Rotating mirrored sculptures and illuminated panels displaying photographs from the landmark Johnson Publishing Company further animate the space.

Installation view, Theaster Gates: Black Chapel, Haus der Kunst, Munich, October 25, 2019–August 16, 2020. Artwork © Theaster Gates

Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006, installation view, Louisiana Museum of Modern Art, Humlebaek, Denmark. Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2020 and © Philippe Parreno. Photo: Kim Hansen

On View

Douglas Gordon and Philippe Parreno
Zidane: A 21st Century Portrait

Through August 16, 2020
Louisiana Museum of Modern Art, Humlebaek, Denmark
www.louisiana.dk

Zidane: A 21st Century Portrait (2006), a film collaboration by Douglas Gordon and Philippe Parreno, is screening outdoors as part of Summer at Louisiana. Shot on seventeen synchronized cameras, Zidane frames the movements of footballer Zinédine Zidane in real time over the course of a single match between Real Madrid and Villarreal at Madrid’s Santiago Bernabéu Stadium on April 23, 2005.

Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006, installation view, Louisiana Museum of Modern Art, Humlebaek, Denmark. Artwork © Studio lost but found/VG Bild-Kunst, Bonn 2020 and © Philippe Parreno. Photo: Kim Hansen

Steven Parrino, Candy Stevens (Pink Disaster), 1988, Kunstmuseum Liechtenstein, Vaduz © Steven Parrino

On View

Steven Parrino
Nihilism Is Love

Through August 16, 2020
Kunstmuseum Liechtenstein, Vaduz
www.kunstmuseum.li

This exhibition is the first comprehensive retrospective of Steven Parrino’s work in the German-speaking world. The presentation includes early drawings and collages and several installations, and is accompanied by photographs of his concerts and videos.

Steven Parrino, Candy Stevens (Pink Disaster), 1988, Kunstmuseum Liechtenstein, Vaduz © Steven Parrino

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

On View

Taryn Simon in
The World to Come: Art in the Age of the Anthropocene

Through August 16, 2020
DePaul Art Museum, Chicago
resources.depaul.edu

The World to Come: Art in the Age of the Anthropocene chronicles an era of rapid, radical, and irrevocable ecological change through works of art by more than forty-five international artists. Our age, a new geological epoch defined by human impact, has controversially been termed the Anthropocene. Despite the challenges of disaster and denial, artists in the exhibition respond with resistance, imagination, and new ways of seeing and thinking about the world to come. This exhibition originated at the Harn Museum of Art, University of Florida, in Gainesville. Work by Taryn Simon is included.

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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