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Brice Marden

Brice Marden received an Honorary Degree of Doctor of Fine Arts from Bard College for his contribution to the arts at the 157th commencement for the Class of 2017.

Photo: Neville Elder/Corbis via Getty Images

Photo: Neville Elder/Corbis via Getty Images

Related News

Brice Marden (London: Gagosian, 2017)

Online Reading

Brice Marden

Brice Marden is available for online reading from October 11 through November 9 as part of the From the Library series. This catalogue was published on the occasion of the artist’s 2017 exhibition at Gagosian, Grosvenor Hill, London, and focuses on Marden’s terre verte paintings. For the series of ten identically sized paintings measuring eight by six feet, he has employed ten different brands of terre verte oil paint—from his favored Williamsburg to Holbein and Sennelier, among others—each a variation on the indefinable hue. The slow-drying paint is thinned and applied gradually to the canvas in many successive veils, building a surface of transparent yet intense color. New texts by Paul Hills and Noah Dillon, and a conversation between Marden, Gary Hume, and Tim Marlow examine this new body of work from multiple perspectives.

Brice Marden (London: Gagosian, 2017)

Brice Marden: It reminds me of something, and I don’t know what it is. (New York: Gagosian, 2020)

Online Reading

Brice Marden
It reminds me of something, and I don’t know what it is.

Brice Marden: It reminds me of something, and I don’t know what it is. is available for online reading from June 15 through July 14 as part of the From the Library series. Published on the occasion of the 2019 exhibition at Gagosian, 980 Madison Avenue, New York, the catalogue features full-color reproductions of Marden’s latest body of paintings and works on paper, which continues the Letter series he initiated in 2006. The book includes a new essay by John Elderfield, in which the curator and art historian discusses the new works in the context of modernist painting and of Marden’s oeuvre, and investigates the allusions the works seem to make.

Brice Marden: It reminds me of something, and I don’t know what it is. (New York: Gagosian, 2020)

Premiere of Four Quartets at the Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York, July 6–8, 2018. Photo: Maria Baranova

Performance

Brice Marden
Four Quartets

February 15–16, 2020
Center for the Art of Performance, University of California Los Angeles
cap.ucla.edu

Brice Marden is collaborating with choreographer Pam Tanowitz and composer Kaija Saariaho to present Four Quartets, a dance performance based on T. S. Eliot’s modernist masterpiece published in 1943. The evocative stage design centers on paintings by Marden, their exquisite colors and imagery making connections to the geographical locations of the poem cycle’s four individual parts. Containing piercing and unforgettable literary passages, this unprecedented collaborative performance is the first to be authorized by the T. S. Eliot Estate. To attend the event, purchase tickets at cap.ucla.edu.

To learn more about the collaboration read an interview with Marden about the canvases that form the set design on Gagosian Quarterly.

Premiere of Four Quartets at the Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York, July 6–8, 2018. Photo: Maria Baranova

Jeff Wall, Low tide gull shadow, 2020, inkjet print, 23 x 26 inches (58.5 x 66 cm)

In Conversation
Jeff Wall and Gary Dufour

Jeff Wall speaks to Gary Dufour about his new photographs, made on the beachfront of English Bay in Vancouver, Canada, that record the endlessly varied and shifting patterns created in seaweed by the ebb and flow of the tide.

Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly magazine.

Now available
Gagosian Quarterly Winter 2020

The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.

Dancer on Soho roof in performance "Roof Piece," New York, 1973

Foray Forêt: Trisha Brown’s Choreographed Landscapes

On the occasion of the Trisha Brown Dance Company’s fiftieth anniversary, Hendel Teicher examines the legendary choreographer’s work through a biographical lens.

Jeff Wall, Dead Troops Talk (a vision after an ambush of a Red Army Patrol, near Moqor, Afghanistan, winter 1986), 1992, transparency in lightbox, 90 ⅛ × 164 ⅛ inches (229 × 417 cm)

Death Valley ’89: Jeff Wall vs. Photography

Daniel Spaulding considers formal and technical developments in the photographer’s work against the background of global shifts of power and politics, specifically the fall of the Berlin Wall in 1989.

Ewa Juszkiewicz, Untitled (after Elisabeth Vigée Le Brun), 2020, oil on canvas, 63 × 47 ¼ inches (160 × 120 cm)

Ewa Juszkiewicz

Lisa Small, senior curator of European art at the Brooklyn Museum, considers the historical precedents for Ewa Juszkiewicz’s painting practice.

Gaia Repossi. Photo: Zoe Ghertner

Fashion and Art: Gaia Repossi

The creative director of the Parisian jewelry house Repossi speaks with the Quarterly’s Wyatt Allgeier about her enduring love of Donald Judd, her use of photography and drawing in the design process, and the innovative collaborations, with visionaries like Rem Koolhaas and Flavin Judd, behind their retail spaces.

From left to right: Carolyn Christov-Bakargiev, Elvira Dyangani Ose, and Sarah Cosulich

Leaders in the Arts: Italy Edition

We invited Carolyn Christov-Bakargiev to select two outstanding arts professionals to join her in a conversation about their career trajectories, current projects, and goals for the future.

Installation view, Meleko Mokgosi: Democratic Intuition, Gagosian, Britannia Street, London, September 29–December 12, 2020. Artwork

Meleko Mokgosi: Democratic Intuition

Meleko Mokgosi writes about his eight-chapter painting cycle Democratic Intuition (2013–20), an epic of southern African life and folklore, on view at Gagosian in London in his first solo exhibition in the United Kingdom and Europe. Introduction by Louise Neri.

Rendering of framework for the new UCSD-Alacrán Community Station housing project on the remediated site, Alacrán Canyon, Tijuana, Mexico. Rendering: Estudio Teddy Cruz + Fonna Forman (Marcello Maltagliati)

Prouvé in Tijuana

Architect Teddy Cruz and political theorist Fonna Forman speak about a new social-housing project on the outskirts of Tijuana, and its connections to the modernist designer Jean Prouvé, with cultural historian Robert M. Rubin and critic Alastair Gordon.

Jia Aili working on the painting Everest (2020) in his studio in Beijing

Jia Aili: Before the Images Are Formed

Curator Shen Qilan speaks with the artist about his latest works.

Tom Eccles and Kiki Smith on Rachel Whiteread

In Conversation
Tom Eccles and Kiki Smith on Rachel Whiteread

On the occasion of Artist Spotlight: Rachel Whiteread, curator Tom Eccles and artist Kiki Smith speak about the work of Rachel Whiteread through the lens of their personal friendships with her. They discuss her public projects from the early 1990s to the present, the relationship between drawing and sculpture in her practice, and the way her works reveal the memories embedded in familiar everyday objects.

Gerhard Richter, Uncle Rudi, 1965, oil on canvas, 34 ¼ × 19 ¾ inches (87 × 50 cm), CR: 85

Gerhard Richter: Young Gerd

Richard Calvocoressi reflects on the monochrome world of Gerhard Richter’s early photo paintings.