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Public Installation

Frieze Sculpture

July 4–October 7, 2018
Regent’s Park, London
www.frieze.com

Clare Lilley, director of programs at Yorkshire Sculpture Park, has selected new and significant sculptures by leading artists around the world to be on view in Regent’s Park. A set of four majolica sculptures by Rachel Feinstein will be included.

Rachel Feinstein, Corine, 2018 © Rachel Feinstein

Rachel Feinstein, Corine, 2018 © Rachel Feinstein

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Huma Bhabha, Receiver, 2019 © Huma Bhabha

Public Installation

Frieze Sculpture 2019

July 3–October 6, 2019
Regent’s Park, London
www.frieze.com

Clare Lilley, director of programs at Yorkshire Sculpture Park, has selected new and significant sculptures by leading artists around the world to be on view in Regent’s Park. Included in the show is Huma Bhabha’s Receiver (2019), which references ancient sculpture and recent sci-fi, and Tom Sachs’s My Melody (2008), a three-meter-high rendition of the Japanese cartoon character.

Huma Bhabha, Receiver, 2019 © Huma Bhabha

Top: Walter De Maria, Truth / Beauty, 1990–2016 (detail) © Estate of Walter De Maria. Bottom: Sarah Sze, Split Stone (7:34), 2018 © Sarah Sze

Public Installation

Frieze Sculpture New York

April 25–June 28, 2019
Rockefeller Center, New York
www.frieze.com

Frieze, in partnership with Tishman Speyer, is launching Frieze Sculpture at Rockefeller Center, New York, to be held annually in conjunction with Frieze New York. Brett Littman, director of the Isamu Noguchi Foundation and Garden Museum in Long Island City, New York, is curating the immersive presentation, including works by Walter De Maria and Sarah Sze.

Three of the fourteen sculptures from De Maria’s Truth / Beauty series (1990–2016), which expands upon the artist’s use of permutations of rods, polygons, and numerical sequences, will be shown indoors.

Sze’s Split Stone (7:34) (2018), a natural granite boulder divided like a geode into two halves, in each of which the artist has embedded the image of a generic sunset, captured on her iPhone, will be outdoors.

Top: Walter De Maria, Truth / Beauty, 1990–2016 (detail) © Estate of Walter De Maria. Bottom: Sarah Sze, Split Stone (7:34), 2018 © Sarah Sze

Urs Fischer, Invisible Mother, 2015. Photo: Lucy Dawkins

Public Installation

Frieze Sculpture

July 5–October 8, 2017
Regent’s Park, London
www.frieze.com

Clare Lilley, director of programs at Yorkshire Sculpture Park, has selected twenty-five new and significant sculptures by leading artists around the world to be on view in Regent’s Park. Work by John Chamberlain, Michael Craig-Martin, and Urs Fischer is included.

Urs Fischer, Invisible Mother, 2015. Photo: Lucy Dawkins

Before the Smoke Has Cleared

Before the Smoke Has Cleared

Angela Brown provides a glimpse into the charged ecologies of recent drawings and sculptures by Tatiana Trouvé. These works will be included in On the Eve of Never Leaving, Trouvé’s first solo exhibition in Los Angeles, opening in November 2019.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Video still of Sarah Sze speaking at a TED conference, Vancouver, BC, April 2019.

Sarah Sze: Art That Explores Time and Memory

Join Sarah Sze as she talks about the questions that drive her work. She describes creating immersive experiences that blur the lines between time, memory, and space—and between art and life.

Helen Frankenthaler in her studio in Provincetown. Black and white image.

Abstract Climates: Helen Frankenthaler in Provincetown

Lise Motherwell, a stepdaughter of Helen Frankenthaler and vice president of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director of the Foundation, recently cocurated an exhibition of the artist’s work entitled Abstract Climates: Helen Frankenthaler in Provincetown. Here they discuss the origin of the exhibition, the relationship between the artist’s work and her summers spent in Provincetown, and the presentations at the Provincetown Art Association and Museum, in 2018, and the Parrish Art Museum, Water Mill, New York, in 2019.

Nathaniel Mary Quinn and Troy Carter

In Conversation
Nathaniel Mary Quinn and Troy Carter

On the eve of the opening of his first exhibition with Gagosian, in Beverly Hills, Nathaniel Mary Quinn joined Troy Carter for a conversation at LA’s Hammer Museum. They spoke about deliverance, Quinn’s new work, and what drives him to make art.

Richard Serra, Hands Scraping, 1968, film still.

The Art of Perception: Richard Serra’s Films

For eleven years, from 1968 to 1979, Richard Serra created a collection of films and videos that felt out the uncharted phenomenological boundaries of the medium. Carlos Valladares explores a selection of these works.

Sterling Ruby, ACTS/OSIRIS-REx, 2016 (detail).

Sterling Ruby: Disjointed Monuments to Nothing

Alessandro Rabottini investigates the theoretical and formal underpinnings of Sterling Ruby’s career through the lens of the artist’s series ACTS.

Michael Craig-Martin at his London studio, 2019

Behind the Art
Michael Craig-Martin: Ordinariness

Join Michael Craig-Martin at his London studio as he speaks about his working methods, his interest in the ordinary, and his abiding concern for the sculptural.

Nathaniel Mary Quinn, Brooklyn, New York, 2019.

Nathaniel Mary Quinn

Anderson Cooper spoke with the artist at his Brooklyn studio about his childhood and the visionary nature of his art.

Nina Simone at the Globe Jazz festival at Symphony Hall, Boston, March 20, 1986.

Nina Simone, Our National Treasure

Text by Salamishah Tillet.

Helen Frankenthaler in gondola with various friends, Venice, June 1966

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992 marks the first time that Frankenthaler’s paintings have been exhibited in Venice since her inclusion in the 1966 Biennale as part of the US Pavilion. This video, including interviews with the show’s curator, John Elderfield; the chairman of the Helen Frankenthaler Foundation, Clifford Ross; and the Foundation’s executive director, Elizabeth Smith, provides viewers with an in-depth look at the fourteen paintings included in the exhibition.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.