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Honor

Nancy Rubins

The Museum of Arts and Design will honor Nancy Rubins at the MAD Ball 2018 on November 6, 2018, in New York. Recipients of this distinction exemplify the museum’s mission to celebrate leadership and the creative process of art making that enhance contemporary life.

Photo: Brian Guido

Photo: Brian Guido

Related News

Nancy Rubins’s 5,000 lbs. of Sonny’s Airplane Parts, Linda’s Place, and 550 lbs. of Tire-Wire (1997) being installed at Ruby City in San Antonio, Texas, 2019

Video

Nancy Rubins
Installation at Ruby City

Watch as Nancy Rubins’s 5,000 lbs. of Sonny’s Airplane Parts, Linda’s Place, and 550 lbs. of Tire-Wire (1997) gets installed at Ruby City, a contemporary art center in San Antonio, Texas, opening October 13, 2019. Designed by Adjaye Associates in collaboration with Alamo Architects, Ruby City will provide a space for the city’s thriving creative community to experience works by both local and internationally acclaimed artists.

Nancy Rubins’s 5,000 lbs. of Sonny’s Airplane Parts, Linda’s Place, and 550 lbs. of Tire-Wire (1997) being installed at Ruby City in San Antonio, Texas, 2019

Nancy Rubins, Crocodylius Philodendrus, 2016–17 © Nancy Rubins. Photo: Lucy Dawkins

Public Installation

Nancy Rubins in
Sculpture in the City 2019

June 2019–April 2020
Various locations in London
www.sculptureinthecity.org.uk

Nancy Rubins’s Crocodylius Philodendrus (2016–17) has remained on view in London’s Square Mile to be featured again in Sculpture in the City, an annual urban sculpture park. Clusters of animal forms are arranged in balanced compression and secured with tensile cables. “Tensegrity,” the term for the structural property that Rubins employs, galvanizes the aluminum, brass, bronze, and cast iron animals into purely formal, abstract components that propel into space due to their aggregate momentum. The work is from her series Diversifolia, which was first exhibited last year at Gagosian, Britannia Street, London.

Nancy Rubins, Crocodylius Philodendrus, 2016–17 © Nancy Rubins. Photo: Lucy Dawkins

Nancy Rubins, Crocodylius Philodendrus, 2016–17 (detail) © Nancy Rubins. Photo: Brian Guido

Public Installation

Nancy Rubins in
Sculpture in the City 2018

June 27, 2018–April 15, 2019
Various locations in London
www.sculptureinthecity.org.uk

Nancy Rubins’s Crocodylius Philodendrus (2016–17) is featured in Sculpture in the City, an annual urban sculpture park set in London’s Square Mile. Clusters of animal forms are arranged in balanced compression and secured with tensile cables. “Tensegrity,” the term for the structural property that Rubins employs, galvanizes the bronze animals into purely formal, abstract components that propel into space due to their aggregate momentum. The work is from her series Diversifolia, which was first exhibited at Gagosian, Britannia Street, London, earlier this year.

Nancy Rubins, Crocodylius Philodendrus, 2016–17 (detail) © Nancy Rubins. Photo: Brian Guido

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.