TED2019: Bigger than us
April 15–19, 2019
Vancouver Convention Centre, Canada
Sarah Sze has been invited to speak at TED2019: Bigger than us. This year’s conference will focus on the political and technological turmoil of recent years and look at the deeper meaning of life. Sze’s immersive and intricate works question the value society places on objects and how objects ascribe meaning to the places and times we inhabit.
Sarah Sze, Flash Point (Timekeeper), 2018 (detail) © Sarah Sze. Photo: Matteo D’Eletto, M3 Studio
at Crypta Balbi
November 21, 2018–January 27, 2019
Museo Nazionale Romano, Crypta Balbi, Rome
Sarah Sze’s Split Stone (7:34) (2018) appears amidst the historic ruins of Crypta Balbi. Opened like a geode, each half of the natural boulder reveals a sunset sky embedded in its flat surface, alluding to gongshi (scholar’s rocks) and the heavenly firmaments of Renaissance paintings. While her current exhibition at Gagosian Rome underscores and amplifies the materiality of digital images, in Split Stone (7:34), Sze takes a reverse approach by imbuing a granite boulder with a pixelated ephemerality.
Sarah Sze, Split Stone (7:34), 2018, installation view, Museo Nazionale Romano, Crypta Balbi, Rome © Sarah Sze. Photo: Matteo D’Eletto, M3 Studio
Thursday, November 15, 2018, 6:30–8pm
Tate Modern, London
Sarah Sze will discuss her practice with Mark Godfrey, senior curator at Tate Modern, London. Work by Sze will be on view at the museum beginning November 19. To attend the event, purchase tickets at shop.tate.org.uk.
Photo: Deborah Feingold
Friday, October 12, 2018, 7pm
Galleria Nazionale d’Arte Moderna e Contemporanea di Roma
To mark Sarah Sze’s first exhibition at Gagosian Rome, the artist will speak with Dr. Lara Demori. The pair will discuss the wide-ranging influences and experiences that fuel Sze’s multimedia oeuvre while considering the exciting new directions evident in her current practice. The event is free and open to the public.
Photo: Deborah Feingold
Edmund de Waal and Jan Dalley
At the FT Weekend Festival 2019 in London, Edmund de Waal sat down for a conversation with Financial Times arts editor Jan Dalley. They spoke about the relationship between words and sculpture in his practice, and about two recent projects: the two-part exhibition psalm, in Venice, and Elective Affinities, at the Frick Collection, New York.
Gagosian Quarterly Winter 2019
The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.
Discovering Dora Maar
Brigitte Benkemoun’s book Je suis le carnet de Dora Maar takes a novel approach to the art of biography. For the Quarterly, Benkemoun recounts her discovery of a mysterious Hermès address book, the subsequent realization of its genius former owner, and her journey to learn more about the life, friends, and art of Dora Maar.
The artist discusses her life and work with Alan Yentob.
Work in Progress
The artist tells Negar Azimi about her interest in the monstrous, the influence of science fiction on her practice, and her recent rooftop commission at the Metropolitan Museum of Art, New York.
Mansplaining: Figuring Masculinity in the Age of #MeToo
In light of recent developments around the definition of masculinity in American culture, Alison M. Gingeras, the curator of John Currin: My Life as a Man at Dallas Contemporary looks closely at the artist’s depictions of male subjects.
Reading Nam June Paik
Earlier this year, MIT Press released We Are in Open Circuits: Writings by Nam June Paik. Here Gregory Zinman, coeditor of the book along with John Hanhardt and Edith Decker-Phillips, writes about his first exposure to the artist’s archives, the discoveries made there, and the relationship between Paik’s writings and his larger practice.
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.
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.
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.
Eilshemius and Me: An Interview with Ed Ruscha
Ed Ruscha tells Viet-Nu Nguyen and Leta Grzan how he first encountered Louis Michel Eilshemius’s paintings, which of the artist’s aesthetic innovations captured his imagination, and how his own work relates to and differs from that “Neglected Marvel,” Eilshemius.
Alexander Wolf explores the economic, social, and methodological concerns of Piero Golia’s art practice, revealing the real-world implications of the artist’s experiments with form and process.