Saturday, September 14, 2019, 2pm
Art Gallery of New South Wales, Sydney
Jenny Saville will discuss her artistic practice and influences with Justin Paton, the head curator of international art at the Art Gallery of New South Wales. The talk takes place on the occasion of the museum’s exhibition Here We Are, which features new acquisitions by women artists whose work addresses the intricacy, pathos, and power of human relationships. To attend the event, purchase tickets at ticketing.artgallery.nsw.gov.au.
Jenny Saville, Vis and Ramin II, 2018, Art Gallery of New South Wales, Sydney © Jenny Saville
July 22–28, 2020
In her depictions of the human form, Jenny Saville transcends the boundaries of both classical figuration and modern abstraction. Oil paint, applied in heavy layers, becomes as visceral as flesh itself, each painted mark maintaining a supple, mobile life of its own. As Saville pushes, smears, and scrapes the pigment over her large-scale canvases, the distinctions between living, breathing bodies and their painted representations begin to collapse.
Photo: courtesy the artist
Jenny Saville: Oxyrhynchus is available for online reading from July 22 through August 21 as part of Artist Spotlight: Jenny Saville. This publication features more than a dozen works from 2006 to 2014 in which the artist references the layer upon layer of discoveries at Oxyrhynchus, a city in upper Egypt that was established in 332 bce and is considered one of the world’s most important archaeological sites. The final effect is a mysterious narrative of layered bodies and images, conveyed in a combination of oil, charcoal, and pastel. An essay by art historian John Elderfield, built around the observations of multiple past voices and the artist herself, captures the temporal culture of visual art to which the Oxyrhynchus canvases belong.
Jenny Saville: Oxyrhynchus (London: Gagosian, 2015)
Life through a Microscope
In this video produced by the National Galleries of Scotland, Jenny Saville speaks about her practice on the occasion of her major survey at the Scottish National Gallery of Modern Art, Edinburgh, in 2018. She discusses her identity as a “picture maker,” the artistic freedom that having children has given her, and the importance of Titian.
Still from “Jenny Saville: Life through a Microscope”
Gregory Crewdson: An Eclipse of Moths
Gregory Crewdson discusses his new work with actor Cate Blanchett.
Gagosian Quarterly Fall 2020
The Fall 2020 issue of Gagosian Quarterly is now available.
Mary Weatherford: Train Yards
Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London.
Filmmaker and author Miranda July joined Louise Bonnet on a video call to discuss life during lockdown, the luminosity of oil paint, and Bonnet’s forthcoming exhibition of new work. Longtime friends—and newly neighbors—the two reflect on their shared history and shared interests in the unconscious, vagueness, and the mixture of humor and pain.
“Things Fall Apart”: Ed Ruscha’s Swiped Words
Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by the artist, detailing the ways these words in motion evoke the experience of the current moment.
A short story by Emma Cline, published here on the occasion of her new collection of stories entitled Daddy.
Theaster Gates: Black Image Corporation
As a prelude to his first-ever solo exhibition in New York, Theaster Gates discusses his prescient work with the photographic archive of Chicago’s Johnson Publishing Company and his formation of Black Image Corporation as a conceptual project. In conversation with Louise Neri, he expands on his strategies as artist and social innovator in his quest to redeem and renew the sacred power of Black images and Black space.
Jacquelynn Baas profiles Isabelle Waldberg, writing on the sculptor’s many friendships and the influence of her singular creations.
Suzanne Hudson speaks with Leah Levy, executive director of the Jay DeFeo Foundation, about the artist’s life and work.
Lockdown: Henri Matisse’s Domestic Interiors
John Elderfield reexamines Matisse’s Piano Lesson (1916) and Music Lesson (1917), considering the works’ depictions of domestic space during the tumult of World War I.
Building a Legacy
The Helen Frankenthaler Foundation on COVID-19 Relief Funding
The Quarterly’s Alison McDonald speaks with Clifford Ross, Frederick J. Iseman, and Dr. Lise Motherwell, members of the board of directors of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director, about the foundation’s decision to establish a multiyear initiative dedicated to providing $5 million in covid-19 relief for artists and arts professionals.
Bebe Miller and Cynthia Oliver
The legendary choreographers discuss their history together, the evolution of Cynthia Oliver’s boom!, imposed boundaries on “Black dance,” and the choreographies of the pandemic.