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Jenny Saville
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.

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Photo: courtesy the artist

Artist Spotlight

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 (London: Gagosian, 2015)

Online Reading

Jenny Saville
Oxyrhynchus

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)

Jenny Saville, Self-Portrait (after Rembrandt), 2019 © Jenny Saville

In Conversation

Jenny Saville
David Dawson

Wednesday, November 6, 2019, 6:30–7:45pm
Royal Academy of Arts, London
www.royalacademy.org.uk

On the occasion of the exhibition Lucian Freud: The Self-Portraits at London’s Royal Academy of Arts, Jenny Saville will speak with David Dawson, cocurator of the show. Saville will reflect on her relationship with self-portraiture and the effect it has had on her career, while Dawson will offer insight into Freud’s approach to the theme. The talk will be chaired by RA artistic director Tim Marlow. The event has reached capacity.

Jenny Saville, Self-Portrait (after Rembrandt), 2019 © Jenny Saville

Titus Kaphar in his studio, touching his painting.

Titus Kaphar: From a Tropical Space

Join the artist in his studio in New Haven, Connecticut, where he speaks about his latest paintings.

The crowd at the public funeral of Reverend Dr. Martin Luther King, Jr., in April 1968. Photo by Moneta Sleet Jr.

Now available
Gagosian Quarterly Fall 2020

The Fall 2020 issue of Gagosian Quarterly is now available.

Nathaniel Mary Quinn in his studio

Nathaniel Mary Quinn: In the Studio

Hear the painter describe the creation of a new work in this time-lapse documentation of his process.

Theaster Gates in his studio

Theaster Gates: Black Vessel

Join Theaster Gates in his studio as he prepares for an upcoming exhibition at Gagosian, New York. In this video, shot on location in Chicago during the tumultuous weeks of protest in late spring 2020, Gates reflects on the metaphorical power of materials and process, and on the redemptive potential of art.

Gregory Crewdson, Red Star Express, 2018–19, digital pigment print, 56 ¼ × 94 ⅞ inches (127 × 225.7 cm)

Gregory Crewdson: An Eclipse of Moths

Gregory Crewdson discusses his new work with actor Cate Blanchett.

Mary Weatherford, Orion’s Belt, 2016, Flashe and neon on linen.

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.

Louise Bonnet in her Los Angeles studio, 2020

Louise Bonnet

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.

Ed Ruscha, At That, 2020, dry pigment and acrylic on paper.

“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.

Photo: Moneta Sleet, Jr., 1965. Johnson Publishing Company Archive. Courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution.

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. 

Jay DeFeo working on The Rose (then titled Deathrose), photographed by Burt Glinn in 1960.

Jay DeFeo

Suzanne Hudson speaks with Leah Levy, executive director of the Jay DeFeo Foundation, about the artist’s life and work.

Henri Matisse, The Music Lesson, 1917, oil on canvas, domestic interior scene of people in the livingroom at the piano, reading chair, and window

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.

Helen Frankenthaler, Cool Summer, 1962, oil on canvas, 69 ¾ × 120 inches (177.2 × 304.8 cm), Collection Helen Frankenthaler Foundation.

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.