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Jeff Wall
An Impossible Photograph

Art21 interviews Jeff Wall in his studio about notions of artifice and truth in photography. He describes what drew him to the subject of his 2014 photograph Changing room, discussing the impossibility of the viewpoint depicted.

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Photo: Andrew Querner

Artist Spotlight

Jeff Wall

November 18–24, 2020

From his pioneering use of backlit color transparencies in the 1970s to his intricately staged scenes of enigmatic incidents from daily life, literature, and film, Jeff Wall has expanded the definition of the photograph, both as object and as illusion. His pictures range from classical reportage and the direct contemplation of natural forms to elaborate constructions and montages, usually produced at a large scale traditionally identified with painting.

Photo: Andrew Querner

Still from “Photographers in Focus: Jeff Wall.” Artwork © Jeff Wall

Video

Photographers in Focus: Jeff Wall

In this video, filmed during the installation of the exhibition Jeff Wall at Gagosian, West 21st Street, New York, Jeff Wall discusses the evolution of his process and the role of photography as both an art form and a documentary device. “Photographers in Focus” is a series produced by Nowness that turns the camera on photographers in action.

Still from “Photographers in Focus: Jeff Wall.” Artwork © Jeff Wall

Jeff Wall (New York: Gagosian, 2019)

Online Reading

Jeff Wall

Jeff Wall is available for online reading from November 18 through November 24, 2020, as part of Artist Spotlight: Jeff Wall. From his pioneering use in the 1970s of backlit color transparencies to his intricately constructed scenes of enigmatic incidents from daily life, literature, and film, Jeff Wall has expanded the definition of the photograph, both as object and illusion. Published on the occasion of his 2019 exhibition at Gagosian, West 21st Street, New York, the catalogue includes an illuminating new essay by Russell Ferguson, along with full-page reproductions of the nine works in the exhibition, all of which were made over the last ten years, and several of which have never previously been exhibited or published. The two cover options illustrate alternate panels from a diptych, Pair of interiors (2018).

Jeff Wall (New York: Gagosian, 2019)

Jeff Wall, Low tide gull shadow, 2020, inkjet print, 23 x 26 inches (58.5 x 66 cm)

In Conversation
Jeff Wall and Gary Dufour

Jeff Wall speaks to Gary Dufour about his new photographs, made on the beachfront of English Bay in Vancouver, Canada, that record the endlessly varied and shifting patterns created in seaweed by the ebb and flow of the tide.

Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly magazine.

Now available
Gagosian Quarterly Winter 2020

The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.

Dancer on Soho roof in performance "Roof Piece," New York, 1973

Foray Forêt: Trisha Brown’s Choreographed Landscapes

On the occasion of the Trisha Brown Dance Company’s fiftieth anniversary, Hendel Teicher examines the legendary choreographer’s work through a biographical lens.

The Kitchen, 512 West 19th Street, New York

The Kitchen: Fifty-Year Anniversary

To celebrate the fiftieth anniversary of the trailblazing New York institution The Kitchen, we present an oral history that includes contributions from Laurie Anderson, Charles Atlas, Wade Guyton, Jacqueline Humphries, Joan Jonas, Ralph Lemon, and Anicka Yi. Statements organized by Christopher Bollen and Tim Griffin.

Jeff Wall, Dead Troops Talk (a vision after an ambush of a Red Army Patrol, near Moqor, Afghanistan, winter 1986), 1992, transparency in lightbox, 90 ⅛ × 164 ⅛ inches (229 × 417 cm)

Death Valley ’89: Jeff Wall vs. Photography

Daniel Spaulding considers formal and technical developments in the photographer’s work against the background of global shifts of power and politics, specifically the fall of the Berlin Wall in 1989.

Ewa Juszkiewicz, Untitled (after Elisabeth Vigée Le Brun), 2020, oil on canvas, 63 × 47 ¼ inches (160 × 120 cm)

Ewa Juszkiewicz

Lisa Small, senior curator of European art at the Brooklyn Museum, considers the historical precedents for Ewa Juszkiewicz’s painting practice.

Gaia Repossi. Photo: Zoe Ghertner

Fashion and Art: Gaia Repossi

The creative director of the Parisian jewelry house Repossi speaks with the Quarterly’s Wyatt Allgeier about her enduring love of Donald Judd, her use of photography and drawing in the design process, and the innovative collaborations, with visionaries like Rem Koolhaas and Flavin Judd, behind their retail spaces.

From left to right: Carolyn Christov-Bakargiev, Elvira Dyangani Ose, and Sarah Cosulich

Leaders in the Arts: Italy Edition

We invited Carolyn Christov-Bakargiev to select two outstanding arts professionals to join her in a conversation about their career trajectories, current projects, and goals for the future.

Installation view, Meleko Mokgosi: Democratic Intuition, Gagosian, Britannia Street, London, September 29–December 12, 2020. Artwork

Meleko Mokgosi: Democratic Intuition

Meleko Mokgosi writes about his eight-chapter painting cycle Democratic Intuition (2013–20), an epic of southern African life and folklore, on view at Gagosian in London in his first solo exhibition in the United Kingdom and Europe. Introduction by Louise Neri.

Rendering of framework for the new UCSD-Alacrán Community Station housing project on the remediated site, Alacrán Canyon, Tijuana, Mexico. Rendering: Estudio Teddy Cruz + Fonna Forman (Marcello Maltagliati)

Prouvé in Tijuana

Architect Teddy Cruz and political theorist Fonna Forman speak about a new social-housing project on the outskirts of Tijuana, and its connections to the modernist designer Jean Prouvé, with cultural historian Robert M. Rubin and critic Alastair Gordon.

Gerhard Richter, Uncle Rudi, 1965, oil on canvas, 34 ¼ × 19 ¾ inches (87 × 50 cm), CR: 85

Gerhard Richter: Young Gerd

Richard Calvocoressi reflects on the monochrome world of Gerhard Richter’s early photo paintings.

Jay DeFeo’s Transcendent Objects

Jay DeFeo’s Transcendent Objects

Alice Godwin explores the shifts in Jay DeFeo’s practice in the 1970s, considering the familiar objects that became recurrent subjects in her work during these years and their relationship to the human body.