Gagosian and NXTHVN
Three New Programming and Funding Initiatives
Gagosian is pleased to announce three new initiatives in conjunction with its support of NXTHVN in New Haven, Connecticut. First, the gallery will endow the paid NXTHVN Apprenticeship Program for students from local high schools. Second, it will launch a professional development program for NXTHVN Fellows, adding to the organization’s existing education projects through discussions and studio visits with Gagosian staff. Finally, it will offer sales support to Pleading Freedom, an exhibition at the NXTHVN Gallery to raise funds for work toward racial justice.
NXTHVN is a new national arts model established by Titus Kaphar with cofounder and chairman of the board Jason Price and cofounder Jonathan Brand, which empowers artists and curators of color through education and access, mentorship and collaboration. NXTHVN connects high school students, early-career artists, and creative professionals with resources and networks vital to their success.
Left to right: Titus Kaphar, Nico Wheadon, and 2020–21 NXTHVN Fellows, New Haven, Connecticut. Photo: John Dennis, courtesy NXTHVN
Monday, July 13, 2020, 11–11:30am EDT
Joining from his arts incubator NXTHVN in New Haven, Connecticut, Titus Kaphar will speak with Zoé Whitley, director at Chisenhale Gallery in London, live on the Design Emergency Instagram account. The pair will discuss Kaphar’s cover and accompanying written piece for the June 15, 2020, issue of Time, as well the artist’s use of absence as a form of visual expression. Founded by Paola Antonelli and Alice Rawsthorn, Design Emergency is an initiative that explores design’s impact on and role in the covid-19 crisis. To watch the live conversation, visit Design Emergency’s Instagram.
Titus Kaphar, From a Tropical Space, 2019 © Titus Kaphar. Photo: Alexander Harding
The June 15, 2020, issue of Time features Titus Kaphar’s Analogous Colors (2020) on its cover, as well as a written piece by the artist to accompany the work, titled “I cannot sell you this painting.” The painting depicts a Black mother holding her child, represented by an empty silhouette. “In her expression, I see the Black mothers who are unseen, and rendered helpless in this fury against their babies,” writes Kaphar.
The iconic red border of the cover includes the names of thirty-five Black men and women “whose deaths, in many cases by police, were the result of systemic racism and helped fuel the rise of the Black Lives Matter movement,” writes D. W. Pine, Time’s creative director. “Their names are merely a fraction of the many more who have lost their lives because of the racist violence that has been part of this nation from its start.”
The cover is available for purchase on the Time Cover Store. The proceeds from sales will benefit Black-led organizations that are committed to advancing justice.
Cover of June 15, 2020, issue of Time, featuring Analogous Colors (2020) by Titus Kaphar. Artwork © Titus Kaphar
In this video produced on the occasion of his 2018 MacArthur “genius” grant, Titus Kaphar speaks about the recurring themes in his work, his use of layering techniques, and the presence of multiple narratives. He also introduces NXTHVN, which he founded with Jason Price and Jonathan Brand in 2015. The nonprofit arts hub, located in the Dixwell neighborhood of New Haven, Connecticut, offers fellowships, residencies, and other professional development opportunities to artists, curators, and students.
Still from “Titus Kaphar: 2018 MacArthur Fellow”
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.