Brice Marden is available for online reading from October 11 through November 9 as part of the From the Library series. This catalogue was published on the occasion of the artist’s 2017 exhibition at Gagosian, Grosvenor Hill, London, and focuses on Marden’s terre verte paintings. For the series of ten identically sized paintings measuring eight by six feet, he has employed ten different brands of terre verte oil paint—from his favored Williamsburg to Holbein and Sennelier, among others—each a variation on the indefinable hue. The slow-drying paint is thinned and applied gradually to the canvas in many successive veils, building a surface of transparent yet intense color. New texts by Paul Hills and Noah Dillon, and a conversation between Marden, Gary Hume, and Tim Marlow examine this new body of work from multiple perspectives.
Brice Marden (London: Gagosian, 2017)
It reminds me of something, and I don’t know what it is.
Brice Marden: It reminds me of something, and I don’t know what it is. is available for online reading from June 15 through July 14 as part of the From the Library series. Published on the occasion of the 2019 exhibition at Gagosian, 980 Madison Avenue, New York, the catalogue features full-color reproductions of Marden’s latest body of paintings and works on paper, which continues the Letter series he initiated in 2006. The book includes a new essay by John Elderfield, in which the curator and art historian discusses the new works in the context of modernist painting and of Marden’s oeuvre, and investigates the allusions the works seem to make.
Brice Marden: It reminds me of something, and I don’t know what it is. (New York: Gagosian, 2020)
February 15–16, 2020
Center for the Art of Performance, University of California Los Angeles
Brice Marden is collaborating with choreographer Pam Tanowitz and composer Kaija Saariaho to present Four Quartets, a dance performance based on T. S. Eliot’s modernist masterpiece published in 1943. The evocative stage design centers on paintings by Marden, their exquisite colors and imagery making connections to the geographical locations of the poem cycle’s four individual parts. Containing piercing and unforgettable literary passages, this unprecedented collaborative performance is the first to be authorized by the T. S. Eliot Estate. To attend the event, purchase tickets at cap.ucla.edu.
To learn more about the collaboration read an interview with Marden about the canvases that form the set design on Gagosian Quarterly.
Premiere of Four Quartets at the Richard B. Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York, July 6–8, 2018. Photo: Maria Baranova
Friday, February 21, 2020, 7–8pm
Menil Collection, Houston
Brice Marden will discuss his drawing practice with curator Kelly Montana on the occasion of the opening of the exhibition Think of Them as Spaces: Brice Marden’s Drawings at the Menil Collection. The pair will explore Marden’s manifold approach to draftsmanship in the six distinct series of drawings in the exhibition that span nearly the entirety of the artist’s ongoing career. The event is free and open to the public.
Brice Marden in his studio, Tivoli, New York, 2017. Photo: Mirabelle Marden
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.
Gagosian Quarterly Winter 2020
The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.
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: 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.
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.
Lisa Small, senior curator of European art at the Brooklyn Museum, considers the historical precedents for Ewa Juszkiewicz’s painting practice.
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.
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.
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.
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: Young Gerd
Richard Calvocoressi reflects on the monochrome world of Gerhard Richter’s early photo paintings.
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.