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Sarah Sze
Night into Day

Monday, October 19, 2020, 1pm EDT

On the occasion of Sarah Sze’s exhibition Night into Day, which opens at the Fondation Cartier pour l’art contemporain, Paris, on October 24, Sze and French philosopher Bruno Latour will lead a livestream walkthrough of the exhibition, inviting the public to discover the artist’s immersive installations. To watch the live event, visit Fondation Cartier’s Instagram.

Sarah Sze, Centrifuge, 2017 (detail) © Sarah Sze

Sarah Sze, Centrifuge, 2017 (detail) © Sarah Sze

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Installation view, Sarah Sze, Gagosian, Paris, May 23–July 18, 2020. Artwork © Sarah Sze. Photo: Rebecca Fanuele

In Conversation

Sarah Sze
Anaïd Demir

Thursday, June 25, 2020, 12pm EDT

This event has been postponed. The new date will be announced shortly.

Sarah Sze will speak with French art critic Anaïd Demir on the École des Beaux-Arts de Paris Instagram Live account. The pair will discuss Sze’s current exhibition at Gagosian, Paris, as well the artist’s dynamic practice that addresses the precarious nature of materiality and grapples with matters of entropy and temporality. To watch the live conversation, visit École des Beaux-Arts’s Instagram.

Installation view, Sarah Sze, Gagosian, Paris, May 23–July 18, 2020. Artwork © Sarah Sze. Photo: Rebecca Fanuele

Sarah Sze, Ripple (Times Zero), 2020 © Sarah Sze

Honor

Sarah Sze
American Academy of Arts and Sciences

Sarah Sze has been inducted into the American Academy of Arts and Sciences. The Academy, founded in 1780, is both an honorary society that recognizes and celebrates the excellence of its members and an independent research center convening leaders from across disciplines, professions, and perspectives to explore challenges facing society, identify solutions, and promote nonpartisan recommendations that advance the public good.

Sarah Sze, Ripple (Times Zero), 2020 © Sarah Sze

Photo: courtesy MacArthur Foundation

Artist Spotlight

Sarah Sze

April 8–14, 2020

A peerless bricoleur, Sarah Sze gleans objects and images from worlds both physical and digital, assembling them into complex multimedia installations that prompt microscopic observation while evoking a macroscopic perspective on the infinite. In recent years she has returned to painting—the medium in which she first trained—producing works that translate her processes of sculptural accumulation into the making of collaged paintings that are detailed, dynamic, and highly textural.

Photo: courtesy MacArthur Foundation

Still from the video "In Conversation: Rachel Whiteread and Ann Gallagher"

In Conversation
Rachel Whiteread and Ann Gallagher

Rachel Whiteread speaks to Ann Gallagher about a new group of resin sculptures for an upcoming exhibition at Gagosian in London. They discuss the works’ emphasis on surface texture, light, and reflection.

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.

Piero della Francesca, The Baptism of Christ, after 1437, egg on poplar.

Rachel Whiteread on Piero della Francesca

Rachel Whiteread writes about the Italian artist’s Baptism of Christ (after 1437) and what has drawn her to this painting, from her first experience of it at a young age to the present day.

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.

Nathaniel Mary Quinn in his studio

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Theaster Gates in his studio

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

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Louise Bonnet in her Los Angeles studio, 2020

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

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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.

Bebe Miller and Cynthia Oliver in motion dancing, mid-jump, against a white background

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

Jay DeFeo

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