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In Conversation

Jay DeFeo’s Generation
Suzanne Hudson, Dana Miller, and Clifford Ross

Tuesday, November 17, 2020, 2pm EST

Join Gagosian for a conversation on Jay DeFeo with Los Angeles–based art historian and critic Suzanne HudsonSeattle-based art historian and independent curator Dana Miller, and New York–based artist Clifford Ross. The trio will discuss the unique place DeFeo occupies in art history, shaped by a diverse body of work that defies categorization, a practice situated outside of the American art centers of New York and Los Angeles, and relationships with other artists of her generation. To join, register at zoom.us.

Jay DeFeo, Lotus Eater No. 1, 1974 © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Photo: Robert Divers Herrick

Jay DeFeo, Lotus Eater No. 1, 1974 © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Photo: Robert Divers Herrick

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Jay DeFeo, Untitled, 1973 © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York

Panel Discussion

Catching Ideas in Process
Jay DeFeo’s Photography

Wednesday, November 18, 2020, 8–9pm EST

The medium of photography enabled Jay DeFeo to further explore the themes and forms she continually returned to in her diverse practice, and to capture her own process, resulting in images that blur the line between documentation and art. Organized by the CCA Wattis Institute for Contemporary Arts in San Francisco, this panel discussion brings together Corey Keller, curator of photography at the San Francisco Museum of Modern Art, in conversation with artists Paul Mpagi Sepuya and Rayyane Tabet to discuss this lesser-known body of DeFeo’s oeuvre and the ways in which her highly experimental practice continues to resonate with photographers working today. The conversation will be moderated by Emily Markert, a curatorial fellow at the Wattis Institute. To register for the event, visit eventbrite.com.

Jay DeFeo, Untitled, 1973 © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York

Jay DeFeo on Mount Tamalpais, Marin County, California, 1973. Photo: John Bogdanoff

Launch

8-bridges

Gagosian will be participating in 8-bridges, a new online initiative created to highlight artists and galleries in the San Francisco Bay Area. Launching in October 2020, 8-bridges will present monthly exhibitions by Bay Area galleries, with a particular focus on artists and conversations relevant to the region. The platform will feature eight new presentations each month, and each cycle will also spotlight a local institution, starting with the Museum of the African Diaspora in San Francisco. Gagosian is pleased to be a member of the 8-bridges founding committee. The gallery’s inaugural presentation will be devoted to the work of Jay DeFeo.

Jay DeFeo on Mount Tamalpais, Marin County, California, 1973. Photo: John Bogdanoff

Jay DeFeo, Figure V (Tripod series), 1976 © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Photo: Robert Divers Herrick

8-bridges

Jay DeFeo

October 1–31, 2020

I’ve always got to get down there and show what is underneath everything.
—Jay DeFeo

Gagosian is pleased to present works by Jay DeFeo on 8-bridges, a newly launched online platform created to highlight artists and galleries in the San Francisco Bay Area. Honoring the rich history of the Bay Area art scene, the inaugural presentation features selected works from the exhibition Transcending Definition: Jay DeFeo in the 1970s, on view at Gagosian, San Francisco, through December 11, 2020. DeFeo spent most of her life in the San Francisco Bay Area and remains an influential figure in the region. The 8-bridges presentation focuses on the artist’s output in the decade following the completion of her pivotal work The Rose (1958–66), when she was based in Marin County, just north of San Francisco. In her paintings, photographs, and works on paper of the 1970s, DeFeo fused the representational with the abstract, permeating her images of everyday objects—a camera tripod, a jewelry fragment, a shoe tree—with a sense of mystery. The artist described her works of this period as “beings suspended in space and time” that “transcend the definition of the literal objects from which they are derived.”

Jay DeFeo, Figure V (Tripod series), 1976 © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Photo: Robert Divers Herrick

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

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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.

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

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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.

Alexander Calder poster for McGovern, 1972, lithograph

The Art History of Presidential Campaign Posters

Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.

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.

Jia Aili working on the painting Everest (2020) in his studio in Beijing

Jia Aili: Before the Images Are Formed

Curator Shen Qilan speaks with the artist about his latest works.

Tom Eccles and Kiki Smith on Rachel Whiteread

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On the occasion of Artist Spotlight: Rachel Whiteread, curator Tom Eccles and artist Kiki Smith speak about the work of Rachel Whiteread through the lens of their personal friendships with her. They discuss her public projects from the early 1990s to the present, the relationship between drawing and sculpture in her practice, and the way her works reveal the memories embedded in familiar everyday objects.

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.