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Tatiana Trouvé × Parley for the Oceans
Limited-Edition Print

Tatiana Trouvé has partnered with Parley for the Oceans, a nonprofit environmental organization dedicated to promoting ocean sustainability, in creating a limited-edition print based on her original drawing August (2019), with 100 percent of the proceeds funding Parley’s plastic interception and cleanups, education programs, and eco-innovation projects that help protect the oceans. The work, which began with an image of the Amazon rain forest burning in August 2019, alludes to political violence against Indigenous populations and the biodiversity of the rain forest. To inquire about purchasing a print, contact sara@parley.tv.

Tatiana Trouvé, August, 2021 © Tatiana Trouvé

Tatiana Trouvé, August, 2021 © Tatiana Trouvé

Related News

Tatiana Trouvé, March 21st, May 4th, The New York Times, USA, 2020, from the series Front Pages March 15–April 25, 2020, 2020 © Tatiana Trouvé. Photo: Florian Kleinefenn

Online Reading

Rites of Passage, Connecting Worlds
Tatiana Trouvé according to Jesi Khadivi

Tatiana Trouvé is the subject of a new essay by Jesi Khadivi, commissioned by the Fondation d’entreprise Pernod Ricard, Paris, for TextWork, its online platform that publishes monographic texts by international authors on artists from the French scene. Khadivi’s essay examines Trouvé’s body of work, including a recent series of drawings she made while in quarantine on the front pages of international newspapers from countries severely affected by the pandemic.

Read Online Now

Tatiana Trouvé, March 21st, May 4th, The New York Times, USA, 2020, from the series Front Pages March 15–April 25, 2020, 2020 © Tatiana Trouvé. Photo: Florian Kleinefenn

Chris Burden, L.A.P.D. Uniform, 1993 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Online Viewing Room

Frieze Los Angeles 2020

February 10–19, 2020
gagosianviewingroom.com

Gagosian will launch its latest Online Viewing Room on the occasion of Frieze Los Angeles, with available works by Chris BurdenAlex Israel & Bret Easton EllisNeil JenneyAlbert Oehlen, Chris Ofili, David ReedEd Ruscha, Bill Whiskey Tjapaltjarri, Tatiana Trouvé, and Jonas WoodMany of the artworks included in this virtual presentation consider the political, geographical, and social landscapes of Los Angeles.

The Frieze Los Angeles 2020 Online Viewing Room will open at 12:00am on Monday, February 10, in Hong Kong, and close at 11:59pm on Wednesday, February 19, in Los Angeles and San Francisco. 

For more information about the Online Viewing Room or the work to be featured, please contact inquire@gagosian.com.

Download the full press release (PDF)

Chris Burden, L.A.P.D. Uniform, 1993 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Photo: Claire Dorn

Honor

Tatiana Trouvé
2019 Rosa Schapire Kunstpreis

Tatiana Trouvé received the 2019 Rosa Schapire Kunstpreis in Hamburg, Germany, on Friday, December 6, for her contribution to the arts. Administered by the Freunde der Hamburger Kunsthalle, the prize is named after Rosa Schapire (1874–1954), the Polish-born art historian who lived in Hamburg and England and was one of the first supporters of Die Brücke. Trouvé was selected by Alexia Fabre, chief curator at Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France, who was chosen to bestow the award for 2019.

Photo: Claire Dorn

Walter De Maria, The Lightning Field, 1977, long-term installation, western New Mexico. Artwork © Estate of Walter De Maria. Photo: John Cliett, courtesy Dia Art Foundation, New York, and © Estate of Walter De Maria

Light and Lightning: Wonder-Reactions at Walter De Maria's The Lightning Field

In this second installment of a two-part essay, John Elderfield resumes his investigation of Walter De Maria’s The Lightning Field (1977), focusing this time on how the hope to see lightning there has led to the work’s association with the Romantic conception of the sublime.

Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021

Now available
Gagosian Quarterly Summer 2021

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

View of the Valentino Haute Couture offices, Paris, including couture and artworks. Photo: © Gregory Copitet

Fashion & Art: Valentino Des Ateliers

Author and curator Gianluigi Ricuperati speaks to the Quarterly’s Wyatt Allgeier about his curatorial involvement in Valentino Des Ateliers, a collaborative project devised by Valentino’s creative director, Pierpaolo Piccioli, in partnership with Ricuperati. Working in a symbiotic manner, Piccioli and the Valentino Haute Couture team engaged in a dialogue with artists Joel S. Allen, Anastasia Bay, Benni Bosetto, Katrin Bremermann, Guglielmo Castelli, Maurizio Cilli, Danilo Correale, Luca Coser, Jamie Nares, Francis Offman, Andrea Respino, Wu Rui, Sofia Silva, Alessandro Teoldi, Patricia Treib, and Malte Zenses, along with the participation of Kerstin Bratsch, to arrive at a singular couture collection.

Spencer Sweeney, Self-Portrait Morning Gown, Records, 2019, oil on canvas, 66 x 42 inches (167.6 x 106.7 cm)

Shortlist
Mixtape: Spencer Sweeney

Spencer Sweeney shares a selection of songs that have punctuated his journey through the pandemic and ponders the expressive powers of a playlist.

Taryn Simon, “Folder: Broken Objects” (detail), from the series The Picture Collection, 2012, framed archival inkjet print, 47 × 62 inches (119.4 × 157.5 cm) © Taryn Simon

The New York Public Library’s Picture Collection

Joshua Chuang, the Robert B. Menschel Senior Curator of Photography at the New York Public Library, discusses the institution’s singular Picture Collection, the artist Taryn Simon’s rigorous engagement with it, and four instances of its little-known role in the history of art making.

Installation view, Nancy Rubins: Fluid Space, Gagosian, Beverly Hills, June 24–August 6, 2021.

Conclusions Never Reached: Nancy Rubins in Fluid Space

Sara Softness reflects on a new series of sculptures by Nancy Rubins, Fluid Space (2019–21), “visual poems” that hint at the invisible and the unknown.

Theaster Gates, A Song for Frankie, 2017–21, 5,000 records, DJ booth, and record player

Social Works: The Archives of Frankie Knuckles Organized by Theaster Gates

Theaster Gates, steward of the Frankie Knuckles record collection, is engaging with the late DJ and musician’s archive of records, ephemera, and personal effects. For the Quarterly’s “Social Works” supplement, guest edited by Antwaun Sargent, Gates presents a selection of Knuckles’s personal record collection. Chantala Kommanivanh, a Chicago-based artist, educator, and musician—and the records manager for Rebuild Foundation, Chicago—provides annotations, contextualizing these records’ importance and unique qualities. Ron Trent, a dear friend of Knuckles’s, speaks to the legacy evinced by these materials.

Tatiana Trouvé, April 4th, The New York Times; April 11th, South China Morning Post, China from the series From March to May, 2020, inkjet print and pencil on paper, 19 ⅞ × 26 ¾ inches (50.4 × 68 cm)

Tatiana Trouvé: From March to May

A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.

Taryn Simon, details from An American Index of the Hidden and Unfamiliar, 2007; A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11; A Cold Hole, 2018; An Occupation of Loss, 2016; and Paperwork and the Will of Capital, 2015

In Conversation
Taryn Simon and Teju Cole

This spring, as part of the Lambert Family Lecture Series at the Wexner Center for the Arts, Taryn Simon joined Teju Cole for an online conversation about her artistic practice and creative process.

Carrie Mae Weems, Lewitt’s Wall, 2006

Social Works: Carrie Mae Weems and Maya Phillips

A pairing of photography and poetry from “Social Works,” a supplement guest edited by Antwaun Sargent for the Summer 2021 issue of the Quarterly.

Gregory Corso, New York, 1986. Photo: Allen Ginsberg

Gregory Corso: A Most Dangerous Art

On the occasion of the forthcoming publication of The Golden Dot: Last Poems by Gregory Corso, Raymond Foye reflects on the poet’s enduring engagement with the human condition and explores the unique structure of this final collection.

Dennis Hopper, 1969. Photo: Columbia Pictures/Album/Alamy Stock Photo.

Dennis Hopper’s Taos Ride

Douglas Dreishpoon reflects on speaking with Hopper at the Harwood Museum of Art, Taos, New Mexico, in 2009.