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Artists Support: London
Michael Craig-Martin

Michael Craig-Martin is participating in the first iteration of Artists Support: London, launching June 17, 2021. Craig-Martin will donate 100 percent of the proceeds from the sale of his artwork Untitled (steering wheel fragment) (2016) to Centrepoint, the United Kingdom’s leading charity dedicated to fighting youth homelessness. The work will be available through November 20, 2021. Artists Support is a nonprofit initiative powered by artists, who donate a work for sale whose proceeds directly support a local charity of their choice. For more information, visit artists-support.com.

Michael Craig-Martin, Untitled (steering wheel fragment), 2016 © Michael Craig-Martin. Photo: Mike Bruce

Michael Craig-Martin, Untitled (steering wheel fragment), 2016 © Michael Craig-Martin. Photo: Mike Bruce

Related News

Michael Craig-Martin’s installation at Taikoo Park, Hong Kong, 2021. Artwork © Michael Craig-Martin. Photo: courtesy Taikoo Place and Swire Properties

Public Installation

Michael Craig-Martin

June 14–August 31, 2021
Taikoo Park, Hong Kong
www.taikooplace.com

Michael Craig-Martin’s powder-coated steel sculptures depicting everyday objects are on display at Taikoo Park, Hong Kong. The forms have an instant sensory, intellectual, and emotional impact, evoking the tangible experiences of daily life while speaking to the symbolic potency the represented objects hold. This installation, organized by Swire Properties, celebrates the company’s commitment to art and culture.

Michael Craig-Martin’s installation at Taikoo Park, Hong Kong, 2021. Artwork © Michael Craig-Martin. Photo: courtesy Taikoo Place and Swire Properties

Michael Craig-Martin’s installation at Pacific Place, Hong Kong, 2021. Artwork © Michael Craig-Martin

Public Installation

Michael Craig-Martin

May 19–June 9, 2021
Pacific Place, Hong Kong
pacificplace.com.hk

Michael Craig-Martin’s powder-coated steel sculptures and his brightly colored flags depicting everyday objects are on display at Pacific Place, Hong Kong. The forms have an instant sensory, intellectual, and emotional impact; evoking the tangible experiences of day-to-day life while speaking to the symbolic potency the represented objects hold. This installation is part of Swire Properties Arts Month, in partnership with Art Basel Hong Kong, and celebrates the company’s commitment to art and culture.

Michael Craig-Martin’s installation at Pacific Place, Hong Kong, 2021. Artwork © Michael Craig-Martin

Michael Craig-Martin, Cornucopia Galactica, 2020, installation view, Flannels, London © Michael Craig-Martin. Photo: courtesy W1 Curates

Public Installation

W1 Curates
Michael Craig-Martin

June 29–July 12, 2020
Flannels, London
www.w1curates.com

Michael Craig-Martin has created a new digital work viewable around the clock on a three-story building on Oxford Street in London, presented by W1 Curates. The artist describes his work Cornucopia Galactica as “a celebration, a dynamic cornucopia, a galaxy of these great wonders of nature, constantly moving, turning, spinning through an intensely colored space like planets, satellites, and spaceships.” W1 Curates aims to bring art to the people by using state-of-the-art technology to transform the exterior of the Flannels London flagship store into a digital exhibition space.

Michael Craig-Martin, Cornucopia Galactica, 2020, installation view, Flannels, London © Michael Craig-Martin. Photo: courtesy W1 Curates

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.