Donald Judd and Judd Foundation
It is impossible to consider the history of American art without Donald Judd. He played an essential role in the development of modernism and was as respected by his peers as he is revered by artists working today. We got to know each other in New York in the early 1980s and he was one of the first artists whose work I really admired. The use of color and proportion, together with a unique combination of rigor and elegance, was incredibly powerful and remains essential today. Being a partner in realizing his vision and presenting his work as he intended is a great honor for me and the gallery.
Gagosian is pleased to announce the representation of the work of Donald Judd and Judd Foundation. The partnership underscores the gallery’s more than forty-year commitment to critical artists of the twentieth and twenty-first centuries.
Donald Judd in his architecture studio, Marfa, Texas, 1993. Artwork © 2021 Judd Foundation/Artists Rights Society (ARS), New York. Photo: © Laura Wilson
MoMA Virtual Views
As we “museum from home,” exhibition curator Ann Temkin introduces the 2020 retrospective Judd at the Museum of Modern Art, New York. Temkin discusses Donald Judd’s installation process and how the artist’s revolutionary approach has widened our understanding of sculpture for generations to come.
Still from “MoMA Virtual Views: Donald Judd”
Edmund de Waal
In the Studio
On the occasion of his Artist Spotlight, Edmund de Waal has created a playlist of music he listens to in his studio. Ranging in genre from contemporary classical to rock, electronic, and African folk, the selection features composers and musicians such as Philip Glass, Talking Heads, LCD Soundsystem, and Michael Kiwanuka. The twenty-three tracks are synthy, expansive, rhythmically hypnotic, or just generally dreamy—sharing a meditative quality with de Waal’s visual artwork.
Edmund de Waal’s studio, London, 2014. Artwork © Edmund de Waal. Photo: Hélène Binet
Edmund de Waal Introduces “Letters to Camondo”
In this video, Edmund de Waal introduces his new book, Letters to Camondo (2021). The book consists of a sequence of haunting imaginary letters from de Waal to Count Moïse de Camondo, the owner of a Parisian palace turned into a memorial for his son, who died in World War I. The Camondo family lived a few doors away from de Waal’s forebears, the Ephrussis. Both families were collectors and part of Belle Époque Parisian high society. Both were also targets of antisemitism. De Waal describes the particular resonance of this home, now the Musée Nissim de Camondo, as a “house for a lost family” and discusses his need to write this story.
Still from “Edmund de Waal Introduces ‘Letters to Camondo’”
The Thinking Hand
Edmund de Waal speaks with Richard Calvocoressi about touch in relation to art and our understanding of the world, and discusses the new stone sculptures he created for the exhibition This Living Hand: Edmund de Waal Presents Henry Moore, at the Henry Moore Studios & Gardens. Their conversation took place at the Fitzwilliam Museum, University of Cambridge, in the context of the exhibition The Human Touch.
Gagosian Quarterly Fall 2021
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Behind the Art
Rick Lowe: In the Studio
Join Rick Lowe in his Houston studio as he speaks about his recent paintings, describing their connections to his long engagement with the activity of dominoes and to his community-based projects created in the tradition of social sculpture.
Georg Baselitz: Pulling Up the Image
In celebration of five recent projects related to Georg Baselitz, Richard Calvocoressi, Max Hollein, and Katy Siegel speak with the artist and look at his prolific career.
Social Works II: Kahlil Robert Irving
Antwaun Sargent speaks with Kahlil Robert Irving in advance of the opening of Social Works II and presents a portfolio of Irving’s sculptures.
The Destination Is Latinx
Susan Breyer surveys the dynamic state of contemporary Latinx art in the United States. Highlighting seven artists who are rewriting cultural narratives, Breyer calls for sustained attention to this growing group beyond National Hispanic Heritage Month.
Christopher Rudd’s pas de deux Touché, choreographed for American Ballet Theatre during the onset of the pandemic, follows dancers João Menegussi and Calvin Royal III through a charged, vulnerable, and ultimately tender love story. In conversation with scholar Clare Croft, the artists reflect on the politics, poetics, and process of bringing this groundbreaking duet to life.
Behind the Art
Tatiana Trouvé: In the Studio
Join the artist in her studio as she speaks about her new series of drawings, From March to May. Trouvé describes the genesis of the project and the essential role its creation played in keeping her connected with the outside world during the difficult months of pandemic-related lockdown.
Historian Victoria Phillips speaks with the artist about his new paintings, memory and its relationship to media, and the continuing impact of the Cold War.
Katy Hessel, Matthew Holman, and Eleanor Nairne on Helen Frankenthaler
Broadcaster and art historian Katy Hessel; Matthew Holman, associate lecturer in English at University College London; and Eleanor Nairne, curator at the Barbican Art Gallery, London, discuss Helen Frankenthaler’s early training, the development of her signature soak-stain technique and subsequent shifts in style, and her connections to the London art world.
Gagosian Quarterly Films
Katharina Grosse: Think Big!
From October 21 to 23, 2021, Gagosian Quarterly presented a special English-language online screening of Claudia Müller’s Katharina Grosse: Think Big!
The San Francisco Art Institute: Its History and Future
Constance Lewallen marks the 150th anniversary of the San Francisco Art Institute, exploring the school’s evolution and pioneering faculty, as well as current challenges and the innovations necessary for its preservation.