Menu

News / Events

Screening

Pat Steir: Artist
A Film by Veronica Gonzalez Peña

Tuesday, May 24, 2022, 6pm
MACRO–Museo d’Arte Contemporanea Roma, Rome
www.museomacro.it

Join Gagosian for a screening of Pat Steir: Artist, on the occasion of the artist’s exhibition at Gagosian, Rome, on view through May 31. This intimate, revelatory documentary directed by novelist and filmmaker Veronica Gonzalez Peña offers special insight into Steir’s life and career, which spans more than five decades. The film will be introduced by writer and critic Ida Panicelli, a longtime friend of Steir’s who curated her 2003 exhibition D’acqua e d’aria (Water and Air) at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome. To attend the event, register at eventbrite.org.

Still from Pat Steir: Artist (2020), directed by Veronica Gonzalez Peña

Still from Pat Steir: Artist (2020), directed by Veronica Gonzalez Peña

Related News

Still from Daughters of the Dust (1991), directed by Julie Dash

Screening

Alexandria Smith Selects

May 20–June 2, 2022
Metrograph, New York
metrograph.com

Alexandria Smith has curated a selection of films that have influenced her practice for many years, as part of a series copresented by Gagosian and Metrograph in the theater and online. The program will feature cinema exploring themes of loneliness through the prism of the fantastical; notions of family through spirituality; and the deconstruction of narrative through the disruption and manipulation of time.

Still from Daughters of the Dust (1991), directed by Julie Dash

Left: Takashi Murakami. Right: Etsuko Price

In Conversation

Chasing the Eccentrics
Takashi Murakami in Conversation with Etsuko Price

Friday, May 20, 2022, 4:30pm
Japan House, Los Angeles
www.japanhousela.com

Presented in conjunction with the exhibition Takashi Murakami: Stepping on the Tail of a Rainbow, on view at the Broad, Los Angeles, from May 21 to September 25, 2022, this conversation between Takashi Murakami and Etsuko Price—who, with her husband Joe, has amassed an unparalleled collection of traditional Japanese art focused on the Edo period—will explore how traditional Japanese painting has influenced and inspired Murakami’s creative practice. Moderated by Yuko Kaifu, president of Japan House in Los Angeles, the conversation will also offer a window into the long friendship that Murakami and the Prices have developed over their passion for traditional Japanese art. The conversation will be in both Japanese and English. To attend the event in-person or online, purchase tickets at eventbrite.com.

Left: Takashi Murakami. Right: Etsuko Price

Cy Twombly, Roses (Gaeta), 2004 © Fondazione Nicola Del Roscio

Exhibition

Un/veiled
Cy Twombly, Music, Inspirations

May 20–June 11, 2022
Fondazione Nicola Del Roscio, Rome
fondazionenicoladelroscio.it

Fondazione Nicola Del Roscio, in collaboration with Cy Twombly Foundation, is presenting Un/veiled: Cy Twombly, Music, Inspirations, a program of concerts, video screenings, piped music, and a series of works by Cy Twombly. The presentation is the result of an extensive three-year survey by Fondazione Nicola Del Roscio, at the behest of Nicola Del Roscio, that aims to collect, document, and preserve compositions by musicians from around the world who have been inspired by the work of Twombly or to establish an artistic dialogue with them. To visit the exhibition, e-mail roma@fondazionenicoladelroscio.it. To attend the concerts, access the schedule and bookings links at fondazionenicoladelroscio.it.

Cy Twombly, Roses (Gaeta), 2004 © Fondazione Nicola Del Roscio

A Takashi Murakami painting of a female avatar with blue and pink hair: CLONE X #59 Harajuku-style Angel

Takashi Murakami and RTFKT: An Arrow through History

Bridging the digital and the physical realms, the three-part presentation of paintings and sculptures that make up Takashi Murakami: An Arrow through History at Gagosian, New York, builds on the ongoing collaboration between the artist and RTFKT Studios. Here, Murakami and the RTFKT team explain the collaborative process, the necessity of cognitive revolution, the metaverse, and the future of art to the Quarterly’s Wyatt Allgeier.

Takashi Murakami cover and Andreas Gursky cover for Gagosian Quarterly, Summer 2022 magazine

Now available
Gagosian Quarterly Summer 2022

The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).

Installation view, Pat Steir: Paintings, Gagosian, Rome, March 10–May 7, 2022. Photo: Matteo D’Eletto

Artist to Artist: Pat Steir and Sarah Sze

On the occasion of her exhibition of recent paintings, presented at Gagosian in Rome, Pat Steir met with fellow artist Sarah Sze for a wide-ranging discussion—from shared inspirations and influences to the role of chance, contingency, place, and time in painting.

Andreas Gursky, Salinas, 2021, Diasec-mounted inkjet print, framed: 80 × 160 ⅜ × 2 ½ inches (203.2 × 407.2 × 6.2 cm)

Andreas Gursky

On the occasion of an exhibition at Gagosian, New York, from May 5 to June 18, 2022, Max Dax met with Andreas Gursky to speak with the photographer about his new work. Here, they discuss the consequences of the pandemic on certain works, the roles of techno music and art history in Gursky’s art process, and the necessary balance of beauty and honesty in the contemporary.

Alexandria Smith, London, 2022. Photo: © Amoroso Films

Alexandria Smith

The artist speaks with author Nalo Hopkinson about what it means to depict the body, the struggles to embark on new projects, and the contours of space and place in the creation of fiction and art.

Mary Weatherford, The Flaying of Marsyas—4500 Triphosphor, 2021–22 (detail), Flashe and neon on linen, 93 × 79 inches (236.2 × 200.7 cm). Photo: Fredrik Nilsen Studio

Mary Weatherford: The Flaying of Marsyas

Coinciding with the 59th Venice Biennale, an exhibition at the Museo di Palazzo Grimani in Venice presents new paintings by Mary Weatherford inspired by Titian’s The Flaying of Marsyas (1570–76). Francine Prose traces the development of these works.

Simon Hantaï cutting out a monumental yellow Tabula (1981), Meun, France, 1995. Artwork © Archives Simon Hantaï/ADAGP, Paris. Photo: Antonio Semeraro

Simon Hantaï: Les blancs de la couleur, la couleur du blanc

Anne Baldassari reflects on the art historical influences and radical breaks reflected in the artist’s work with color.

Peter Paul Rubens’s The Massacre of the Innocents (c. 1610)

Spotlight
Peter Paul Rubens

Larry Gagosian reflects on Peter Paul Rubens’s The Massacre of the Innocents (c. 1610).

Robert Mapplethorpe wearing a selection of his jewelry, New York, 1971. Photo: Valerie Santagto

Robert Mapplethorpe’s Jewelry: Gaia Repossi and Michael Ward Stout

As part of an ongoing collaboration, Gaia Repossi, creative director for the Paris jewelry house Repossi, has created a collection of pieces inspired by Robert Mapplethorpe’s art practice and jewelry. Speaking with Michael Ward Stout, president of the Robert Mapplethorpe Foundation, and the Quarterly’s Wyatt Allgeier, Repossi recounts the origins of this project and details her deep admiration for the artist’s precision and eye for composition.

Tatiana Trouvé’s studio, Montreuil, France, 2021

In Conversation
Tatiana Trouvé and Jean-Michel Geneste

Tatiana Trouvé speaks with Jean-Michel Geneste, archaeologist and curator, about the paradoxes of her practice: absence and presence, the ancient and the contemporary, the natural and the human-made.

Installation view, Georg Baselitz: Archinto, Museo di Palazzo Grimani, Venice, May 19, 2021–November 27, 2022. Photo: Matteo De Fina

Georg Baselitz: Archinto

On the occasion of Georg Baselitz: Archinto at Museo di Palazzo Grimani, Venice, Artcore Films produced a short documentary featuring the artist. In the video, Baselitz details the origins of the project, how he approached the unique space, and his experiments in process and technique.

Tetsuya Ishida, Untitled, 2004, acrylic and oil on canvas, 17 ⅞ × 20 ⅞ inches (45.5 × 53 cm)

Tetsuya Ishida’s Testimony

Edward M. Gómez writes on the Japanese artist’s singular aesthetic, describing him as an astute observer of the culture of his time.