The Brice Marden Catalogue Raisonné is announcing a call for works for the preparation of a catalogue of all of Brice Marden’s paintings and works on paper. The project is now accepting submissions for unique works of art on canvas and on paper. If you are an owner of an artwork by Brice Marden, please visit the catalogue raisonné website to access the submission form.
Initiated in 2019, the completed publication will document Brice Marden’s oeuvre with an entry for each work that includes descriptive information and a comprehensive provenance, exhibition history, and bibliography. Tiffany Bell is the editor of the catalogue raisonné, working closely with the artist’s studio, Plane Image, and with the support of Gagosian.
Brice Marden, Rivers, 2020–21 © Brice Marden/Artists Rights Society (ARS), New York
Brice Marden is available for online reading from October 11 through November 9 as part of the From the Library series. This catalogue was published on the occasion of the artist’s 2017 exhibition at Gagosian, Grosvenor Hill, London, and focuses on Marden’s terre verte paintings. For the series of ten identically sized paintings measuring eight by six feet, he has employed ten different brands of terre verte oil paint—from his favored Williamsburg to Holbein and Sennelier, among others—each a variation on the indefinable hue. The slow-drying paint is thinned and applied gradually to the canvas in many successive veils, building a surface of transparent yet intense color. New texts by Paul Hills and Noah Dillon, and a conversation between Marden, Gary Hume, and Tim Marlow examine this new body of work from multiple perspectives.
Brice Marden (London: Gagosian, 2017)
It reminds me of something, and I don’t know what it is.
Brice Marden: It reminds me of something, and I don’t know what it is. is available for online reading from June 15 through July 14 as part of the From the Library series. Published on the occasion of the 2019 exhibition at Gagosian, 980 Madison Avenue, New York, the catalogue features full-color reproductions of Marden’s latest body of paintings and works on paper, which continues the Letter series he initiated in 2006. The book includes a new essay by John Elderfield, in which the curator and art historian discusses the new works in the context of modernist painting and of Marden’s oeuvre, and investigates the allusions the works seem to make.
Brice Marden: It reminds me of something, and I don’t know what it is. (New York: Gagosian, 2020)
Friday, February 21, 2020, 7–8pm
Menil Collection, Houston
Brice Marden will discuss his drawing practice with curator Kelly Montana on the occasion of the opening of the exhibition Think of Them as Spaces: Brice Marden’s Drawings at the Menil Collection. The pair will explore Marden’s manifold approach to draftsmanship in the six distinct series of drawings in the exhibition that span nearly the entirety of the artist’s ongoing career. The event is free and open to the public.
Brice Marden in his studio, Tivoli, New York, 2017. Photo: Mirabelle Marden
A Foreigner Called Picasso
Cocurator of the exhibition A Foreigner Called Picasso, at Gagosian, New York, Annie Cohen-Solal writes about the genesis of the project, her commitment to the figure of the outsider, and Picasso’s enduring relevance to matters geopolitical and sociological.
Gagosian Quarterly Winter 2023
The Winter 2023 issue of Gagosian Quarterly is now available, featuring Pablo Picasso’s Le miroir (1932) on its cover.
Urs Fischer: Wave
In this video, Urs Fischer elaborates on the creative process behind his public installation Wave, at Place Vendôme, Paris.
Louise Bonnet and Stefanie Hessler
Gagosian hosted a conversation between Louise Bonnet and Stefanie Hessler, director of Swiss Institute, New York, inside 30 Ghosts, the artist’s exhibition of new paintings at Gagosian, New York. The pair explores the work’s recurring themes—the cycles of life, continuity and the future, and death—and discuss how the conceptual and pictorial structures Bonnet borrows from seventeenth-century Dutch still-life painting converge to form a metaphor for hard labor, basic animal urges, and the things we often try, but fail, to hide.
Larry Gagosian celebrates the unmatched life and legacy of Brice Marden.
Georg Baselitz and Richard Calvocoressi
In conjunction with the exhibition The Painter in His Bed, at Gagosian, New York, Georg Baselitz and Richard Calvocoressi discuss the motif of the stag in the artist’s newest paintings.
Lee Miller and Friends
The American Surrealist photographer Lee Miller is the subject of the exhibition Seeing Is Believing at Gagosian, New York. Here we present a conversation on the stewardship of Miller’s legacy, her photography and writing from the frontlines of war to the pages of Vogue, and the intertwined lives of her friends, lovers, and the many artists she knew.
This Is Hardcore: Pulp, and the Making of an Image
This year marks the twenty-fifth anniversary of This Is Hardcore, the sixth album by the band Pulp. A new book by Paul Burgess and Louise Colbourne celebrates the occasion by bringing together behind-the-scenes imagery and anecdotes from the creation of the album and its music videos. Author Young Kim reflects on the album’s impact, both musical and visual, on the late ’90s and speaks with the primary collaborators—Pulp lead singer Jarvis Cocker, art director Peter Saville, and artist John Currin—behind the iconic imagery.
The Road Opens: In Conversation with Okwui Okpokwasili
Multidisciplinary artist Okwui Okpokwasili’s new work adaku, part 1: the road opens is a continuation of her efforts to bring West African forms of dance, poetry, song, and theater into a contemporary framework. Catching up with Okpokwasili after the work’s premiere in Los Angeles this past spring, Rennie McDougall traces adaku’s artistic lineages ahead of its New York debut in the fall.
Officine Générale: Pierre Mahéo
In October 2023, Officine Générale, the Paris-based brand of elegantly crafted, understated menswear and womenswear, opened its newest store on Madison Avenue in New York. Pierre Mahéo, the brand’s founder and creative director, met with the Quarterly’s Wyatt Allgeier at this location to discuss the evolution and consistency of his process, the influence of modernists like Charlotte Perriand, and what’s next for the brand.
A Horse, of Course
Alix Browne considers the enduring presence of horses in the contemporary imagination.
Kiss Me, Stupid
Carlos Valladares mines the history of the romantic comedy and proposes an expanded canon for the genre.