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Mad World

August 18, 2018–January 14, 2019
Marciano Foundation, Los Angeles
marcianoartfoundation.org

Mad World brought together works from the Marciano collection reflecting the rampant absurdities of contemporary life. Many of the exhibited works address the overwhelming accumulation of information, images, and ideas emanating from our phones, computers, billboards, televisions, and radios. Work by Roe Ethridge, Urs Fischer, and Nate Lowman was included.

Urs Fischer, Green Solace, 16 Handles, Red Solace, 2017 © Urs Fischer. Photo: Mats Nordman

Urs Fischer, Green Solace, 16 Handles, Red Solace, 2017 © Urs Fischer. Photo: Mats Nordman

Tom Eccles and Kiki Smith on Rachel Whiteread

In Conversation
Tom Eccles and Kiki Smith on Rachel Whiteread

On the occasion of Artist Spotlight: Rachel Whiteread, curator Tom Eccles and artist Kiki Smith speak about the work of Rachel Whiteread through the lens of their personal friendships with her. They discuss her public projects from the early 1990s to the present, the relationship between drawing and sculpture in her practice, and the way her works reveal the memories embedded in familiar everyday objects.

The crowd at the public funeral of Reverend Dr. Martin Luther King, Jr., in April 1968. Photo by Moneta Sleet Jr.

Now available
Gagosian Quarterly Fall 2020

The Fall 2020 issue of Gagosian Quarterly is now available.

Still from the video "In Conversation: Rachel Whiteread and Ann Gallagher"

In Conversation
Rachel Whiteread and Ann Gallagher

Rachel Whiteread speaks to Ann Gallagher about a new group of resin sculptures for an upcoming exhibition at Gagosian in London. They discuss the works’ emphasis on surface texture, light, and reflection.

Piero della Francesca, The Baptism of Christ, after 1437, egg on poplar.

Rachel Whiteread on Piero della Francesca

Rachel Whiteread writes about the Italian artist’s Baptism of Christ (after 1437) and what has drawn her to this painting, from her first experience of it at a young age to the present day.

Mercedes Matter with students at the New York Studio School. Photo: Herbert Matter, courtesy the Department of Special Collections, Stanford University Libraries

Game Changer
Mercedes Matter

Lauren Mahony and Michael Tcheyan pay homage to the founder of the New York Studio School.

Titus Kaphar in his studio, touching his painting.

Titus Kaphar: From a Tropical Space

Join the artist in his studio in New Haven, Connecticut, where he speaks about his latest paintings.

Nathaniel Mary Quinn in his studio

Nathaniel Mary Quinn: In the Studio

Hear the painter describe the creation of a new work in this time-lapse documentation of his process.

Theaster Gates in his studio

Theaster Gates: Black Vessel

Join Theaster Gates in his studio as he prepares for an upcoming exhibition at Gagosian, New York. In this video, shot on location in Chicago during the tumultuous weeks of protest in late spring 2020, Gates reflects on the metaphorical power of materials and process, and on the redemptive potential of art.

Gregory Crewdson, Red Star Express, 2018–19, digital pigment print, 56 ¼ × 94 ⅞ inches (127 × 225.7 cm)

Gregory Crewdson: An Eclipse of Moths

Gregory Crewdson discusses his new work with actor Cate Blanchett.

Mary Weatherford, Orion’s Belt, 2016, Flashe and neon on linen.

Mary Weatherford: Train Yards

Mary Weatherford speaks to Laura Hoptman about her new paintings, the Train Yard series. Begun in 2016, this body of work evokes the sights and sounds of railroads and night skies. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London.

Ed Ruscha, At That, 2020, dry pigment and acrylic on paper.

“Things Fall Apart”: Ed Ruscha’s Swiped Words

Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by the artist, detailing the ways these words in motion evoke the experience of the current moment.

Bebe Miller and Cynthia Oliver in motion dancing, mid-jump, against a white background

Bebe Miller and Cynthia Oliver

The legendary choreographers discuss their history together, the evolution of Cynthia Oliver’s boom!, imposed boundaries on “Black dance,” and the choreographies of the pandemic.