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On View

Around Day’s End
Downtown New York, 1970–1986

Through November 1, 2020
Whitney Museum of American Art, New York
whitney.org

This exhibition pays homage to Gordon Matta-Clark’s legendary Day’s End (1975) and features works by twenty-two artists who engaged with the Meatpacking District and West Side piers, among other downtown Manhattan locations, in the 1970s and early 1980s. The show also anticipates David Hammons’s monumental public artwork Day’s End, to be completed in December 2020 and located directly across from the Whitney in Hudson River Park. Work by Jean-Michel Basquiat and Richard Serra is included.

Jean-Michel Basquiat, Untitled (Plaid), 1982, Whitney Museum of American Art, New York © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

Jean-Michel Basquiat, Untitled (Plaid), 1982, Whitney Museum of American Art, New York © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

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.

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.

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.

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.

Louise Bonnet in her Los Angeles studio, 2020

Louise Bonnet

Filmmaker and author Miranda July joined Louise Bonnet on a video call to discuss life during lockdown, the luminosity of oil paint, and Bonnet’s forthcoming exhibition of new work. Longtime friends—and newly neighbors—the two reflect on their shared history and shared interests in the unconscious, vagueness, and the mixture of humor and pain.

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.

Jay DeFeo working on The Rose (then titled Deathrose), photographed by Burt Glinn in 1960.

Jay DeFeo

Suzanne Hudson speaks with Leah Levy, executive director of the Jay DeFeo Foundation, about the artist’s life and work.