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Gagosian Quarterly

October 14, 2015

Jack Cowart and Rob McKeeveron Greene Street Mural

In December 1983, Roy Lichtenstein’s Greene Street Mural was unveiled at Leo Castelli Gallery, 142 Greene Street, New York. One month later, in January of 1984, it was covered up. Several years later, it was destroyed. In August of 2015, a team of sign painters replicated the Greene Street Mural at Gagosian West 24th Street, New York. Jack Cowart, Executive Director of the Roy Lichtenstein Foundation, and Rob McKeever, a former assistant to Lichtenstein, recall the making of the original Greene Street Mural.

Artwork © Estate of Roy Lichtenstein. Video by Lea Khayata (Pushpin Films) and Elettra Fiumi.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.

Roy Lichtenstein: 1961 to 1965

Roy Lichtenstein: 1961 to 1965

Gillian Pistell examines Roy Lichtenstein’s aesthetic developments in the years 1961 to 1965.

Gagosian Quarterly Winter 2018

Gagosian Quarterly Winter 2018

The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.

One-Cent Life

Book Corner
One-Cent Life

A 1964 publication by the Chinese-American artist and poet Walasse Ting and Abstract Expressionist painter Sam Francis.

Desire

Desire

Diana Widmaier Picasso, curator of the exhibition Desire, reflects on the history of eroticism in art.

Time-lapse: Greene Street Mural

Behind the Art
Time-lapse: Greene Street Mural

More than thirty years after its creation, Gagosian presents a full-scale painted replica of the original Greene Street Mural by Roy Lichtenstein, based on documentation from the artist’s studio and produced by sign painters under the supervision of his former studio assistant.

Giuseppe Penone and Carlos Basualdo

Gagosian Quarterly Talks
Giuseppe Penone and Carlos Basualdo

Giuseppe Penone discusses his new monograph, The Inner Life of Forms, with the book’s editor Carlos Basualdo, senior curator of contemporary art at the Philadelphia Museum of Art, at the Greene Space, New York. Hosted by art critic Deborah Solomon.

Video still of Sarah Sze speaking at a TED conference, Vancouver, BC, April 2019.

Sarah Sze: Art That Explores Time and Memory

Join Sarah Sze as she talks about the questions that drive her work. She describes creating immersive experiences that blur the lines between time, memory, and space—and between art and life.

Helen Frankenthaler in her studio in Provincetown. Black and white image.

Abstract Climates: Helen Frankenthaler in Provincetown

Lise Motherwell, a stepdaughter of Helen Frankenthaler and vice president of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director of the Foundation, recently cocurated an exhibition of the artist’s work entitled Abstract Climates: Helen Frankenthaler in Provincetown. Here they discuss the origin of the exhibition, the relationship between the artist’s work and her summers spent in Provincetown, and the presentations at the Provincetown Art Association and Museum, in 2018, and the Parrish Art Museum, Water Mill, New York, in 2019.

Nathaniel Mary Quinn and Troy Carter

In Conversation
Nathaniel Mary Quinn and Troy Carter

On the eve of the opening of his first exhibition with Gagosian, in Beverly Hills, Nathaniel Mary Quinn joined Troy Carter for a conversation at LA’s Hammer Museum. They spoke about deliverance, Quinn’s new work, and what drives him to make art.

Michael Craig-Martin at his London studio, 2019

Behind the Art
Michael Craig-Martin: Ordinariness

Join Michael Craig-Martin at his London studio as he speaks about his working methods, his interest in the ordinary, and his abiding concern for the sculptural.