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Gagosian Quarterly

January 27, 2016

Gregory CrewdsonCathedral of the pines

In his series of large-format color photographs Cathedral of the Pines, Crewdson takes the viewer to the forests of Becket, Massachusetts—the locale of his earliest childhood memories and his home since 2011. This video pinpoints Crewdson’s intimate psychological reconnection to shooting staged photographs.

In these pictures I was very conscious of attempting to say, in a literal way, almost nothing. I wanted almost exclusively the meanings to reside on light, and atmosphere, and color. I just want enough of a story to bring the viewer in and to create a sense of mystery.

Gregory Crewdson

Artwork © Gregory Crewdson. Video by Lea Khayata (Pushpin Films) and Elettra Fiumi.

Artist Nam June Paik writing on his typewriter in black and white photo.

Reading Nam June Paik

Earlier this year, MIT Press released We Are in Open Circuits: Writings by Nam June Paik. Here Gregory Zinman, coeditor of the book along with John Hanhardt and Edith Decker-Phillips, writes about his first exposure to the artist’s archives, the discoveries made there, and the relationship between Paik’s writings and his larger practice.

Jerry Schatzberg, Self Portrait in the Mirror, Trinidad, 1964.

The Center of the Storm

Carlos Valladares writes on filmmaker and photographer Jerry Schatzberg’s prolific career.

Rachel Whiteread, Untitled (Notre-Dame), 2019.

For Notre-Dame

An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.

Anselm Kiefer, Maginot, 1977–93.

Veil and Vault

An exhibition at the Broad in Los Angeles prompts James Lawrence to examine how artists give shape and meaning to the passage of time, and how the passage of time shapes our evolving accounts of art.

Uncharted Territory

Uncharted Territory

For the 16th International Architecture Biennale in Venice, the architectural firm Caruso St John teamed up with artist Marcus Taylor to curate the British Pavilion. Their design, Island, offers a profound adjustment of public space at a moment of profound geopolitical change. James Lawrence considers its implications.

Brice Marden: Four Quartets

Brice Marden: Four Quartets

Four paintings by Brice Marden have been incorporated into a new dance commission based on T. S. Eliot’s Four Quartets, with choreography by Pam Tanowitz, and music by Kaija Saariaho. The performance will premiere on July 6, 2018 at the Richard B. Fisher Center for the Performing Arts at Bard as part of the SummerScape Festival. Gideon Lester, the Fisher Center’s artistic director for theater and dance, spoke with Marden about the canvases that form the set design.

Walter De Maria: Truck Trilogy

Spotlight
Walter De Maria: Truck Trilogy

Lars Nittve investigates Truck Trilogy, Walter De Maria’s last work, conceived in 2011 and premiered at Dia:Beacon in 2017.

Adriana Varejão: Transbarroco

Adriana Varejão: Transbarroco

From October 19–21, 2017, Adriana Varejão’s video installation Transbarroco (2014) played across the façade and in the central courtyard of the historic John Sowden House, designed by Lloyd Wright in 1926.

Burden

Spotlight
Burden

The story behind Chris Burden’s Buddha’s Fingers (2014–15) and its connection to all of his streetlamp installations. Text by Sydney Stutterheim.

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.