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Gagosian Quarterly

February 24, 2017

Painting Paintings (David Reed) 1975

In 1975 David Reed exhibited a series of new paintings at Susan Caldwell Gallery, New York, which had a strong impact on Christopher Wool, a young artist at the time. More than forty years later, Wool, along with Katy Siegel, curated an exhibition of Reed’s paintings, complemented by a group exhibition of artists who were similarly exploring the relationship between process and image-making in painting, sculpture, photography, and film. In this video, Wool, Siegel, and Reed discuss the recent exhibition and the works on view.

Video: Pushpin Films

New York, 1975

New York, 1975

Katy Siegel and Christopher Wool discuss David Reed’s paintings and the New York art scene in 1975.

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.

David Reed, #714, 2014–19, acrylic, oil, and alkyd on polyester.

David Reed

David Reed and Katharina Grosse met at Reed’s New York studio in the fall of 2019 to talk about his newest paintings, the temporal aspects of both artists’ practice, and some of their mutual inspirations.

A gray and pink painting by Christopher Wool. Abstract.

Christopher Wool: Part Two

Gray turns to pink or his twenty-first century, much of it in Texas. Text by Richard Hell.

A Christopher Wool painting from 1994. White background, with black and pink enamel.

Christopher Wool: Part One

Christopher Wool and his unlikely heroes or conceptual or not? Text by Richard Hell.

Cover of the Winter 2019 Gagosian Quarterly, featuring a selection from a black-and-white Christopher Wool photograph

Now available
Gagosian Quarterly Winter 2019

The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.

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.

Free Arts NYC

The Bigger Picture
Free Arts NYC

Meredith Mendelsohn discusses the impact of Free Arts NYC and its mission to foster creativity in children and teens, on the occasion of its twenty-year anniversary.

Black Book

Book Corner
Black Book

Christopher Wool’s Black Book (1989) was selected by Douglas Flamm, a rare-book specialist at Gagosian, for a special focus. Text by Anna Heyward.

Jeff Wall, Dead Troops Talk (a vision after an ambush of a Red Army Patrol, near Moqor, Afghanistan, winter 1986), 1992, transparency in lightbox, 90 ⅛ × 164 ⅛ inches (229 × 417 cm)

Death Valley ’89: Jeff Wall vs. Photography

Daniel Spaulding considers formal and technical developments in the photographer’s work against the background of global shifts of power and politics, specifically the fall of the Berlin Wall in 1989.

Ewa Juszkiewicz, Untitled (after Elisabeth Vigée Le Brun), 2020, oil on canvas, 63 × 47 ¼ inches (160 × 120 cm)

Ewa Juszkiewicz

Lisa Small, senior curator of European art at the Brooklyn Museum, considers the historical precedents for Ewa Juszkiewicz’s painting practice.