Menu

Gagosian Quarterly

October 23, 2017

William Forsythe:Choreographic Objects

Celebrated choreographer William Forsythe has been expanding the boundaries of dance for over four decades. In 1989 he began work on his “choreographic objects,” a series of sculptural installations. These physical, object-based extensions of his choreographic practice have become an integral aspect of his work. An exhibition at Gagosian Le Bourget in Paris continues this experimentation with three works: Black Flags, Alignigung II, and Towards the Diagnostic Gaze (Paris). Filmmaker Ulrike Stumpp created a video documenting these works that includes an in-depth interview with Forsythe about the concepts and techniques underlying the exhibition.

Video © Gagosian. Artwork © William Forsythe. Directed by Ulrike Stumpp; Edit and Post Production by Stefan Knauer. Interview by Louise Neri. Camera: Ulrike Stumpp, Dennis Westenberger, Stefan Knauer

William Forsythe

William Forsythe

The world-renowned choreographer discusses his mindful objects with Louise Neri.

Installation view of the exhibition Henry Moore at Houghton Hall: Nature and Inspiration.

Nature and Inspiration: Henry Moore at Houghton Hall

Sebastiano Barassi reflects on the centrality of nature in the work of Henry Moore—as form, material, inspiration, and site.

Marc Newson, London, 2018.

In Conversation
Marc Newson and Derek Blasberg

Marc Newson tells Derek Blasberg about his newest creations, explaining the backstory of these ornate works.

Andy Warhol: Everything Is Good

Andy Warhol: Everything Is Good

Richard Hell writes about the “transcendentally camp” Pop artist, portraitist of daily life.

Nina Simone at the Globe Jazz festival at Symphony Hall, March 20, 1987.

Nina Simone, Our National Treasure

Giuseppe Penone, Leaves of Light – Tree, 2016, installed at the Louvre Abu Dhabi.

Rain of Light

One year after the opening of the Louvre Abu Dhabi, Jean Nouvel and Giuseppe Penone sat down with Gagosian’s Pepi Marchetti Franchi, Alain Fleischer, and Hala Wardé to reflect on how the museum and Penone’s commissioned artworks for the space came to be.

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.

View of the south front of Kenwood House.

Kenwood House

Anna Eavis, the curatorial director of English Heritage, traces the history of Kenwood House and details the remarkable collection of paintings that reside there.

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.

Steven Parrino: Natures Mortes Vivantes

Steven Parrino: Natures Mortes Vivantes

Vincent Pécoil reflects on Steven Parrino’s “deformalized” canvases as specters of abstraction and disruptions of painting’s status quo.

Romuald Hazoumè

Romuald Hazoumè

Romuald Hazoumè’s masks are deeply rooted in the cultural, social, and political context of Benin. His masks, which use salvaged materials and bidons, or plastic jerry cans, comment on pan-African politics and culture. Text by André Magnin.

Roy Lichtenstein: 1961 to 1965

Roy Lichtenstein: 1961 to 1965

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