February 27, 2018
In this installment of Gagosian Quarterly Talks, author Lawrence Weschler examines the coterie of European exiles in Los Angeles during the 1930s and ’40s. From Man Ray to Arnold Schoenberg, Weschler details how the dramatic change in setting affected the lives of these cultural visionaries.
Artwork © Man Ray Trust/Artists Rights Society (ARS)/ADAGP, Paris 2018; Directed by Aaron Farley; Second camera by Pablo Velasquez; Sound by Aaron Beckum; Additional images courtesy Lawrence Weschler; Man Ray’s LA, Gagosian Beverly Hills, California, January 11–February 17, 2018
Lee Miller and Tanja Ramm’s friendship took them from New York to Paris and back, in front of and behind many cameras, and into the Surrealist avant-garde. Here, Gagosian director Richard Calvocoressi speaks with Ramm’s daughter, art historian Margit Rowell, about discovering her mother’s early life, her memories of Miller, and the collaborative work of photographers and models.
Sydney Stutterheim meditates on the power and possibilities of small-format artworks throughout time.
The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.
Timothy Baum muses on Man Ray’s foray into filmmaking in the 1920s, the subject of the exhibition Man Ray: The Mysteries of Château du Dé at Gagosian, San Francisco.
The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.
At the 2018 Frieze Masters fair in London, Gagosian’s stand presented more than ninety works by Man Ray: objects and assemblages, collages, oils, prints, drawings, and photographs. Richard Calvocoressi traces the development of the artist’s wide-ranging work and looks at his legendary three-year collaboration with Lee Miller.
Timothy Baum explores this period of transition in response to an exhibition of Man Ray’s vintage gelatin silver photographs from his “Hollywood” period.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Mary Ann Caws and Charles Stuckey discuss the presence of food and the dining table in the history of modern art.
In the early 1980s, Ira Nowinski visited a studio frozen in time.
Harnessing the gestural, unpredictable, projectile qualities of spray paint, artists have repurposed it as an alternative to the brush, to create hazy textures, drips, puddles, and graffiti-like text. Peter Stevens discusses this history of spray paint as an artistic medium with Alison McDonald.
To coincide with Desert Painters of Australia, an exhibition of contemporary Indigenous Australian art at Gagosian, 976 Madison Avenue, New York, the gallery hosted a conversation between leading authorities Fred Myers, Henry Skerritt, and Margo Smith AM.