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Gagosian Quarterly

April 22, 2019

Now available

gagosianquarterlysummer 2019

The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.

Detail from Ellen Gallagher’s Afrylic (2014) on the cover of Gagosian Quarterly, Summer 2019

Detail from Ellen Gallagher’s Afrylic (2014) on the cover of Gagosian Quarterly, Summer 2019

Inside this issue, we hear from Jeff Wall about his newest body of work and speak with Edmund de Waal about his two-part exhibition, psalm, taking place in Venice. Also in Venice, Georg Baselitz and Helen Frankenthaler both have exhibitions in historic venues; Richard Calvocoressi writes on Baselitz’s exhibition at the Gallerie dell’Accademia and John Elderfield and Pepe Karmel discuss Frankenthaler’s panoramic works on view at the Museo di Palazzo Grimani. We’re delighted to have Fred Myers contribute commentary on the work of ten painters from the Central and Western Desert regions of Australia; Louise Neri interviews Steve Martin about his enthusiasm for paintings by these artists. We also learn about Neil Jenney’s approach to painting, consider the role of libraries in work by artists like Taryn SimonTheaster GatesRachel Whiteread, and many others, explore the power of Pier Paolo Pasolini’s cinema, and hear some tips and insights on building and maintaining an artist’s archives.

For all of this and so much more, order your copy or subscribe at the Gagosian Shop, or read the issue online.

Cover © Ellen Gallagher

Damien Hirst's Reclining Woman on the cover of Gagosian Quarterly, Fall 2021

Now available
Gagosian Quarterly Fall 2021

The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.

Katy Hessel, Matthew Holman, and Eleanor Nairne

In Conversation
Katy Hessel, Matthew Holman, and Eleanor Nairne on Helen Frankenthaler

Broadcaster and art historian Katy Hessel; Matthew Holman, associate lecturer in English at University College London; and Eleanor Nairne, curator at the Barbican Art Gallery, London, discuss Helen Frankenthaler’s early training, the development of her signature soak-stain technique and subsequent shifts in style, and her connections to the London art world.

Theaster Gates, A Song for Frankie, 2017–21, 5,000 records, DJ booth, and record player

Social Works: The Archives of Frankie Knuckles Organized by Theaster Gates

Theaster Gates, steward of the Frankie Knuckles record collection, is engaging with the late DJ and musician’s archive of records, ephemera, and personal effects. For the Quarterly’s “Social Works” supplement, guest edited by Antwaun Sargent, Gates presents a selection of Knuckles’s personal record collection. Chantala Kommanivanh, a Chicago-based artist, educator, and musician—and the records manager for Rebuild Foundation, Chicago—provides annotations, contextualizing these records’ importance and unique qualities. Ron Trent, a dear friend of Knuckles’s, speaks to the legacy evinced by these materials.

Taryn Simon, details from An American Index of the Hidden and Unfamiliar, 2007; A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11; A Cold Hole, 2018; An Occupation of Loss, 2016; and Paperwork and the Will of Capital, 2015

In Conversation
Taryn Simon and Teju Cole

This spring, as part of the Lambert Family Lecture Series at the Wexner Center for the Arts, Taryn Simon joined Teju Cole for an online conversation about her artistic practice and creative process.

Still from video documentation of a 2018 performance of Taryn Simon's An Occupation of Loss.

Taryn Simon: An Occupation of Loss

In Taryn Simon’s performance work An Occupation of Loss  (2016), professional mourners enact rituals of grief, simultaneously broadcasting their lamentations from within a sculptural installation. This video by filmmaker Boris B. Bertram documents the April 2018 performance of this work with Artangel in Islington, London.

Taryn Simon, “Folder: Broken Objects” (detail), from the series The Picture Collection, 2012, framed archival inkjet print, 47 × 62 inches (119.4 × 157.5 cm) © Taryn Simon

The New York Public Library’s Picture Collection

Joshua Chuang, the Robert B. Menschel Senior Curator of Photography at the New York Public Library, discusses the institution’s singular Picture Collection, the artist Taryn Simon’s rigorous engagement with it, and four instances of its little-known role in the history of art making.

Helen Frankenthaler, Heart of London Map, steel sculpture

Helen Frankenthaler: A Painter’s Sculptures

On the occasion of four exhibitions in London exploring different aspects of Helen Frankenthaler’s work, Lauren Mahony introduces texts by the sculptor Anthony Caro and by the artist herself on her relatively unfamiliar first body of sculpture, made in the summer of 1972 in Caro’s London studio.

Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021

Now available
Gagosian Quarterly Summer 2021

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

Augurs of Spring

Augurs of Spring

As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.

Edmund de Waal and Theaster Gates

Artist to Artist: Edmund de Waal and Theaster Gates

Join the artists for an extended conversation about their most recent exhibitions, their forebears in the world of ceramics, and the key role that history plays in their practices.

Installation view, Edmund de Waal: some winter pots, Gagosian, Davies Street

Edmund de Waal: some winter pots

Join the artist in his ceramics studio as he describes the impetus behind his exhibition in London and the importance of touch in the creation of these new works.

Edmund de Waal working in his studio.

Edmund de Waal: cold mountain clay

At his studio in London, Edmund de Waal speaks about his new body of work, created in the silence and solitude of lockdown. Composed of layers of porcelain slip inscribed with lines of verse by the poet Hanshan, these works are presented in cold mountain clay, de Waal’s first exhibition in Hong Kong.