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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

Featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Now available
Gagosian Quarterly Summer 2020

The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Rainer Maria Rilke, 1928. Photo: Lou Andreas-Salomé

Rainer Maria Rilke: Duino Elegies

Bobbie Sheng explores the symbiotic relationship between the poet and visual artists of his time and tracks the enduring influence of his poetry on artists working today.

Theaster Gates in his studio

Theaster Gates: Black Vessel

Join Theaster Gates in his studio as he prepares for his upcoming exhibition at Gagosian, New York, this fall. In this video, shot entirely on location in Chicago during the recent tumultuous weeks, Gates reflects on the metaphorical power of materials and process, and on the redemptive potential of art.

The inside of Theaster Gates’s Black Vessel for a Saint sculpture

How to Renew the Color of Bricks

Social historian Chris Dingwall reflects on Theaster Gates’s engagement with the history of quotidian materials, focusing on the symbolic qualities and function of his brick-based sculpture.

Richard Wright, no title, 2019 (detail), silver leaf on ceiling and walls at Gagosian, Park & 75, New York. Photo: Rob McKeever

Behind the Art
Richard Wright

In an interview with Kay Pallister, the artist explains his relationship to drawing and the importance of time in his site-specific works.

Josh Kline, Skittles, 2014, commercial fridge, light box, and blended liquids in bottles, 86 ½ × 127 ½ × 41 inches (219.7 × 323.9 × 104.1 cm) © Josh Kline. Photo:  © Timothy Schenck

Laws of Motion

Catalyzed by Laws of Motion—a group exhibition, curated by Sam Orlofsky, pairing artworks from the 1980s on by Jeff Koons, Cady Noland, Rosemarie Trockel, and Jeff Wall with contemporary sculptures by Josh Kline and Anicka Yi—Wyatt Allgeier discusses the convergences and divergences in these artists’ practices with an eye to the economic worlds from which they spring.

Georg Baselitz working on a painting in his studio.

Georg Baselitz: What if...

Richard Calvocoressi narrates a tour of an exhibition of new paintings by Georg Baselitz in San Francisco, describing the visual effect of these luminous compositions and explaining their relationship to earlier works by the artist.

Georg Baselitz and Zeng Fanzhi. Portraits of both artists in black-and-white.

Artist to Artist: Georg Baselitz and Zeng Fanzhi

On the occasion of Georg Baselitz: Years later at Gagosian, Hong Kong, Zeng Fanzhi composed a written foreword for the exhibition’s catalogue and a video message to the German painter. Baselitz wrote a letter of thanks to the Chinese artist for his insightful thoughts.

Georg Baselitz, Da sind zwei Figuren im alten Stil (That’s two figures in the old style), 2019, oil and painter’s gold varnish on canvas

Georg Baselitz: Life, Love, Death

Richard Calvocoressi writes on the painter’s latest bodies of work, detailing the techniques employed and their historical precedents.

A painting in dark blue and white. The image depicts a group of men in white linen encircling a platform on which a couple of them are standing. The standing figures are cut off from the waist up as the top half of the painting dissolves into solid midnight blue.

Y.Z. Kami: Dematerialized

In celebration of the release of the monograph Y.Z. Kami: Works 1985–2018, and in advance of an exhibition of new works by the artist at Gagosian, Rome, Ziba Ardalan and Elena Geuna sat down to discuss Y.Z. Kami’s work. The conversation was moderated by Gagosian’s Kay Pallister.

Georg Baselitz, Ohne Titel (nach Pontormo) (Untitled [after Pontormo]), 1961.

Baselitz Bildung

On the occasion of a career-spanning exhibition at the Gallerie dell’Accademia, Venice, Richard Calvocoressi tracks the evolution of Georg Baselitz’s development from his early education in East Germany to his revelatory trip to Florence, in 1965, and beyond.

A portrait of Betty Parsons surrounded by art.

Game Changer
Betty Parsons

Wyatt Allgeier pays homage to the renowned gallerist and artist Betty Parsons (1900–1982).