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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

Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

Now available
Gagosian Quarterly Winter 2022

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.

Jordan Wolfson’s House with Face (2017) on the cover of Gagosian Quarterly, Fall 2022

Now available
Gagosian Quarterly Fall 2022

The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.

Y.Z. Kami, Night Painting I (for William Blake), 2017–18, oil on linen, 99 × 99 inches (251.5 × 251.5 cm) © Y.Z. Kami. Photo: Rob McKeever

In Conversation
Setsuko and Y.Z. Kami

The artists address their shared ardor for poetry, the surfaces of painting, and nature.

Helen Frankenthaler, Madame Butterfly, 102 color woodcut from 46 woodblocks

The Romance of a New Medium: Helen Frankenthaler and the Art of Collaboration

Inspired by the recent retrospective of Helen Frankenthaler’s woodcuts at the Dulwich Picture Gallery, London, William Davie writes about the artist’s innovative journey with printmaking. Davie illuminates Frankenthaler’s formative collaborations with master printers Tatyana Grosman and Kenneth Tyler.

Y.Z. Kami and Steven Henry Madoff sit in front two of the artist's paintings

In Conversation
Y.Z. Kami and Steven Henry Madoff

Y.Z. Kami and curator Steven Henry Madoff sit down in Kami’s studio to discuss the artist’s exhibition at the Museo de Arte Contemporáneo de Castilla y León, Spain. Entitled Y.Z. Kami: De forma silenciosa/In a Silent Way, the survey features portraits; images of buildings, both sacred and ordinary; a sculptural installation of loose bricks inscribed with texts; and recent dreamlike abstractions.

Jeff Wall at Gagosian, Beverly Hills, in front of his photography

Jeff Wall: An Exhibition Tour

Join Jeff Wall as he leads a tour through his latest exhibition in Beverly Hills. The artist speaks about the genesis and creation of each photograph, addressing the aesthetic decisions involved.

Photograph of Serpertine Pavilion designed by Theaster Gates © Theaster Gates Studio. Photo: Iwan Baan, courtesy: Serpentine

Hans Ulrich Obrist’s Questionnaire: Theaster Gates

In this ongoing series, curator Hans Ulrich Obrist has devised a set of thirty-seven questions that invite artists, authors, musicians, and other visionaries to address key elements of their lives and creative practices. Respondents are invited to make a selection from the larger questionnaire and to reply in as many or as few words as they desire. For this installment, we are honored to present the artist Theaster Gates, whose Serpentine Pavilion 2022 Black Chapel opened in London on June 10.

Takashi Murakami cover and Andreas Gursky cover for Gagosian Quarterly, Summer 2022 magazine

Now available
Gagosian Quarterly Summer 2022

The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).

Installation view, Georg Baselitz: Archinto, Museo di Palazzo Grimani, Venice, May 19, 2021–November 27, 2022. Photo: Matteo De Fina

Georg Baselitz: Archinto

On the occasion of Georg Baselitz: Archinto at Museo di Palazzo Grimani, Venice, Artcore Films produced a short documentary featuring the artist. In the video, Baselitz details the origins of the project, how he approached the unique space, and his experiments in process and technique.

Michael Cary and Neil Jenney

In Conversation
Neil Jenney and Michael Cary

On the occasion of Neil Jenney: AMERICAN REALISM TODAY, the artist sat down with Gagosian curator Michael Cary to discuss paintings from Jenney’s recent series Modern Africa (2015–)—a subseries of the New Good Paintings (2015–)—and the preceding series, Good Paintings (1971–2015).

Baselitz: La rétrospective

Baselitz: La rétrospective

Richard Calvocoressi visits Georg Baselitz’s retrospective exhibition at the Centre Pompidou in Paris and reflects on both the historical specificity and timeless themes of the artist’s sixty-year career.

Edmund de Waal, stone for two hands and water, 2021, Hornton stone, bamboo, and water, 27 ⅜ × 56 ¾ × 23 ⅝ inches (69.5 × 144 × 60 cm), installation view, Henry Moore Studios & Gardens, Perry Green, England

The Thinking Hand

Edmund de Waal speaks with Richard Calvocoressi about touch in relation to art and our understanding of the world, and discusses the new stone sculptures he created for the exhibition This Living Hand: Edmund de Waal Presents Henry Moore, at the Henry Moore Studios & Gardens. Their conversation took place at the Fitzwilliam Museum, University of Cambridge, in the context of the exhibition The Human Touch.