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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

Edmund de Waal and Jan Dalley, FT Weekend Festival, London, September 7, 2019

In Conversation
Edmund de Waal and Jan Dalley

At the FT Weekend Festival 2019 in London, Edmund de Waal sat down for a conversation with Financial Times arts editor Jan Dalley. They spoke about the relationship between words and sculpture in his practice, and about two recent projects: the two-part exhibition psalm, in Venice, and Elective Affinities, at the Frick Collection, New York.

Cover of the Winter 2019 Gagosian Quarterly, featuring a selection from a black-and-white Christopher Wool photograph

Now available
Gagosian Quarterly Winter 2019

The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.

Helen Frankenthaler in her studio in Provincetown. Black and white image.

Abstract Climates: Helen Frankenthaler in Provincetown

Lise Motherwell, a stepdaughter of Helen Frankenthaler and vice president of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director of the Foundation, recently cocurated an exhibition of the artist’s work entitled Abstract Climates: Helen Frankenthaler in Provincetown. Here they discuss the origin of the exhibition, the relationship between the artist’s work and her summers spent in Provincetown, and the presentations at the Provincetown Art Association and Museum, in 2018, and the Parrish Art Museum, Water Mill, New York, in 2019.

Helen Frankenthaler, Riverhead, 1963 (detail).

Frankenthaler

On the occasion of the exhibition Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, at the Museo di Palazzo Grimani in Venice, Italy, art historians John Elderfield and Pepe Karmel discuss the concept of the panorama in relation to the artist’s work. Their conversation traces developments in Frankenthaler’s approach to composition, the boundaries and conventions of abstraction, and how, in many ways, her career continually challenged established theories of art history.

Helen Frankenthaler in gondola with various friends, Venice, June 1966

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992 marks the first time that Frankenthaler’s paintings have been exhibited in Venice since her inclusion in the 1966 Biennale as part of the US Pavilion. This video, including interviews with the show’s curator, John Elderfield; the chairman of the Helen Frankenthaler Foundation, Clifford Ross; and the Foundation’s executive director, Elizabeth Smith, provides viewers with an in-depth look at the fourteen paintings included in the exhibition.

Thelma Golden and David Adjaye.

The Studio Museum in Harlem

Established in 1968, the Studio Museum in Harlem has served as a crucial institution in the development, presentation, and promotion of artists of African descent. With the museum now preparing for the construction of a new home, Gagosian’s Mark Francis spoke with Thelma Golden, director and chief curator, and Sir David Adjaye OBE, the project’s principal architect, about the building plans and the centrality of artists in their collaboration.

Nina Simone at the Globe Jazz festival at Symphony Hall, Boston, March 20, 1986.

Nina Simone, Our National Treasure

Text by Salamishah Tillet.

Rachel Whiteread, Nissen Hut, 2018.

Shy Sculpture: Nissen Hut

Rachel Whiteread’s public sculpture Nissen Hut was unveiled in October 2018 in Yorkshire’s Dalby Forest. Curator Tamsin Dillon explores the dynamic history of these structures and provides a firsthand account of the steps leading up to the work’s premiere.

Edmund de Waal: psalm

Edmund de Waal: psalm

The artist speaks about his two-part exhibition psalm, presented in Venice. He describes its connection to the history of the city and to notions of exile, and the profound cultural wealth that comes from migration.

Rachel Whiteread, Untitled (Notre-Dame), 2019.

For Notre-Dame

An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.

Installation view of Jeff Wall exhibition at Gagosian, New York

Jeff Wall: The Space of Photography

Jeff Wall leads a tour through his most recent exhibition in New York.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.