Artwork: © The Estate of Francis Bacon. All rights reserved. DACS 2019; © Georg Baselitz; © The Estate of Jean-Michel Basquiat/ADAGP, Paris and DACS, London 2019; © Glenn Brown; © Urs Fischer; © The Lucian Freud Archive/Bridgeman Images; © Ellen Gallagher; © Damien Hirst and Science Ltd. All rights reserved. DACS 2019; © Howard Hodgkin Estate; © Estate of Roy Lichtenstein/DACS 2019; © ADAGP, Paris and DACS, London 2019; Self Portrait, 1988 © Robert Mapplethorpe Foundation. Used by permission; © Giuseppe Penone; © Succession Picasso/DACS, London 2019; © Richard Prince; © Nathaniel Mary Quinn; © Charles Ray, courtesy Matthew Marks Gallery; © Gerhard Richter 2019 (040019); © Jenny Saville; © Cindy Sherman, courtesy the artist and Metro Pictures, New York; © Rudolf Stingel; © Christopher Wool; video: Emma Charles, Miriam Perez, and PerryDuke; Visions of the Self: Rembrandt and Now, in partnership with English Heritage, Gagosian, Grosvenor Hill, London, April 12–May 18, 2019
May 15, 2019
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, for an exhibition at Gagosian London. She details the extensive influence Rembrandt has had on her painting practice.
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.
Jenny Saville and Nicholas Cullinan
Jenny Saville speaks with Nicholas Cullinan, the director of the National Portrait Gallery, London, from her studio. They discuss portraiture, her latest work, and her art historical influences, as well as the shifting nature of perception in the age of digital communication.
Five Preoccupations: Jenny Saville
Jenny Saville shares a selection of the books, films, and more that have been her companions in the quiet of the shutdowns in recent months and as she looks ahead to a new exhibition next year.
In the Studio: Damien Hirst’s Veil Paintings
Damien Hirst speaks about his Veil paintings with Gagosian’s Alison McDonald. “I wanted to make paintings that were a celebration,” he says, “and that revealed something and obscured something at the same time.”
Uncanny Delights: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray
Catalyzed by the exhibition Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray, Alice Godwin examines the legacy and development of a Surrealist ethos in selected works from three contemporary sculptors.
Damien Hirst: Visual Candy
James Fox considers the origins of Damien Hirst’s Visual Candy paintings on the occasion of a recent exhibition of these early works in Hong Kong.
Damien Hirst: Colour Space Paintings
Blake Gopnik examines the artist’s “dot” paintings in relation to the history of representation in Western art, in which dabs of paint have served as fundamental units of depiction and markers of objective truth.
Urs Fischer: Lives of Forms
In his introduction to the catalogue for Urs Fischer’s exhibition The Lyrical and the Prosaic, at the Aïshti Foundation in Beirut, curator Massimiliano Gioni traces the material and conceptual tensions that reverberate throughout the artist’s paintings, sculptures, installations, and interventions.
Nathaniel Mary Quinn
A statement from the artist.
Fruit and Vegetables: Francesco Bonami on Urs Fischer
Fruit and vegetables are a recurring motif in Urs Fischer’s visual vocabulary, introducing the dimension of time while elaborating on the art historical tradition of the vanitas. Here, curator Francesco Bonami traces this thread through the artist’s sculptures and paintings of the past two decades.
Five Books: Urs Fischer
Urs Fischer talks about reading during the pandemic lockdown, sharing five books—both fiction and nonfiction—that he has turned to while in self-isolation.
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.