Gagosian Quarterly

June 10, 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 exhibition, the enthusiastic and generous response of artists and others, and what the restoration of this iconic structure means across the world.

Rachel Whiteread, Untitled (Notre-Dame), 2019, punched holes on postcard, in 2 parts, framed: 15 × 11 ⅝ × 1 ⅝ inches (38 × 29.5 × 4 cm) © Rachel Whiteread. Photo: Thomas Lannes

Rachel Whiteread, Untitled (Notre-Dame), 2019, punched holes on postcard, in 2 parts, framed: 15 × 11 ⅝ × 1 ⅝ inches (38 × 29.5 × 4 cm) © Rachel Whiteread. Photo: Thomas Lannes

Jennifer Knox White Serena and Jean-Olivier, how did this exhibition come to be?

Serena Cattaneo Adorno On seeing the terrible images of Notre-Dame burning on April 15, 2019, Larry Gagosian immediately felt that it was extremely pressing and important for the gallery to contribute to the restoration of this important monument. It was decided that an exhibition would be hosted at the Paris gallery, with all proceeds being donated to reconstruction efforts. We then invited artists with whom we collaborate to participate in the creation of the exhibition, and we were overwhelmed by the response. About thirty artists have contributed by donating a work to the exhibition—again, with all proceeds going directly to the reconstruction.

So many of the artists we work with feel a strong connection to this city. The gallery opened here in 2010. Paris—and France as a whole—has been very generous to us and to the artists we work with over the years. Artists have had the opportunity to exhibit in incredible venues such as the Grand Palais, the Louvre, the Château de Versailles . . . So the opportunity to help to protect the heritage of this country has been met with enormous enthusiasm.

JKW You both live and work in Paris. What response have you seen to the fire and recovery efforts?

Jean-Olivier Després When the catastrophe happened, we were both in New York. We saw the images coming in and were completely devastated; we thought it couldn’t possibly be real. We started calling our friends and family to find out what was going on, and the reality was worse than we could have imagined. We didn’t know at that moment whether the fire fighters would be able to stop the destruction.

For Notre-Dame

Patti Smith, Joan the Soldier, Notre Dame, 2010, gelatin silver print, 10 × 8 inches (25.4 × 20.3 cm) © Patti Smith

For Notre-Dame

Y.Z. Kami, White Dome VI, 2012–13, dye and acrylic on linen, 30 × 33 inches (76.2 × 83.8 cm) © Y.Z. Kami

But we realized that it wasn’t just Parisians who were devastated; a lot of people around the world responded to the event in a similar way. Many philosophers, writers, and journalists have written about this in the weeks since, commenting on Notre-Dame’s significance not just for the French, but for the rest of the world as well. It’s a symbol, an icon, for many reasons, of course. It’s an architectural monument that has been standing for almost eight hundred years. It’s a monument of Gothic art. It’s a symbol of Paris. Throughout the centuries, many great artists have represented Notre-Dame. David’s depiction of the coronation of Napoleon, which you can see at the Louvre, is set inside the cathedral. Famous photographers from the nineteenth century on have photographed both the exterior and the interior—Henri Cartier-Bresson, Robert Doisneau . . . Many painters have depicted it too: Claude Monet, Henri Matisse, and Pablo Picasso all made paintings of Notre-Dame; Edward Hopper painted it when he came to Paris in the early twentieth century.

For Parisians, Notre-Dame is very often in our daily lives.

For Notre-Dame

Blair Thurman, Creamy Tomato, 2017, acrylic on canvas on wood, 59 ⅝ × 34 ⅞ × 1 ½ inches (151.4 × 88.6 × 3.8 cm) © Blair Thurman

For Notre-Dame

Sterling Ruby, CLUB (6700), 2018, ceramic, 34 ¾ × 7 ⅜ × 2 ¼ inches (88.3 × 18.7 × 5.7 cm) © Sterling Ruby. Photo: Robert Wedemeyer

SCA It is of course also one of the main destinations in Paris for people visiting the city. It’s a building that holds enormous significance well beyond its religious connotation.

It has been quite moving to see how artists from across the world, unanimously, have donated so generously to this exhibition to contribute to the rebuilding efforts. Some have donated works that relate specifically to France, and others have created works that are inspired by Notre-Dame by using imagery of the cathedral, allowing us to have a beautiful selection of works to offer.

It has been extremely impressive, too, to see this response extend to many others who have contributed to realizing the exhibition, from shipping companies to the exhibition designer, Cécile Degos, and have donated their services for the cause. This has allowed us to ensure that all of the proceeds, in their totality, will be donated to the Friends of Notre Dame and La Fondation Notre Dame to fund the reconstruction.

For Notre-Dame

Cindy Sherman, Untitled #478, 2002/2008, C-print, 41 ⅝ × 25 ¾ inches (105.7 × 65.4 cm) © Cindy Sherman

For Notre-Dame

Ed Ruscha, First of All Fog, 2015, dry pigment and acrylic on museum board, 16 × 20 inches (40.6 × 50.8 cm) © Ed Ruscha

Seeing the worldwide support for protecting something that is so important to the arts has been inspiring. It is our mission to make this exhibition available to everybody, wherever they are, to make these works available and visible for the general public across the world. Notre-Dame is part of the heritage of France, but it’s also the heritage of the world, really, its history.

An Exhibition for Notre-Dame, Gagosian, Paris, June 11–July 27, 2019

A photograph by artist Cindy Sherman. The artist as four different clowns in a colorful, rectangular composition.

In Conversation
Cindy Sherman

Cindy Sherman sat down with Derek Blasberg to discuss her critically acclaimed exhibition at London’s National Portrait Gallery, her solitary process, and selfies.

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.

The cover of the Spring 2020 edition of the Gagosian Quarterly magazine. A Cindy Sherman photograph of herself dressed as a clown against a rainbow background.

Now available
Gagosian Quarterly Spring 2020

The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.

Anselm Kiefer, Volkszählung (Census), 1991, steel, lead, glass, peas, and photographs, 163 ⅜ × 224 ½ × 315 inches (4.1 × 5.7 × 8 m)/

Cast of Characters

James Lawrence explores how contemporary artists have grappled with the subject of the library.

A painting with gold frame by Louis Michel Eilshemius. Landscape with single figure.

Eilshemius and Me: An Interview with Ed Ruscha

Ed Ruscha tells Viet-Nu Nguyen and Leta Grzan how he first encountered Louis Michel Eilshemius’s paintings, which of the artist’s aesthetic innovations captured his imagination, and how his own work relates to and differs from that “Neglected Marvel,” Eilshemius.

River Café menu with illustration by Ed Ruscha.

The River Café Cookbook

London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.

Sterling Ruby, ACTS/OSIRIS-REx, 2016 (detail).

Sterling Ruby: Disjointed Monuments to Nothing

Alessandro Rabottini investigates the theoretical and formal underpinnings of Sterling Ruby’s career through the lens of the artist’s series ACTS.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

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.

The artist Ed Ruscha discussing his work.

Ed Ruscha: A Long Way from Oklahoma

In conjunction with his exhibition VERY at Louisiana Museum of Modern Art in Humlebæk, Denmark, Ed Ruscha sat down with Kasper Bech Dyg to discuss his work.

Anselm Kiefer, Maginot, 1977–93.

Veil and Vault

An exhibition at the Broad in Los Angeles prompts James Lawrence to examine how artists give shape and meaning to the passage of time, and how the passage of time shapes our evolving accounts of art.

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.