July 11, 2019
To coincide with Desert Painters of Australia, an exhibition of contemporary Indigenous Australian art at Gagosian, 976 Madison Avenue, New York, the gallery hosted a conversation between leading authorities Fred Myers, Silver Professor of Anthropology at New York University, and Henry Skerritt, Curator of Indigenous Arts of Australia at the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia, and Margo Smith AM, director of the Kluge-Ruhe Aboriginal Art Collection.
Gagosian Quarterly Talks: Desert Painters of Australia, Gagosian, 976 Madison Avenue, New York, May 21, 2019; video: Pushpin Films; introduction: Louise Neri
Desert Painters of Australia: Works from the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia and the Collection of Steve Martin and Anne Stringfield, Gagosian, New York, May 3–July 3, 2019; Desert Painters of Australia Part II: With Works from the Collection of Steve Martin and Anne Stringfield, Gagosian, Beverly Hills, July 26–September 6, 2019
Douglas Fogle moderates a conversation between Dan Colen and Dimitri Chamblas following the premiere of Colen’s two performance pieces At Least They Died Together and Carry On Cowboy.
Giuseppe Penone discusses his new monograph, The Inner Life of Forms, with the book’s editor Carlos Basualdo, senior curator of contemporary art at the Philadelphia Museum of Art, at the Greene Space, New York. Hosted by art critic Deborah Solomon.
Touching on everything from the politics of taste to the vibratory character of lines, Glenn Brown and Xavier Bray, the director of the Wallace Collection, discuss Brown’s exhibition, Come to Dust, in London.
Lawrence Weschler profiles the European exiles in Los Angeles during the 1930s and ’40s, examining how cultural visionaries, from Man Ray to Arnold Schoenberg, navigated the dramatic change in setting.
Walton Ford sat down with legendary art dealer Irving Blum at Gagosian Beverly Hills to discuss his latest exhibition, Calafia.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.
On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.
On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
Andrew Durbin’s dual biography, The Wonderful World That Almost Was: A Life of Peter Hujar and Paul Thek, published by Farrar, Straus and Giroux, tracks the convergences and divergences in the lives of the two artists, from their first meeting in Coral Cables, Florida, in 1956 through their generative romantic and creative partnership in New York, Italy, Fire Island, and beyond. Ahead of the release, Durbin met with the Quarterly’s Wyatt Allgeier to speak about the development of the project, the sublime noncompliance of these two artists, and the motifs of love, death, and rebirth that weave through the telling of their story.
Daniel Roseberry, the creative director of Schiaparelli, met with the Quarterly’s Derek C. Blasberg at the maison’s historic headquarters at 21 place Vendôme, Paris, following the Schiaparelli Fall/Winter 2026–27 ready-to-wear show. Since taking the helm in 2019, Roseberry has been credited with advancing the heritage of the house through unpredictable sculptural designs that carry Elsa Schiaparelli’s Surrealist spirit into a new century. The pair discuss the much-anticipated exhibition Schiaparelli: Fashion Becomes Art, now on view at the Victoria & Albert Museum, London, as well as Roseberry’s early exposures to art, his continued dedication to drawing, and the enduring legacy of Elsa Schiaparelli’s daring vision.
Helter Skelter—an exhibition at Fondazione Prada’s Venetian venue, Ca’ Corner della Regina—marks the first creative dialogue between two visionaries of American art, Arthur Jafa and Richard Prince. The show explores the grit, grift, violence, and ingenuity of American culture through more than fifty works, including photography, video, and large-scale installations that interrogate themes of race, gender, media, and politics. In the interview below, Nancy Spector, the exhibition’s curator, speaks about the shared motifs—from apocalyptic sunsets to a fascination with “monstrosity”—that led her to pair these artists for the first time.