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Gagosian Quarterly

September 18, 2019

Francis Bacon: Couplings

Richard Calvocoressi provides an in-depth view of the exhibition Francis Bacon: Couplings at Gagosian, London, examining a theme that preoccupied the artist throughout his career: the relationship between two people, both physical and psychological.

Francis Bacon: Couplings, Gagosian, Grosvenor Hill, London, June 6–August 3, 2019; all artwork and archival material © The Estate of Francis Bacon. All rights reserved, DACS 2019; photos: John Deakin (02:43, 02:50), Perry Ogden (04:41), and Peter Stark (02:09); all other archival material: courtesy Hugh Lane Gallery, Dublin; video: Emma Charles, Miriam Perez, and PerryDuke

Francis Bacon in his studio in Battersea, London. Photo: © The Cecil Beaton Studio Archive at Sotheby’s

The Art of Biography: Mark Stevens and Annalyn Swan

Mark Stevens and Annalyn Swan, coauthors of the 2005 Pulitzer Prize–winning biography of Willem de Kooning, speak with Michael Cary about the research and revelations that went into their biography of Francis Bacon.

Gerhard Richter’s Helen (1963) on the cover of Gagosian Quarterly, Spring 2021

Now available
Gagosian Quarterly Spring 2021

The Spring 2021 issue of Gagosian Quarterly is now available, featuring Gerhard Richter’s Helen (1963) on its cover.

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.

John Currin, Memorial, 2020 (detail), oil on canvas, 62 × 40 inches (157.5 × 101.6 cm)

John Currin: Monuments to Lust

Natasha Stagg reports on a trip to John Currin’s New York studio.

View of the Valentino Haute Couture offices, Paris, including couture and artworks. Photo: © Gregory Copitet

Fashion and Art: Valentino Des Ateliers

Author and curator Gianluigi Ricuperati speaks to the Quarterly’s Wyatt Allgeier about his curatorial involvement in Valentino Des Ateliers, a collaborative project devised by Valentino’s creative director, Pierpaolo Piccioli, in partnership with Ricuperati. Working in a symbiotic manner, Piccioli and the Valentino Haute Couture team engaged in a dialogue with artists Joel S. Allen, Anastasia Bay, Benni Bosetto, Katrin Bremermann, Guglielmo Castelli, Maurizio Cilli, Danilo Correale, Luca Coser, Jamie Nares, Francis Offman, Andrea Respino, Wu Rui, Sofia Silva, Alessandro Teoldi, Patricia Treib, and Malte Zenses, along with the participation of Kerstin Bratsch, to arrive at a singular couture collection.

Helen Frankenthaler, Heart of London Map, steel sculpture

Helen Frankenthaler: A Painter’s Sculptures

On the occasion of four exhibitions in London exploring different aspects of Helen Frankenthaler’s work, Lauren Mahony introduces texts by the sculptor Anthony Caro and by the artist herself on her relatively unfamiliar first body of sculpture, made in the summer of 1972 in Caro’s London studio.

Plated prawns on table cloth of hot pink velvet

Social Works: Linda Goode Bryant and DeVonn Francis

Linda Goode Bryant and DeVonn Francis discuss their involvement in community-building projects based on food and farming, as part of “Social Works,” a supplement guest edited by Antwaun Sargent for the Summer 2021 issue of the Quarterly.

Left: Rachel Feinstein, Corine, 2018 © Rachel Feinstein. Photo: Jeff McLane. Right: Ewa Juszkiewicz, Untitled (after Elisabeth Vigée Le Brun), 2021 © Ewa Juszkiewicz

Artist to Artist: Rachel Feinstein and Ewa Juszkiewicz

On the occasion of Frieze New York 2021, the two artists discuss remixing conventions, the allure of Rococo, and the importance of research and history within their respective practices.

Walter De Maria, The Lightning Field, 1977. Entire field from northwest exterior looking southeast, summer 1979

A Day in the Life of The Lightning Field

In the first of a two-part feature, John Elderfield recounts his experiences at The Lightning Field (1977), Walter De Maria’s legendary installation in New Mexico. Elderfield considers how this work requires our constantly finding and losing a sense of symmetry and order in shifting perceptions of space, scale, and distance, as the light changes throughout the day.

A Jenny Saville painting titled Self-Portrait (after Rembrandt), oil on paper

Jenny Saville: Painting the Self

Jenny Saville speaks with Nicholas Cullinan, the director of the National Portrait Gallery, London, about her latest self-portrait, her studio practice, and the historical painters to whom she continually returns.

Jeff Wall, Dead Troops Talk (a vision after an ambush of a Red Army Patrol, near Moqor, Afghanistan, winter 1986), 1992, transparency in lightbox, 90 ⅛ × 164 ⅛ inches (229 × 417 cm)

Death Valley ’89: Jeff Wall vs. Photography

Daniel Spaulding considers formal and technical developments in the photographer’s work against the background of global shifts of power and politics, specifically the fall of the Berlin Wall in 1989.

Pontus Hultén, 1983. Photo: Sueddeutsche Zeitung Photo/Alamy Photo

Game Changer
Pontus Hultén

Wyatt Allgeier explores the enduring legacy of the museum director, curator, educator, and collector Pontus Hultén (1924–2006).