February 18, 2020
The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.
Cindy Sherman’s Untitled #412 (2003) on the cover of Gagosian Quarterly, Spring 2020
Cindy Sherman’s Untitled #412 (2003) on the cover of Gagosian Quarterly, Spring 2020
Inside this issue, Cindy Sherman speaks with Derek Blasberg about her traveling survey exhibition, which arrives at the Fondation Louis Vuitton, Paris, in April. David Reed and Katharina Grosse join us for a conversation about the temporal aspects of their practices; Jacquelynn Baas salutes the artist Isabelle Waldberg and considers her friendship with Marcel Duchamp; Rani Singh speaks with Irving Blum about his time working with John Mason at Ferus Gallery, Los Angeles, in the late 1950s and early 1960s; and Leah Levy talks to Suzanne Hudson about the life and work of another artist associated with Ferus during these years, Jay DeFeo. This edition also pays homage to Peggy Cooper Cafritz, the educator, art collector, philanthropist, and civil rights activist who founded the Duke Ellington School of the Arts, Washington, DC. Our “Building a Legacy” series continues with Katy Rogers, who speaks on the processes involved in starting and publishing a catalogue raisonné project. We’re also delighted to announce the first installment of our 2020 fiction series, “The Iconoclasts” by Anne Boyer.
Elsewhere in this issue, we hear from Jennifer Guidi on the subject of her most recent paintings; Vera Lutter and Michael Govan reflect on her nearly two-year residency at the Los Angeles County Museum of Art; Jack McCollough and Lazaro Hernandez, the fashion designers behind Proenza Schouler, explain how art continues to act as an inspiration; and Matthew Jeffrey Abrams details the various ways that Rome continues to influence the American painter Stanley Whitney.
For all of this and more, order your copy or subscribe at the Gagosian Shop, or read the issue online.
Artwork © Cindy Sherman, courtesy the artist and Metro Pictures, New York
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
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.
The Spring 2026 issue of Gagosian Quarterly is now available, featuring Marcel Duchamp’s L.H.O.O.Q. (1964) on the cover.
Don Quaintance’s new book Duchamp in California: Walter Hopps Curates a Retrospective (Menil Collection/König, 2025) details the rich history of the Pasadena Art Museum and the consequential Marcel Duchamp retrospective that Walter Hopps curated there in 1963. Here Quaintance gives the backstory to the monograph and shares an excerpt from the book’s fourth chapter.
For Art Basel 2025, the fair has commissioned Katharina Grosse to create CHOIR, a large-scale, site-responsive painting for the Messeplatz Project. The curator for the project, Natalia Grabowska, met with Grosse in her studio in Berlin ahead of the work’s creation to talk through the process; Grosse’s approach to the specifics of the Messeplatz’s architecture; and the importance of unscripted encounters.
Sydney Stutterheim traces the linkages and affinities between the work of Richard Prince and that of Bob Dylan. Using Prince’s Untitled (Dylan) as a starting point, she considers the artist’s enduring interest in questions of originality and authorship, as well as his sustained relationship with the worlds of American music and counterculture.
Bartolomeo Sala considers the brief yet revolutionary dreams of Arte Povera. On the occasion of a retrospective at the Bourse de Commerce, Paris, he explores the historical conditions that gave rise to the radical midcentury movement and the warnings we might glean today from its legacy.
Lee Miller and Tanja Ramm’s friendship took them from New York to Paris and back, in front of and behind many cameras, and into the Surrealist avant-garde. Here, Gagosian director Richard Calvocoressi speaks with Ramm’s daughter, art historian Margit Rowell, about discovering her mother’s early life, her memories of Miller, and the collaborative work of photographers and models.
Writers and curators Dodie Kazanjian and Alison Gingeras spoke with the Quarterly’s Alison McDonald about the arts organization Art&Newport and the possibilities the historic Rhode Island town offers contemporary artists. Their current exhibition, Games, Gamblers & Cartomancers: The New Cardsharps, on view through October 1, 2023, examines the varied custom of card play and includes artists such as John Currin, Hadi Falapishi, and Katie Stout.
Invited to exhibit at Château La Coste in Provence, Jennifer Guidi created a new body of work that engaged with the cantilevered architecture of the gallery building, designed by Richard Rogers, and with the artistic heritage of the region. Amie Corry reports on the evolution of the exhibition and on its place within Guidi’s larger practice.
In this video, produced by Château La Coste, Jennifer Guidi discusses her latest solo exhibition, Mountain Range, conceived in response to the architecture of Château La Coste’s Richard Rogers Gallery and the surrounding landscape of Provence in the South of France. The exhibition, organized in collaboration with Gagosian, is now on view through September 3, 2023.