April 10, 2020
While preparing his first exhibition with Gagosian, in Rome, Stanley Whitney speaks with Louise Neri in his New York studio about how he arrived at his unique and intuitive approach to color and space in painting, employing a dynamic fusion of preordained structure and improvisation.
Artwork © Stanley Whitney; video: Pushpin Films; interview: Louise Neri
Stanley Whitney invited professor and musician-biographer John Szwed to his studio on Long Island, New York, as he prepared for an upcoming survey at the Buffalo AKG Art Museum to discuss the resonances between painting and jazz.
Megan N. Liberty explores artists’ engagement with notebooks and diaries, thinking through the various meanings that arise when these private ledgers become public.
Stanley Whitney reflects on the evolution of his work with Louise Neri, from his formative early days in New York to the pivotal period he spent living and working in Rome, arriving at the highly distinctive paintings for which he is now known. They explore the diverse and surprising influences of art and music on Whitney’s oeuvre, as well as his process and practice.
For American painter Stanley Whitney, Italy remains a central and enduring source of inspiration. Matthew Jeffrey Abrams, the author of a new monograph on the artist, reflects on the profound and far-reaching influence of Italian art and architecture on Whitney’s art.
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 the occasion of his exhibition The Fire This Time at Gagosian, Paris, Titus Kaphar discusses themes of history, representation, and collective memory in his recent paintings and hand-carved wood sculptures.
Join the artist inside Carol Bove: Nights of Cabiria, her recent exhibition at Gagosian, Beverly Hills, as she considers the power of illusion, the histories of her materials, and the philosophical lessons at the heart of Federico Fellini’s films.
In this video, musical ensemble Sō Percussion performs Steve Reich’s “Music for Pieces of Wood” inside the exhibition Richard Serra: Running Arcs (For John Cage), 1992, at Gagosian, New York.
The House on Utopia Parkway: Joseph Cornell’s Studio Re-Created by Wes Anderson is an exhibition conceived by curator Jasper Sharp and the acclaimed American filmmaker. The show brings Cornell’s New York studio to the heart of Paris, transforming Gagosian’s storefront gallery into a meticulously staged tableau—part time capsule, part life-size shadow box—for the first solo presentation of the artist’s work in Paris in more than four decades. In this video, Anderson discusses the genesis of the exhibition and the process by which it came together.
Join exhibition curator Donna De Salvo as she discusses her selection of the artist’s rarely seen sculptures, drawings, films, and archival materials in Walter De Maria: The Singular Experience at Gagosian, Le Bourget. Chief among these is Truck Trilogy (2011–17), De Maria’s final sculpture and the centerpiece of the exhibition.
Join Glenn Brown in his London studio as he discusses his presentation for the Studio section of Frieze Masters 2025, which explores the idea of the artist’s studio as a time machine: a space in which historical memory fuels creativity, manifesting in artworks that look to the future. Brown speaks about the featured works, which range from new paintings, drawings, and a sculpture to historic works on paper from the Brown Collection.
Péjú Oshin visits Christine Checinska, senior curator of African and diaspora textiles and fashion at the Victoria & Albert Museum. From her London office, Checinska shares her curatorial insights into the international traveling exhibition Africa Fashion, which originated at the V&A, and the Costume Institute’s current show Superfine: Tailoring Black Style at the Metropolitan Museum of Art, New York. The conversation delves into notions of diaspora, memory, homecoming, and the freedoms of being “anti-disciplinary.”