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Gagosian Quarterly

April 16, 2020

Shortlist

Twelve Tracks:Jennifer Guidi

In this series we invite artists and writers to tell us about works of art, literature, film, or music that have influenced their work or are at the forefront of their minds today. Here Jennifer Guidi shares a selection of the music she listens to in the studio and speaks about its connection to her meditative painting process.

Jennifer Guidi, We Shine Outward Into the Universe (Gemini and Cancer), 2019, sand, acrylic, and oil on linen, 92 × 74 inches (233.7 × 188 cm)

Jennifer Guidi, We Shine Outward Into the Universe (Gemini and Cancer), 2019, sand, acrylic, and oil on linen, 92 × 74 inches (233.7 × 188 cm)

Jennifer Guidi

Jennifer Guidi creates paintings notable for their luminosity, texture, and sculptural presence. Her swirling, mandala-like compositions oscillate in color and texture, inspiring shifts in perceptual awareness to forge new sensory horizons. Each painting is methodically executed through a unique process—at once systematic and organic—which reflects the connection of her painting practice to strains of Minimalism that privilege attention to detail and repetition. Her sculptural markings evoke an intensely meditative sense of narrative and spiritual votive.

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A recurring form in my painting is the mandala: I start at a center point and move outwards, creating a pattern that radiates out to the edges of the canvas. I apply paint to my brush before making each mark. The repetition of applying paint to the brush and then to the canvas is, for me, a meditative process.

Set to music, this physical practice becomes like choreography. I work to the beat of the music. The rhythm keeps me going and helps me maintain momentum. I need the backdrop of music to push me along and keep me motivated while I paint.

Jennifer Guidi working in her studio to Drake’s “In My Feelings” from his album Scorpion (2018), Los Angeles, 2020

I grew up listening to hip-hop here and there but really connected to it on a deeper level six years ago. Typically I pick an artist and listen to an album all the way through. I play certain songs to get into a desired headspace to paint. Sometimes I connect with the lyrics, the narrative of a song; other times it’s the beat that resonates.

The music doesn’t directly influence the mood or form of the artwork—I plan the color and mark-making before I start painting. But the energy of the song fuels and sustains my own energy.

The list below is composed of a mixture of new tracks I’m listening to now and a few long-time favorites. My intention was for it to be somewhat upbeat, resonating hope and healing for the current moment.

I don’t usually create playlists for the music I listen to in the studio. More often, I’ll pick a particular song and see where it takes me. This selection reflects that; it’s a wandering journey.

As told to Gillian Jakab, April 2020; artwork © Jennifer Guidi

Jennifer Guidi in her Los Angeles studio, 2020.

Jennifer Guidi

The artist speaks with Laura Fried about her most recent paintings, the symbol of the serpent, and her evolving relationship to color.

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.

(RED) Auction 2018

(RED) Auction 2018

Theaster Gates and Sir David Adjaye join Bono to spearhead (RED)’s third auction of contemporary art and design, raising funds for the global fight against AIDS. As Gagosian prepares the preview exhibition, Gillian Pistell looks at the urgency of this vital cause.

Twelve Tracks: Roe Ethridge

Shortlist
Twelve Tracks: Roe Ethridge

Roe Ethridge shares the transportive powers of his playlist “Teenage Chemicals in 1985,” a soundtrack that began playing in those formative years and hasn’t stopped since.

Still from La Jetée (1962), directed by Chris Marker.

Shortlist
Five Films: Sarah Sze

Sarah Sze writes about five films that live as richly evocative images in her visual memory.

The Nature of Mark Grotjahn

The Nature of Mark Grotjahn

Michael Auping writes about the origins of Mark Grotjahn’s Capri paintings and their relationship with nature and landscape.

Georg Baselitz and Zeng Fanzhi. Portraits of both artists in black-and-white.

Artist to Artist: Georg Baselitz and Zeng Fanzhi

On the occasion of Georg Baselitz: Years later at Gagosian, Hong Kong, Zeng Fanzhi composed a written foreword for the exhibition’s catalogue and a video message to the German painter. Baselitz wrote a letter of thanks to the Chinese artist for his insightful thoughts.

Willem de Kooning seated at Sidney Janis Gallery, 1959. Color photograph

There is Woman in the Landscapes: Willem de Kooning from 1959 to 1963

Lauren Mahony considers a critical four-year period in the painter’s career, examining the technical changes that occurred between his “abstract parkway landscapes” of the late 1950s and the “pastoral landscapes” that succeeded them, as well as the impact on his work of his impending move to Springs, New York.

Installation view, Katharina Grosse: Is It You?, Baltimore Museum of Art, March 1–June 28, 2020

Katharina Grosse: I see what she did there

On the occasion of the artist’s exhibition at the Baltimore Museum of Art, Terry R. Myers muses on the manipulations of time in Grosse’s work.

Titus Kaphar, Braiding possibility, 2020, Oil on canvas, 83 3/4 × 68 inches (212.7 × 172.7 cm)

Seeing the Child: Braiding possibility

Titus Kaphar and Tochi Onyebuchi present an excerpt from their short story “Seeing the Child,” a poetic rumination on Kaphar’s latest body of work, From a Tropical Space (2019–).

Titus Kaphar in his studio, painting

Titus Kaphar: In the Studio

Jacoba Urist reports on a recent trip to the artist’s studio in New Haven, Connecticut, to see his new body of work, From a Tropical Space (2019–). She writes on the emotional and sensory impact of these paintings and considers their singular place in Titus Kaphar’s oeuvre.

Titus Kaphar, Father and Son, 2010, oil on canvas, 59 ⅞ × 48 inches (152 × 122 cm). Photo: Jon Lam Photography, courtesy Friedman Benda

Titus Kaphar: Intricate Illusion

Bridget R. Cooks investigates the aesthetic and narrative conventions deployed by the artist, demonstrating how his paintings force provocative confrontations with history through complex modes of depiction.