Gagosian Quarterly

April 20, 2020

Now available

gagosianquarterlysummer 2020

The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Joan Jonas’s Mirror Piece 1 (1969) on the cover of Gagosian Quarterly, Summer 2020

Joan Jonas’s Mirror Piece 1 (1969) on the cover of Gagosian Quarterly, Summer 2020

Our cover features a photograph from Joan Jonas’s Mirror Piece 1, a groundbreaking performance from the late 1960s. For Jonas the mirror was “a metaphor, a device to alter the image and to include the audience as a reflection, making them uneasy as they viewed themselves in public.” Reflection, the gaze, and discomfort: the present moment reveals the work’s prescience.

Inside the issue, we launch a new series, Leaders in the Arts, with a focus on Los Angeles. Joanne Heyler of the Broad invited Kristin Sakoda and Bettina Korek to discuss their personal journeys, the social responsibility of commissioning public art, the evolution of their city’s landscape, and more. Luc Sante writes on the enduring appeal of the cowboy and the resonance of that archetype in the work of Richard Prince. Carlos Valladares contemplates the history and evolution of gangster films. Jed Perl composes an abecedarium of Alexander Calder’s lifelong engagements with theater and dance. And Gillian Jakab reads the love poems of Frank O’Hara, revealing the inspiration behind some of his most celebrated poetry.

Our Building a Legacy article in this issue, featuring Glenn Wharton, focuses on the complexities involved in the preservation of time-based media. And Flavin Judd talks to Kara Vander Weg about the responsibility of maintaining the legacy of a great artist—in his case that of his father, Donald Judd—while passing along insights that only a son could have. Building on another legacy, Adriano Pedrosa speaks with Louise Neri about the radical history of the Museu de Arte de São Paulo and how it has influenced his vision for the museum’s future.

Elsewhere in the issue, Richard Calvocoressi writes on Georg Baselitz’s latest series of paintings; Christine Kondoleon and Kate Nesin speak with Mark Francis about an exhibition pairing artwork by Cy Twombly with works from the collection of ancient Greek, Roman, and Egyptian objects at the Museum of Fine Arts, Boston; Anne Baldassari reflects on her time working with Simon Hantaï; Raymond Foye offers a window into his long-standing friendship with Graham Nash; Sarah Sze takes us into the studio to describe the making of an intricate collage as the seed for a new public art commission; and Anne Boyer continues “The Iconoclasts,” in the second installment of our 2020 fiction series.

For all of this and more, order your copy or subscribe at the Gagosian Shop, or read the issue online.

Artwork © Joan Jonas/Artists Rights Society (ARS), New York

Sarah Sze: Timelapse

Sarah Sze: Timelapse

Francine Prose ruminates on temporality, fragility, and strength following a visit to Sarah Sze’s exhibition Timelapse at the Solomon R. Guggenheim Museum, New York.

Georg Baselitz and Richard Calvocoressi sit next to each other in the artist’s studio

In Conversation
Georg Baselitz and Richard Calvocoressi

In conjunction with the exhibition The Painter in His Bed, at Gagosian, New York, Georg Baselitz and Richard Calvocoressi discuss the motif of the stag in the artist’s newest paintings.  

Sarah Sze, Timekeeper

Sarah Sze: Timelapse

In this video, Sarah Sze elaborates on the creation of her solo exhibition Timelapse, on view through September 10, 2023. The show features a series of site-specific installations throughout the Solomon R. Guggenheim Museum, New York, that explore her ongoing reflection on how our experience of time and place is continuously reshaped in relationship to the constant stream of objects, images, and information in today’s digitally and materially saturated world. In Sze’s reimagination of the Guggenheim’s iconic architecture, designed in the 1940s by Frank Lloyd Wright, the building becomes a public timekeeper reminding us that timelines are built through shared experience and memory.

A painting by Katharina Grosse, the left side includes lime green brush strokes and the right includes magenta brush strokes

All I Wanted To Do Was Paint: A Conversation between Katharina Grosse and Sabine Eckmann

The exhibition Katharina Grosse Studio Paintings, 1988–2022: Returns, Revisions, Inventions premiered at the Mildred Lane Kemper Art Museum, Saint Louis, in September 2022. It continues its tour with presentations at the Kunstmuseum Bern, through June 2023, and the Kunstmuseum Bonn, opening in April 2024. To mark this momentous survey, the show’s curator, Sabine Eckmann, met with Grosse to discuss the evolution of her practice.

Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on the cover of Gagosian Quarterly, Summer 2023

Now available
Gagosian Quarterly Summer 2023

The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.

Image of Cy Twombly's Treatise on the Veil (Second Version), 1970

Cy Twombly: Imperfect Paradise

Eleonora Di Erasmo, cocurator of Un/veiled: Cy Twombly, Music, Inspirations, a program of concerts, video screenings, and works by Cy Twombly at the Fondazione Nicola Del Roscio, Rome, reflects on the resonances and networks of inspiration between the artist and music. The program was the result of an extensive three-year study, done at the behest of Nicola Del Roscio in the Rome and Gaeta offices of the Cy Twombly Foundation, intended to collect, document, and preserve compositions by musicians around the world who have been inspired by Twombly’s work, or to establish an artistic dialogue with them.

Black and white image of the interior of Cy Twombly’s apartment in Rome

Cy Twombly: Making Past Present

In 2020, the Museum of Fine Arts, Boston, announced their plan for a survey of Cy Twombly’s artwork alongside selections from their permanent ancient Greek and Roman collection. The survey was postponed due to the lockdowns necessitated by the coronavirus pandemic, but was revived in 2022 with a presentation at the J. Paul Getty Museum in Los Angeles from August 2 through October 30. In 2023, the exhibition will arrive at the Museum of Fine Arts, Boston. The curator for the exhibition, Christine Kondoleon, and Kate Nesin, author of Cy Twombly’s Things (2014) and advisor for the show, speak with Gagosian director Mark Francis about the origin of the exhibition and the aesthetic and poetic resonances that give the show its title: Making Past Present.

Installation view, Pat Steir: Paintings, Gagosian, Rome, March 10–May 7, 2022. Photo: Matteo D’Eletto

Artist to Artist: Pat Steir and Sarah Sze

On the occasion of her exhibition of recent paintings, presented at Gagosian in Rome, Pat Steir met with fellow artist Sarah Sze for a wide-ranging discussion—from shared inspirations and influences to the role of chance, contingency, place, and time in painting.

Installation view, Georg Baselitz: Archinto, Museo di Palazzo Grimani, Venice, May 19, 2021–November 27, 2022. Photo: Matteo De Fina

Georg Baselitz: Archinto

On the occasion of Georg Baselitz: Archinto at Museo di Palazzo Grimani, Venice, Artcore Films produced a short documentary featuring the artist. In the video, Baselitz details the origins of the project, how he approached the unique space, and his experiments in process and technique.

Richard Prince, Untitled (Original Cowboy), 2013, chromogenic print, in frame, 70 ⅛ × 100 ⅛ × 2 inches (178.1 × 254.3 × 5.1 cm) © Richard Prince, courtesy Richard Prince Studio

Picture Books: Percival Everett and Brandon Taylor

The second installment of Picture Books, an imprint organized by Emma Cline and Gagosian, presents author Percival Everett’s novella Grand Canyon, Inc. alongside Untitled (Original Cowboy), a photograph by Richard Prince. In celebration of the publication, Everett met with author Brandon Taylor to discuss the novella, the role of history in the writing process, and the similarity in methodologies for science and literature.

Installation view of Katharina Grosse: Repetitions without Origins at Gagosian, Beverly Hills

In Conversation
Katharina Grosse and Graham Bader

On the occasion of her exhibition Katharina Grosse: Repetitions without Origin at Gagosian, Beverly Hills, the artist spoke with art historian Graham Bader, associate professor of art history at Rice University, about the throughlines in her practice.

Baselitz: La rétrospective

Baselitz: La rétrospective

Richard Calvocoressi visits Georg Baselitz’s retrospective exhibition at the Centre Pompidou in Paris and reflects on both the historical specificity and timeless themes of the artist’s sixty-year career.