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

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.

Georg Baselitz working on a painting in his studio.

Georg Baselitz: What if...

Richard Calvocoressi narrates a tour of an exhibition of new paintings by Georg Baselitz in San Francisco, describing the visual effect of these luminous compositions and explaining their relationship to earlier works by the artist.

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

Katharina Grosse: The Movement Comes from Outside

Katharina Grosse discusses her exhibition Is It You? at the Baltimore Museum of Art with Gagosian’s Jona Lueddeckens. They consider what sets the Baltimore installation apart from its predecessors, and how Grosse sees the relationship of the human body to her immersive environments as opposed to her canvases.

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.

Still from the film "Women Artists: Katharina Grosse" by Claudia Müller.

Women Artists: Katharina Grosse

In this film by Claudia Müller, Katharina Grosse curates a virtual exhibition of works by ten female artists, including Valie Export, Isa Genzken, Emily Kame Kngwarreye, Wangechi Mutu, and others. Speaking about each artist’s practice, she explains what draws her to the selected works, which range from painting and sculpture to performance video and installation.

David Reed, #714, 2014–19, acrylic, oil, and alkyd on polyester.

David Reed

David Reed and Katharina Grosse met at Reed’s New York studio in the fall of 2019 to talk about his newest paintings, the temporal aspects of both artists’ practice, and some of their mutual inspirations.

Georg Baselitz, Da sind zwei Figuren im alten Stil (That’s two figures in the old style), 2019, oil and painter’s gold varnish on canvas

Georg Baselitz: Life, Love, Death

Richard Calvocoressi writes on the painter’s latest bodies of work, detailing the techniques employed and their historical precedents.

Detail of Sarah Sze's multimedia installation Plein Air.

Sarah Sze: Anything Times Zero Is Zero

Hear Sarah Sze speak about her most recent work, including the panel painting Picture Perfect (Times Zero) and the multimedia installation Plein Air (Times Zero) (both 2020). Discussing the relationship between painting and sculpture in her practice, she explains how she creates structure and its inverse, instability, in her layering of images, putting the viewer in the position of active discovery.

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

Five Films: Sarah Sze

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

Richard Prince, Untitled (Portrait), 2019.

The Right Time

Natasha Stagg on influencers, the loss of the it-girl, and the “promotional life.”

Georg Baselitz, Ohne Titel (nach Pontormo) (Untitled [after Pontormo]), 1961.

Baselitz Bildung

On the occasion of a career-spanning exhibition at the Gallerie dell’Accademia, Venice, Richard Calvocoressi tracks the evolution of Georg Baselitz’s development from his early education in East Germany to his revelatory trip to Florence, in 1965, and beyond.

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.