Winter 2020 Issue
The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.
Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly, Winter 2020
Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly, Winter 2020
For our last issue of 2020 we invited some of our most beloved artists, authors, and theorists to reflect on this perplexing moment in history and to speculate on how we can find hope in the coming years. For our cover story, Jenny Saville speaks with Nicholas Cullinan, director of the National Portrait Gallery, London, about historical painters to whom she often returns and an upcoming exhibition that will set her work alongside the legendary artist Michelangelo.
We are honored to present a special supplement guest edited by curator Alison M. Gingeras and psychoanalyst Jamieson Webster, entitled “New Interiorities.” The supplement includes essays by Jacqueline Rose, Alissa Bennett, and Miciah Hussey, alongside a photography portfolio by Deana Lawson and an interview with theorist Paul B. Preciado; each feature addresses ideas around feminism, control, resistance, and change in light of various paradigm shifts.
Also inside the issue, we continue our Leaders in the Arts series with a conversation among Carolyn Christov-Bakargiev, Sarah Cosulich, and Elvira Dyangani Ose. Alastair Gordon and Robert M. Rubin speak with Teddy Cruz and Fonna Forman about their work on migrant housing and a community station in Tijuana inspired by Jean Prouvé. Motswana artist Meleko Mokgosi writes on his eight-chapter painting cycle Democratic Intuition, and provides an astounding reading list oriented around the question of democracy.
Elsewhere in the issue, Joe Bradley interviews Neil Jenney; Tatiana Trouvé shares a portfolio of drawings made during the initial pandemic lockdown; Lisa Small considers the historical precedents for Ewa Juszkiewicz’s painting practice; Hendel Teicher examines Trisha Brown’s choreography; Carlos Valladares pays homage to the singular Shelley Duvall; John Elderfield investigates paths of potential influence between T. S. Eliot and Henri Matisse; and we witness the culmination of Anne Boyer’s short-story series “The Iconoclasts,” which breaks the boundaries of traditional fiction and expresses a moment that is surreal yet uncannily familiar.
For all of this and more, order your copy or subscribe at the Gagosian Shop, or read the issue online.
Artwork © Jenny Saville
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 March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.
The Palazzo Grassi – Pinault Collection in Venice opened Tatiana Trouvé: The Strange Life of Things this past April. Conceived in close collaboration with the artist, the exhibition’s venue served as a key starting point for the creation of new sculptures, large-scale drawings, and site-specific installations, all presented in dialogue with bodies of work from the past decade. A catalogue was published alongside the exhibition, and here we share Neville Wakefield’s essay on Trouvé’s radical forms of cartography.
Ahead of her exhibition over the summer at the National Portrait Gallery, London, Jenny Saville met with the novelist Douglas Stuart to discuss Glasgow, the beauty and blemishes of bodies, and their respective creative processes.
Jenny Saville reflects on Cy Twombly’s poetic engagement with the world, with time and tension, and with growth in this excerpt from her Marion Barthelme Lecture, presented at the Menil Collection, Houston, in 2024.
Gagosian hosted a conversation between Jenny Saville and Martin Gayford, art critic and author, in conjunction with the exhibition Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews at Gagosian, Grosvenor Hill, London. Gayford also spoke with the artist about her works in the exhibition Jenny Saville: Latent at Gagosian, rue de Castiglione, Paris.
In this video, Jenny Saville describes the evolution of her practice inside her latest exhibition, Latent, at Gagosian, Paris. She addresses the genesis of the title and reflects on the anatomy of a painting.
In this video, Tatiana Trouvé provides an overview of her latest installation, presented at the Centre Pompidou, Paris. The exhibition, whose title translates to The Great Atlas of Disorientation, includes a selection of drawings and sculptures that create fantastical landscapes where reality engages in infinite exchanges with its doubles.
Tatiana Trouvé speaks with Jean-Michel Geneste, archaeologist and curator, about the paradoxes of her practice: absence and presence, the ancient and the contemporary, the natural and the human-made.
On the occasion of Neil Jenney: AMERICAN REALISM TODAY, the artist sat down with Gagosian curator Michael Cary to discuss paintings from Jenney’s recent series Modern Africa (2015–)—a subseries of the New Good Paintings (2015–)—and the preceding series, Good Paintings (1971–2015).
An exhibition curated by Sergio Risaliti, director of the Museo Novecento, Florence, pairs artworks by Jenny Saville with artists of the Italian Renaissance. On view across that city at the Museo Novecento, the Museo di Palazzo Vecchio, the Museo dell’Opera del Duomo, the Museo degli Innocenti, and the Museo di Casa Buonarroti through February 20, 2022, the presentation features paintings and drawings by Saville from the 1990s through to work made especially for the occasion. Here, Risaliti reflects on the resonances and reverberations brought about by these pairings.
Tatiana Trouvé discusses her installation The Residents (2021), commissioned by Artangel for the exhibition Afterness on Orford Ness, a former military testing site in Suffolk, England