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Gagosian Quarterly

Summer 2018 Issue

Twomblyand the Poets

Anne Boyer, the inaugural winner of the Cy Twombly Award in Poetry, composes a poem in response to TwomblyAristaeus Mourning the Loss of His Bees (1973) and introduces a portfolio of the painters works accompanied by the poems that inspired them.

Cy Twombly, Untitled, 1990, acrylic, wax crayon, and pencil on handmade paper, 30 ⅝ × 21 ⅝ inches (77.8 × 54.8 cm)

Cy Twombly, Untitled, 1990, acrylic, wax crayon, and pencil on handmade paper, 30 ⅝ × 21 ⅝ inches (77.8 × 54.8 cm)

Anne Boyer

The poet and essayist Anne Boyer is the inaugural winner of the Cy Twombly Award for Poetry, from the Foundation for Contemporary Arts, and a 2018 Whiting Award winner. Her latest book, The Undying (2019), won the 2020 Pulitzer Prize in General Nonfiction.

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To read and to make nothing is to make a cathedral of oneself, the invisible kind that has no use for the general worship, points to no god but the one that is lost. That cathedral is fragile, always degrading, exhausting to repair, lost when a life is. To live quietly, inactive, and alone with all one’s hoarded reading is to live with a mind that is both alien and overcrowded, to exchange one’s thoughts for Homer’s or Keats’s, the dead poets always going on about Achilles or idleness or the sea.

To read and to make nothing, too, is to live in a lapsing ecology, all impressions out of balance, input and output disrupted, any possible equilibrium always impossible. To read and make nothing—no conversation, no further literature, no instruction, no notes—is to have only half-read, the necessarily transmutable untransmuted, all materials that exist most fully in their realization perpetually left unrealized.

But to read and make something—in Cy Twombly’s case an entire art, from beginning to end—is to have read the literature all the way through. Cy Twombly’s work is the work of a total reader. His work is a marginalia so amplified that the world itself—the sea, wars, grief, love—is all text, and any flat surface the margins to which he is compelled.

Reading is a process of the body, the object of a book or page in hand, words entering through the eyes, the entered words then creating impressions and sensations, these sensations then resulting in the reader’s gestures—now you move your eyes, now you have wanted something, now you turn the page, now you have felt, now you make a mark with your pen. Any gesture a reader makes is as biological and responsive as any other act of love, and Twombly’s work is to date that love’s—the readerly kind’s—most ardent and realized expression.

Many people who love poetry as much as Cy Twombly did can only approach the enormity of this love by making more poetry. To write more poetry always seems—at least to the poets I know—like a failed expression of love for poetry. A poet is always falling short of her poem, but Twombly bypassed the poet’s always surprised failure by knowing from the start that this failure is a precondition of this love. What Twombly did in the perfect face of poetry is gesture, again and again, in humble and perseverating devotion to an art that, of all of them, always exceeds itself. His gestures, like any lover’s, are evidence that he was moved, and moving, but beyond that love, he knew not toward what. And this space beyond knowing—what Keats once called “negative capability”—is the real site of any poem.

Cy Twombly’s is a response to poetry that could neither accept the degradations of making nothing from his love nor perform the hubris of pretending that poetry will ever live up to poetry. It is no wonder, then, that the poets love Cy Twombly, who seems at all times to stand both among us and apart from us. No matter how far Twombly’s practice gets dislocated from its roots in poetry by a marketplace that prefers to understand art in the diminishment of money and not in the amplitudes of love, every work by Cy Twombly is an irrefutable act of devotion to an art—poetry—that in its very substance repels this materiality.

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Artwork © Cy Twombly Foundation

Gerhard Richter’s Helen (1963) on the cover of Gagosian Quarterly, Spring 2021

Now available
Gagosian Quarterly Spring 2021

The Spring 2021 issue of Gagosian Quarterly is now available, featuring Gerhard Richter’s Helen (1963) on its cover.

Rainer Maria Rilke, 1928. Photo: Lou Andreas-Salomé

Rainer Maria Rilke: Duino Elegies

Bobbie Sheng explores the symbiotic relationship between the poet and visual artists of his time and tracks the enduring influence of his poetry on artists working today.

Featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.

Now available
Gagosian Quarterly Summer 2020

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

River Café menu with illustration by Ed Ruscha.

The River Café Cookbook

London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

In Conversation
Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.

Cy Twombly: In Beauty it is finished

Cy Twombly: In Beauty it is finished

Mark Francis, director of the exhibition Cy Twombly: In Beauty it is finished, Drawings 1951–2008, describes the impetus for this expansive presentation, the source for its title, and details the stories of some of the works on view.

Cy Twombly: Coronation of Sesostris

Cy Twombly: Coronation of Sesostris

Cy Twombly’s Coronation of Sesostris (2000) receives a closer look by Gagosian Director, Mark Francis. In this video, he discusses the history of the work, the myths and poetry embedded within it, and considers its lasting impact.

C.T.S.T.

C.T.S.T.

Katharina Grosse reflects on the work of Cy Twombly.

Cy Twombly

Cy Twombly

Olivier Berggruen and Mary Jacobus spoke about the works in the inaugural exhibition at Gagosian’s Grosvenor Hill outpost.

Treatise on the Veil: Cy Twombly at the Morgan

Treatise on the Veil: Cy Twombly at the Morgan

On the occasion of the Morgan Library and Museum’s exhibition of Cy Twombly’s monumental painting Treatise on the Veil (1970) and related drawings, Gagosian director Mark Francis speaks with Isabelle Dervaux, Acquavella Curator of Modern & Contemporary Drawings at the Morgan.