Menu

Gagosian Quarterly

Summer 2021 Issue

Doris Ammann

Larry Gagosian reflects on the incredible life and career of his friend Doris Ammann.

Doris Ammann and Georg Frei, New York, 2007

Doris Ammann and Georg Frei, New York, 2007

Doris could light up a room, brighten every conversation, illuminate an artist’s intentions, and spark a collector’s passion. She had the high-wattage European sophistication that can intimidate in any language, but also a disarming warmth and wit that could put anyone at ease. She was both an impeccable perfectionist and a modest and forgiving friend. The ever-present twinkle in her eye was as irresistible as her quick and generous smile. The art world will be much dimmer without her.

She became one of the most talented art dealers in the world, but it was not a role she chose for herself. In 1977 she cofounded Thomas Ammann Fine Art AG, the Zurich gallery that bore the name of her charismatic brother, and where she happily played the supporting role. When Thomas tragically died, in 1993, she came from behind the scenes to center stage with fortitude and grace. Thrust into a world of extraordinarily competitive dealers, she became a beloved and respected friend among them. She had the attention of the top collectors in the world and gained their confidence by being a consummate professional and a true class act. Her discretion was legendary. She was strong but never forceful. You can gain power by force, but it’s stronger if you gain it through admiration. She commanded respect from artists, curators, and collectors alike through her sheer straightforward excellence. The art world’s love affair with Doris was earnest, deserved, and reciprocated.

Doris Ammann

Doris Ammann and Georg Frei, Rome, 2007

Doris Ammann

Georg Frei and Doris Ammann, New York, 2012

Doris Ammann

Georg Frei and Doris Ammann, Basel, 2006

Doris Ammann

Alba Clemente and Doris Ammann, New York, 2004

Doris found a collaborator and a soulmate in the art historian Georg Frei. They spent over three decades working together in one of the most enviable partnerships in the art business—the two were inseparable, cutting expertly tailored figures around the globe and finding themselves inevitably on every guest list. The thing about Doris and Georg was not only that they were sophisticated and erudite and really knew their stuff, but that they knew art was a grand adventure and seemed to have a lot of fun. Their affection for art, artists, and each other was infectious.

We were friends and co-conspirators for forty years. Every encounter or conversation with Doris could be the bright spot of the day or the thing that kept you up at night—she made it all look so easy and her elegance seemed effortless, but it was born of real guts. What becomes a legend most? Warholian red lipstick is the perfect war paint. The art world is not for the faint-hearted, but Doris proved one can excel with decency and the rare quality of unshakable integrity. Her friendships were pure and lasting and true. She wouldn’t sell her real treasures for the world. For nearly my whole life in this business, she was a model and inspiration and sometime jousting partner. Her friendship was a gift that will long outlast the loss. Her unexpected death leaves a hole at the very center of the art world that we haven’t begun to get our heads around yet. She was so loved and she will be greatly missed.

Artwork © Jean Pigozzi

Touch of Evil

Touch of Evil

Andrew Russeth situates Jamian Juliano-Villani’s daring paintings within her myriad activities shaking up the art world.

Sofia Coppola: Archive

Sofia Coppola: Archive

MACK recently published Sofia Coppola: Archive 1999–2023, the first publication to chronicle Coppola’s entire body of work in cinema. Comprised of the filmmaker’s personal photographs, developmental materials, drafted and annotated scripts, collages, and unseen behind-the-scenes photography from all of her films, the monograph offers readers an intimate look into the process behind these films.

Black and white portrait of Alexey Brodovitch

Game Changer: Alexey Brodovitch

Gerry Badger reflects on the persistent influence of the graphic designer and photographer Alexey Brodovitch, the subject of an upcoming exhibition at the Barnes Foundation, Philadelphia.

Various artworks by Jeff Perrone hang on a white gallery wall

Outsider Artist

David Frankel considers the life and work of Jeff Perrone, an artist who rejected every standard of success, and reflects on what defines an existence devoted to art.

Interior of Goetheanum, Dornach, Switzerland

Goetheanum: Rudolf Steiner and Contemporary Art

Author and artist Ross Simonini reports on a recent trip to the world center of the anthroposophical movement, the Goetheanum in Switzerland, exploring the influence of the movement’s founder and building’s designer Rudolf Steiner on twentieth-century artists.

A sculpture by the artist Duane Hanson of two human figures sitting on a bench

Duane Hanson: To Shock Ourselves

On the occasion of an exhibition at Fondation Beyeler, novelist Rachel Cusk considers the ethical and aesthetic arrangements that Duane Hanson’s sculpture initiates within the viewer.

Still from The World of Apu (1959), directed by Satyajit Ray, it features a close up shot of a person crying, only half of their face is visible, the rest is hidden behind fabric

Mount Fuji in Satyajit Ray’s Woodblock Art, Part II

In the first installment of this two-part feature, published in our Winter 2023 edition, novelist and critic Amit Chaudhuri traced the global impacts of woodblock printing. Here, in the second installment, he focuses on the films of Satyajit Ray, demonstrating the enduring influence of the woodblock print on the formal composition of these works.

Black and white portrait of Lisa Lyon

Lisa Lyon

Fiona Duncan pays homage to the unprecedented, and underappreciated, life and work of Lisa Lyon.

Black and white close up image of a person lying down, their face surrounded by a fog of film grain

On Frederick Wiseman

Carlos Valladares writes on the life and work of the legendary American filmmaker and documentarian.

Installation view with Douglas Gordon, Pretty much every film and video work from about 1992 until now... (1999–)

Douglas Gordon: To Sing

On the occasion of Douglas Gordon: All I need is a little bit of everything, an exhibition in London, curator Adam Szymczyk recounts his experiences with Gordon’s work across nearly three decades, noting the continuities and evolutions.

Two people stand on a snowy hill looking down

Adaptability

Adam Dalva looks at recent films born from short stories by the Japanese writer Haruki Murakami and asks, What makes a great adaptation? He considers how the beloved surrealist’s prose particularly lends itself to cinematic interpretation.

Detail of Lauren Halsey sculpture depicting praying hands, planets, and other symbol against red and green background

Black Futurity: Lessons in (Art) History to Forge a Path Forward

Jon Copes asks, What can Black History Month mean in the year 2024? He looks to a selection of scholars and artists for the answer.