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Gagosian Quarterly

Fall 2021 Issue

SOCIAL WORKS II:Kahlil Robert Irving

Antwaun Sargent speaks with Kahlil Robert Irving in advance of the opening of Social Works II and presents a portfolio of Irving’s sculptures.

Kahlil Robert Irving, Downtown Norfolk, Nebraska (1998), 2017, unglazed and glazed ceramic, enamel, luster, and image transfers. Photo: Dusty Kessler

Kahlil Robert Irving, Downtown Norfolk, Nebraska (1998), 2017, unglazed and glazed ceramic, enamel, luster, and image transfers. Photo: Dusty Kessler

Kahlil Robert Irving

Born in San Diego in 1992, Kahlil Robert Irving has an MFA from the Sam Fox School of Design and Visual Arts, Washington University, St. Louis, and a BFA from the Kansas City Art Institute. In 2019, Callicoon Fine Arts mounted his second solo exhibition in New York, Black ICE. He was awarded a Louis Comfort Tiffany Foundation Biennial Award in 2019 and a Joan Mitchell Foundation Grant in 2020. In the fall of 2021, Irving will participate in the New Museum Triennial, cocurated by Jamillah James and Margot Norton.

Antwaun Sargent

Antwaun Sargent is a writer and critic. His writing has appeared in The New York Times, The New Yorker, and The New York Review of Books, among other publications, and he has contributed essays to museum and gallery catalogues. Sargent has co-organized exhibitions including The Way We Live Now at the Aperture Foundation in New York in 2018, and his first book, The New Black Vanguard: Photography between Art and Fashion, was released by Aperture in fall 2019. Photo: Darius Garvin

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Antwaun SargentYou make ceramic sculptures that also use found debris, sourced from the streets. How did this come about?

Kahlil Robert IrvingThe work has grown over the past ten years, but it originates in my first time going to New York City—seeing the ground partitioned by roads from the airplane, and then seeing the big buildings coming out of Manhattan. This implied texture or geometry in three-dimensional space made me think about where I am and where things are, and then about my education in sculpture in relation to my lived experience. Making sculptures that reference the street or the built environment has been a way to decipher the problems and the infrastructure behind the life we’re all living but few are really seeing. It really came about in college, when I was studying abstraction and listening to artists, specifically Kerry James Marshall, talk about representation and content colliding to tell narratives in painting. So I went forward past the nonrepresentational abstract works I was making to a place where I was adding forms—to-go boxes, soda bottles—to give an engagement with scale that the viewer could understand. Another thing, though: everything in my sculptures is made in the studio. The current work has an even more layered presentation of being found or weathered with time, but in fact it’s all constructed that way.

ASWhat is it about the street that you want to situate within an artwork?

KRITo pull up a piece of asphalt exposes the layers underneath the road on which we’re walking or driving, and at the same time puts up a direct, physical impediment in front of people. It’s a gesture for those who cannot perceive the issues of this world, even though they’re hypervisible for the people who are affected by that built environment. For me, the ground is this infinite frame by which narratives and stories are told or understood or traversed; the objects embedded in the asphalt hold stories that aren’t getting told, they’re just getting built over and on top of. How do you deconstruct and reconstruct a reality in this very terse and ambiguous history that’s all built around material? In St. Louis, where I grew up and where I’ve returned to, it’s all built out of bricks and ceramic, or I should say silicate material. Silicate is a glass agent that occurs in the earth and can be pulled out and extracted. It’s what makes clay hard. It’s what makes glass a slow-moving material that’s always in motion. Or concrete, a material that goes through either an endothermic or an exothermic reaction that then catalyzes materials and gives them stability.

Social Works II: Kahlil Robert Irving

Kahlil Robert Irving, Street and STRIPES – (Crosswalk = Cross FIT/Coors) “Real Road Relief ” {Blood, Tar, Grass}, collograph and collaged found objects, 42 ⅜ × 94 ⅝ inches (107.6 × 240.3 cm), printed at Bedrock Art Editions, Kansas City, Missouri

ASHow are you thinking about the objects you re-create, from the car air-freshener to the Newport box? How are you thinking about their relationships to the people in the communities that walk that ground?

KRIDowntown Norfolk, Nebraska, 1998 [2017], for instance, comes through an experience of making a specific autobiographical narrative and relationship present. It signifies a personal lived experience, and then these Newports are a signifier or a moment that many people can connect around and understand and relate to. There are multiple entry points into the work, but the signifiers I’m using are either situational or relevant or pertinent to a specific narrative. And with the sculpture, I’m also invested in exploring a signifier that is illegible. They’re so abstract that that complication almost leads to an end.

Social Works II: Kahlil Robert Irving

Installation view, Kahlil Robert Irving: Black ICE, Callicoon Fine Arts, New York, September 8–October 20, 2019. Photo: Phoebe D’Heurle

ASThat play between legibility and illegibility is fascinating. Could you talk about that interplay?

KRIBy refusing to make everything explicitly legible, the work allows there to be space for the ways Black people live . . . for more of the complicated nature of our existence in places and spaces. There’s a certain level of freedom there that I appreciate.

Social Works II: Kahlil Robert Irving

Kahlil Robert Irving, Star Wars [{street wars}], 2019 (detail), unglazed and glazed ceramic, enamel, luster, and image transfers, 1 × 55 ¼ × 55 ¼ inches (2.5 × 140.3 × 140.3 cm). Photo: Dusty Kessler

Social Works II: Kahlil Robert Irving

Kahlil Robert Irving, Star Wars [{street wars}], 2019 (detail), unglazed and glazed ceramic, enamel, luster, and image transfers, 1 × 55 ¼ × 55 ¼ inches (2.5 × 140.3 × 140.3 cm). Photo: Dusty Kessler

ASFor me, one of the great powers of this work is that these objects that you create are gateways to memories, and that in making these objects, a lot of them are flattened or crushed onto the surface.

KRII’m going to describe it like this: as I was growing up, one of the most important albums for me was Still Standing by Goodie Mob featuring OutKast, from 1998. The song “Black Ice” has remained key. I did an interview for the New Museum Triennial and I talked about Michael Eric Dyson, who wrote this book Holler If You Hear Me: Searching for Tupac Shakur [2001], which is about how Tupac constructed his music in relationship to how he lived and navigated his life within the reality of being Black in America. The way Professor Dyson talked about Tupac in an interview on 60 Minutes brought out the complicated reality in which my work aims to participate, where signs and symbols can exist and be collapsed but also be very present, forthright, and direct. Only certain experiences will be able to decipher that. I cherish lyricism and the lyrical—a lyrical flourish comes not only through the complicated nature of word usage, but also with the reality of having to navigate multiple spaces, inhabitable for some, uninhabitable for others, but also a space for freedom. Blackness is space for invention.

Artwork © Kahlil Robert Irving

Social Works II: Curated by Antwaun Sargent, Gagosian, Grosvenor Hill, London, October 7–December 18, 2021

The “Social Works II” supplement also includes: “Tyler Mitchell: A New Landscape”; “Amanda Williams: What Black is This”; poetry by Raymond Antrobus and Caleb Femi; “Manuel Mathieu: The Delusion of Power; and “Sumayya Vally and Sir David Adjaye

Screen Time: How Nadya Tolokonnikova and UnicornDAO are Warming the Web3 World

Screen Time: How Nadya Tolokonnikova and UnicornDAO are Warming the Web3 World

Ashley Overbeek profiles Pussy Riot member Nadya Tolokonnikova and the feminist collective UnicornDAO, highlighting their efforts to harness blockchain technology for art and activism.

Rachel Whiteread, Kunisaki House, 2021–22, concrete, 102 ½ × 305 ⅛ × 191 ⅜ inches (260 × 775 × 486 cm)

Rachel Whiteread: Shy Sculpture

On the occasion of the unveiling of her latest Shy Sculpture, in Kunisaki, Japan, Rachel Whiteread joined curator and art historian Fumio Nanjo for a conversation about this ongoing series.They address the origins of these sculptures and the details of each project.

David Teniers the Younger, Archduke Leopold William in his Gallery at Brussels, c. 1650, oil on canvas, 48 ⅜ × 64 inches (123 × 163 cm), Kunsthistorisches Museum, Vienna. Photo: Wikimedia Commons

Screen Time: A Conversation with Andrei Pesic

In conversation with Ashley Overbeek, scholar Andrei Pesic traces the art-historical roots of the NFT market to the Paris Salons. Along the way, they discuss questions of authenticity, value, and ownership.

Hans Ulrich Obrist’s Questionnaire: Anselm Kiefer

Hans Ulrich Obrist’s Questionnaire: Anselm Kiefer

In this ongoing series, curator Hans Ulrich Obrist has devised a set of thirty-seven questions that invite artists, authors, musicians, and other visionaries to address key elements of their lives and creative practices. Respondents make a selection from the larger questionnaire and reply in as many or as few words as they desire. For the fourth installment, we are honored to present the artist Anselm Kiefer.

Leaps of Faith: A Conversation with Jordan Casteel and Calida Rawles

Leaps of Faith: A Conversation with Jordan Casteel and Calida Rawles

For her guest-edited section in the Winter 2022 Gagosian Quarterly, “Black to Black,” Roxane Gay speaks with Jordan Casteel and Calida Rawles about the nature of success, the intricacies of care, and how they each envision their practice.

Damien Hirst and Ashley Bickerton during an installation at Newport Street Gallery, London, c. 2017

Truth Revealed: Damien Hirst and James Fox on Ashley Bickerton

In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.

Urs Fischer: Denominator

Urs Fischer: Denominator

Urs Fischer sits down with his friend the author and artist Eric Sanders to address the perfect viewer, the effects of marketing, and the limits of human understanding.

Black and white image of Walter De Maria, 1961. Photo: George Maciunas

Walter De Maria: The Object, the Action, the Aesthetic Feeling

The definitive monograph on the work of Walter De Maria was published earlier this fall. To celebrate this momentous occasion, Elizabeth Childress and Michael Childress of the Walter De Maria Archive talk to Gagosian senior director Kara Vander Weg about the origins of the publication and the revelations brought to light in its creation.

The Émile Hermès Museum, Paris. Photo: Nathalia Baetens, courtesy Hermès

Fashion and Art: Pierre-Alexis Dumas

Pierre-Alexis Dumas, the artistic director of Hermès, speaks with curator Abby Bangser about the central role of the house’s art collection in its creative process.

Timothy Behrens, Lucian Freud, Francis Bacon, Frank Auerbach, andMichael Andrews (left to right) at Wheeler's restaurant in Soho,London, 1963. Photo: © John Deakin/John Deakin Archive/BridgemanImages

Frank Auerbach: Artist Friends

In this candid interview with Richard Calvocoressi, the painter Frank Auerbach reminisces on his friendships with Michael Andrews, Francis Bacon, and Lucian Freud. The two spoke during the planning of the exhibition Friends and Relations, a show that examines the interconnected lives and art practices of this group of London painters.

Photograph of the execution of Giuseppe Penone’s frottages in La Tourette, Éveux, France. Giuseppe Penone, Le Bois Sacré (The Sacred Forest), 2022, prepared canvas oil and wax pastel

Giuseppe Penone À La Tourette

Le Couvent Sainte-Marie de La Tourette, in Éveux, France, is both an active Dominican priory and the last building designed by Le Corbusier. As a result, the priory, completed in 1961, is a center both religious and architectural, a site of spiritual significance and a magnetic draw for artists, writers, architects, and others. This fall, at the invitation of Frère Marc Chauveau, Giuseppe Penone will be exhibiting a selection of existing sculptures at La Tourette alongside new work directly inspired by the context and materials of the building. Here, Penone and Frère Chauveau discuss the power and peculiarities of the space, as well as the artwork that will be exhibited there.

Image of Mehdi Ghadyanloo working on Finding Hope (2019), a mural in the lobby of the Congress Centre for the Annual Meeting of the World Economic Forum, Davos, Switzerland, 2019

Mehdi Ghadyanloo

Negar Azimi speaks with the artist about his murals in Tehran, his preoccupation with slides, and his inspirations from Giorgio de Chirico to Alfred Hitchcock.