Artwork © Kon Trubkovich; video: Pushpin Films
Kon Trubkovich Selects, Metrograph, New York, December 10–19, 2021
December 14, 2021
Artwork © Kon Trubkovich; video: Pushpin Films
Kon Trubkovich Selects, Metrograph, New York, December 10–19, 2021
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Historian Victoria Phillips speaks with the artist about his new paintings, memory and its relationship to media, and the continuing impact of the Cold War.
Ahead of the first exhibition of Francesca Woodman’s photographs at Gagosian, director Putri Tan speaks with historian and curator Corey Keller about new insights into the artist’s work. The two unravel themes of the body, space, architecture, and ambiguity.
Join curator Anne Baldassari as she discusses the exhibition Simon Hantaï:Azzurro, Gagosian, Rome, and the significance of blue in the artist’s practice. The show forms part of a triptych with Gagosian’s two previous Hantaï exhibitions, LES NOIRS DU BLANC, LES BLANCS DU NOIR at Le Bourget in 2019–20, and Les blancs de la couleur, la couleur du blanc in New York, in 2022.
Chris Eitel, Vladimir Kagan’s protégé and the current director of design and production at Vladimir Kagan Design Group, invited the Quarterly’s Wyatt Allgeier to the brand’s studio in New Jersey, where the two discussed the forthcoming release of the First Collection. The series, now available through holly hunt, reintroduces the first chair and table that Kagan ever designed—part of Eitel’s efforts to honor the furniture avant-gardist’s legacy while carrying the company into the future.
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 select from the larger questionnaire and reply in as many or as few words as they desire. For the first installment of 2024, we are honored to present the architect Frida Escobedo.
Dance scholars Mark Franko and Ninotchka Bennahum join the Quarterly’s Gillian Jakab in a conversation about the exhibition Border Crossings at the New York Public Library for the Performing Arts. Cocurated by Bennahum and Bruce Robertson, the show reexamines twentieth-century modern dance in the context of war, exile, and injustice. An accompanying catalogue, coedited by Bennahum and Rena Heinrich and published earlier this year, bridges the New York presentation with its West Coast counterpart at the Art, Design & Architecture Museum at the University of California, Santa Barbara.
Maria Grazia Chiuri has been the creative director of women’s haute couture, ready-to-wear, and accessories collections at Dior since 2016. Beyond overseeing the fashion collections of the French house, she has produced a series of global collaborations with artists such as Judy Chicago, Mickalene Thomas, Penny Slinger, and more. Here she speaks with the Quarterly’s Derek Blasberg about her childhood in Rome, the energy she derives from her interactions and conversations with artists, the viral “We Should All Be Feminists” T-shirt, and her belief in the role of creativity in a fulfilled and healthy life.
Since 2012, John Klacsmann has held the role of archivist at Anthology Film Archives, where he oversees the preservation and restoration of experimental films. Here he speaks with Raymond Foye about the technical necessities, the threats to the craft, and the soul of analogue film.
In celebration of the monograph Whit Stillman: Not So Long Ago (Fireflies Press, 2023), Carlos Valladares chats with the filmmaker about his early life and influences.
Stanley Whitney invited professor and musician-biographer John Szwed to his studio on Long Island, New York, as he prepared for an upcoming survey at the Buffalo AKG Art Museum to discuss the resonances between painting and jazz.
Ahead of her forthcoming exhibition in New York, Jamian Juliano-Villani speaks with Jordan Wolfson about her approach to painting and what she has learned from running her own gallery, O’Flaherty’s.