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Gagosian Quarterly

March 16, 2022

In Conversation

Harmony KorineAnd Rita Ackermann

The artists chat about Korine’s luminous new paintings based on teddy bears, touching upon the color yellow, the fresh smell of gas, and the relationship among presidents, golf, and little stuffed animals.

Harmony Korine, DoDo Bear, 2021, acrylic, house paint, and oil stick on canvas, 47 × 46 inches (119.4 × 116.8 cm)

Harmony Korine, DoDo Bear, 2021, acrylic, house paint, and oil stick on canvas, 47 × 46 inches (119.4 × 116.8 cm)

Rita Ackermann

Rita Ackermann is a Hungarian-American artist currently based in New York City. Her depictions of New Yorks downtown culture in the mid-1990s first brought attention to her work. Ackermanns paintings, drawings, and collages combine Neo-Expressionist and figurative elements. Her work has been the subject of solo exhibitions at institutions such as the Museum of Contemporary Art, North Miami, Florida; Ludwig Museum, Budapest; Triennale di Milano; and Swiss Institute, New York.

Harmony Korine

Harmony Korine is a film director, screenwriter, and artist who rose to prominence after penning the film Kids (1995). In the years since, he has created critically acclaimed cult classics, including Gummo (1997), Mister Lonely (2007), and Spring Breakers (2012), as well as the lauded street-art documentary Beautiful Losers (2008). Korine’s creative practice extends to photography, drawing, and figurative and abstract painting.

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Rita AckermannAre your bears modeled after the Michelin guy?

Harmony KorineNo, but I like the connection. They have a similar body type. Like a busted bag of donuts.

RATheyve got those tire-like muscles for arms.

HKYes. Im a fan of competitive arm wrestling. My favorite arm wrestler of all time was Cleve Dean. I based the body and style of the teddy bear paintings on Cleves vibe. He was from Georgia and could palm a baby sheep in one hand. He was known as the “arm breaker, but all who knew him loved him. He was a teddy bear.

RAI used to love the Michelin guy when I was a kid.

HKYeah. The Michelin guy was a eunuch and a gas-huffer.

RADid you like trucks, gas stations, and the smell of gas when you were a kid? I got high on the smell of fresh gas . . . and nauseated right away.

HKYes, in the ’80s at a monster truck camp I went to in Daytona, I huffed a bag full of white-out and gas and it made me pass out.

RAWhen is the best time for you to catch ideas?

HKMostly while fishing or on the gun range.

RADo you paint while fishing?

HKNo, I can’t do both at once. But last year I caught a small teddy bear while fishing next to Fisher Island. I hooked its leg real good. That’s how I got the idea to paint it. It was so cute and it kept floating. You can’t kill those little bastards. They are eternal.

Your teddy bear paintings go deep . . . They are Van Goghian, worshiping the light and the sun.

Rita Ackermann
Harmony Korine and Rita Ackermann

Harmony Korine, Huffy Bear, 2021, acrylic, house paint, and oil stick on canvas, 37 × 32 inches (94 × 81.3 cm)

RAWhat is your favorite color?

HKI love yellow. And neon yellow is the best. Lights up the world.

RAMy favorite color is yellow too! Your teddy bear paintings go deep, deeper than any other paintings I see . . . They are Van Goghian, worshiping the light and the sun. 

Do you find that buttons can be elemental in a painting?

these teddy bear paintings couldn’t exist without buttons. Buttons are the punctuation marks of clothing.

Harmony Korine

HKYeah, these teddy bear paintings couldnt exist without buttons. Buttons are the punctuation marks of clothing. The term “cute as a button” was popularized by Shirley Temple. I once saw a picture of Shirley Temple drinking a Shirley Temple; it was amazing to witness.

RAThere is no good painting without buttons, I think . . .

HKAgreed.

RAAre your teddies radiating?

HKYes, I try to make them radiate. I wish there was a way to insert actual radiation into the paint.

RACan we consider the teddy bear paintings a new chapter after the president paintings?

HKYes, a new chapter in comedy art. I’ve actually been thinking about having teddy bears playing golf.

Harmony Korine and Rita Ackermann

Harmony Korine, 37, 2019–21, oil on canvas, 73 × 61 inches (185.4 × 154.9 cm)

RAWhat are the connections between the presidents and the bears?

HK I wanted to paint presidents playing golf because I couldn’t believe how every president just keeps playing golf—no matter what happens in life, they play golf. It’s the most significant pastime for a president. I began to investigate why many golfers also begin sleeping with teddy bears later in life. I know a famous caddy from Delaware who claims that all the local golf pros sleep with teddy bears. There is a crossover at work, something most people are unaware of.

RAAre these teddies friendly golems to protect us from propaganda?

HKI think theyre mostly happy. They have never read a newspaper. They reject the metaverse. They don’t use human growth hormones. They seem religious. Mostly sweet.

RADamn, our conversation makes me love these teddies even more!

No wonder we get along so well with paintings . . . Send me back quick those paintings we are working on together and don’t forget to put some teddies in there with hook arms.

Artwork © Harmony Korine

Jack McCollough and Lazaro Hernandez in their New York studio, 2019.

Fashion and Art: Proenza Schouler

Derek Blasberg speaks with Lazaro Hernandez and Jack McCollough, the designers behind the New York fashion brand Proenza Schouler, about their influences and collaborations, from Mark Rothko to Harmony Korine.

The cover of the Spring 2020 edition of the Gagosian Quarterly magazine. A Cindy Sherman photograph of herself dressed as a clown against a rainbow background.

Now available
Gagosian Quarterly Spring 2020

The Spring 2020 issue of Gagosian Quarterly is now available, featuring Cindy Sherman’s Untitled #412 (2003) on its cover.

Announcement for the film The Beach Bum (2019) by Harmony Korine.

Transcendent Criminal Dream

From Kids to his new film The Beach Bum, Harmony Korine has continually revolutionized the art of cinema. In a wide-ranging discussion with film critic Emmanuel Burdeau, Korine reflects on the rewards and challenges of filmmaking and reveals what’s in store for the future.

Harmony Korine: BLOCKBUSTER

Harmony Korine: BLOCKBUSTER

The artist discusses his latest exhibition in New York with the Gagosian Quarterly, telling the story behind the works and their connection to his larger practice.

Harmony Korine at the Centre Pompidou

Harmony Korine at the Centre Pompidou

The artist sat down with Alicia Knock, curator of his exhibition at the Centre Pompidou, to discuss the power of mistakes, outsiders, and the marginal.

Louise Bonnet and Stefanie Hessler

In Conversation
Louise Bonnet and Stefanie Hessler

Gagosian hosted a conversation between Louise Bonnet and Stefanie Hessler, director of Swiss Institute, New York, inside 30 Ghosts, the artist’s exhibition of new paintings at Gagosian, New York. The pair explores the work’s recurring themes—the cycles of life, continuity and the future, and death—and discuss how the conceptual and pictorial structures Bonnet borrows from seventeenth-century Dutch still-life painting converge to form a metaphor for hard labor, basic animal urges, and the things we often try, but fail, to hide.

Oscar Murillo and Ben Luke on Franz West

In Conversation
Oscar Murillo and Ben Luke on Franz West

In conjunction with Franz West: Papier, the gallery’s presentation of paper-based works by Franz West at Frieze Masters 2023, artist Oscar Murillo and arts writer, critic, and broadcaster Ben Luke sit down to discuss Murillo’s collaboration in selecting the works on view, as well as his personal experiences meeting the late artist in London.

Georg Baselitz and Richard Calvocoressi sit next to each other in the artist’s studio

In Conversation
Georg Baselitz and Richard Calvocoressi

In conjunction with the exhibition The Painter in His Bed, at Gagosian, New York, Georg Baselitz and Richard Calvocoressi discuss the motif of the stag in the artist’s newest paintings.  

Jerome Rothenberg in a chair

In Conversation
Jerome Rothenberg and Charles Bernstein

Gagosian and Beyond Baroque Literary | Arts Center hosted a conversation between poets Jerome Rothenberg and Charles Bernstein inside Anselm Kiefer’s exhibition Exodus at Gagosian at Marciano Art Foundation, Los Angeles. Rothenberg and Bernstein explored some of the themes that occupy Kiefer—Jewish mysticism, the poetry of Paul Celan, and the formulation of a global poetics in response to the Holocaust—in a discussion and readings of their poetry.

Dorothy Lichtenstein and Irving Blum stand next to each other in front of Roy Lichtenstein's studio in Southampton, New York

In Conversation
Irving Blum and Dorothy Lichtenstein

In celebration of the centenary of Roy Lichtenstein’s birth, Irving Blum and Dorothy Lichtenstein sat down to discuss the artist’s life and legacy, and the exhibition Lichtenstein Remembered curated by Blum at Gagosian, New York.

Alison McDonald, Daniel Belasco, and Scott Rothkopf next to each other in front of a live audience

In Conversation
Daniel Belasco and Scott Rothkopf on Roy Lichtenstein

Gagosian and the Art Students League of New York hosted a conversation on Roy Lichtenstein with Daniel Belasco, executive director of the Al Held Foundation, and Scott Rothkopf, senior deputy director and chief curator of the Whitney Museum of American Art, New York. Organized in celebration of the centenary of the artist’s birth and moderated by Alison McDonald, chief creative officer at Gagosian, the discussion highlights multiple perspectives on Lichtenstein’s decades-long career, during which he helped originate the Pop art movement. The talk coincides with Lichtenstein Remembered, curated by Irving Blum and on view at Gagosian, New York, through October 21.

Helen Marden and Kiki Smith

In Conversation
Helen Marden and Kiki Smith

Ahead of her exhibition in Athens this fall, Helen Marden met with longtime friend Kiki Smith at Marden’s home in New York’s West Village to discuss the bravery of color and the power of intuition.