April 12, 2022
Spotlight
Peter Paul Rubens
Larry Gagosian reflects on Peter Paul Rubens’s The Massacre of the Innocents (c. 1610).
Peter Paul Rubens, The Massacre of the Innocents, c. 1610, oil on panel, 55 ⅞ × 72 inches (142 × 183 cm), The Thomson Collection at the Art Gallery of Ontario, Toronto, 2014
Spotlight
Jean-Michel in Black and White
Fred Hoffman looks back on the creation of Jean-Michel Basquiat’s Tuxedo (1983), examining the work’s significance in relation to identity and the hip-hop culture of the 1980s.
Spotlight
Walter De Maria: Truck Trilogy
Lars Nittve investigates Truck Trilogy, Walter De Maria’s last work, conceived in 2011 and premiered at Dia:Beacon in 2017.
Spotlight
Andy Warhol: Triple Elvis
Text by Derek Blasberg.
Spotlight
Tom Wesselmann
The story behind Tom Wesselmann’s Still Life #59 (1972). Text by Lauren Mahony.
Spotlight
Burden
The story behind Chris Burden’s Buddha’s Fingers (2014–15) and its connection to all of his streetlamp installations. Text by Sydney Stutterheim.
Spotlight
Basquiat
Jean-Michel Basquiat’s Untitled (L.A. Painting) (1982) was a game changer. Text by Derek Blasberg.
Spotlight
Mark Tansey
Alexander Wolf guides us through a multilayered new painting by the celebrated artist.
Spotlight
Picasso
The story behind the sculpture that Diana Widmaier Picasso highlighted in Picasso’s Picassos: A Selection from the Collection of Maya Ruiz-Picasso.
Spotlight
Ruscha
Ed Ruscha’s Burning Gas Station (1965–66) was a game changer. Text by Larry Gagosian.
Now available
Gagosian Quarterly Summer 2022
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
Mary Weatherford: The Flaying of Marsyas
Coinciding with the 59th Venice Biennale, an exhibition at the Museo di Palazzo Grimani in Venice presents new paintings by Mary Weatherford inspired by Titian’s The Flaying of Marsyas (1570–76). Francine Prose traces the development of these works.
Simon Hantaï: Les blancs de la couleur, la couleur du blanc
Anne Baldassari reflects on the art historical influences and radical breaks reflected in the artist’s work with color.