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Gagosian Quarterly

Summer 2022 Issue

Now available

gagosian Quarterlysummer 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).

Left: Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) on the cover of Gagosian Quarterly, Summer 2022; right: Andreas Gursky’s V & R II (2022) on the cover of Gagosian Quarterly, Summer 2022

Left: Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) on the cover of Gagosian Quarterly, Summer 2022; right: Andreas Gursky’s V & R II (2022) on the cover of 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).

Inside this issue, you will find a conversation with Murakami and RTFKT about the future of art, the metaverse, and a series of recent shared projects. We also present Andreas Gursky’s latest photographs alongside an interview with the artist by Max Dax, in which they discuss the influence of techno music and art history in Gursky’s creative process.

Also in the issue, Michael Auping inaugurates At the Edge—a new series of stories from the sidelines of art history—with his first-hand perspective on the tense preparations for a Chris Burden performance. Julian Rose delves into the architecture of Donald Judd. We share a number of dialogues between novelists and painters: Francine Prose with Mary Weatherford; Dodie Bellamy with Louise Bonnet; and Nalo Hopkinson with Alexandria Smith. Fiona Alison Duncan takes us deeper into the world of literature with profiles of six book editors changing the standards of publishing.

Elsewhere, Salomé Gomez-Upegui sheds light on sculptor Feliza Bursztyn; Richard Calvocoressi tells the story of Francis Bacon’s creation of his first image of the pope; Jean Dykstra reports on Vera Lutter’s new series of photographs from Athens; and Carlos Valladares interviews documentary filmmaker Rebecca Cammisa.

For all of this and more, order your copy or subscribe at the Gagosian Shop, or read the issue online.

Takashi Murakami cover artwork © 2022 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

Andreas Gursky cover artwork © Andreas Gursky/Artists Rights Society (ARS), New York

Louise Bonnet, Green Pantyhose, 2022

Louise Bonnet and Dodie Bellamy

Poet and novelist Dodie Bellamy visits the artist Louise Bonnet at her Los Angeles studio as she prepares for an exhibition of new works in Hong Kong and the inclusion of one of her paintings in the 59th Biennale di Venezia. The two discuss the power of horror, the intensity of memory, and their creative processes.

A Takashi Murakami painting of a female avatar with blue and pink hair: CLONE X #59 Harajuku-style Angel

Takashi Murakami and RTFKT: An Arrow through History

Bridging the digital and the physical realms, the three-part presentation of paintings and sculptures that make up Takashi Murakami: An Arrow through History at Gagosian, New York, builds on the ongoing collaboration between the artist and RTFKT Studios. Here, Murakami and the RTFKT team explain the collaborative process, the necessity of cognitive revolution, the metaverse, and the future of art to the Quarterly’s Wyatt Allgeier.

Andreas Gursky, Salinas, 2021, Diasec-mounted inkjet print, framed: 80 × 160 ⅜ × 2 ½ inches (203.2 × 407.2 × 6.2 cm)

Andreas Gursky

On the occasion of an exhibition at Gagosian, New York, from May 5 to June 18, 2022, Max Dax met with Andreas Gursky to speak with the photographer about his new work. Here, they discuss the consequences of the pandemic on certain works, the roles of techno music and art history in Gursky’s art process, and the necessary balance of beauty and honesty in the contemporary.

Louise Bonnet working in her studio on a new painting

Behind the Art
Louise Bonnet: Onslaught

Join Louise Bonnet in her Los Angeles studio as she works on new paintings ahead of her exhibition Onslaught, at Gagosian, Hong Kong.

Mary Weatherford, The Flaying of Marsyas—4500 Triphosphor, 2021–22 (detail), Flashe and neon on linen, 93 × 79 inches (236.2 × 200.7 cm). Photo: Fredrik Nilsen Studio

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.

Chris Burden, model for the installation Xanadu as proposed to the Los Angeles County Museum of Art, 2008. Photo: Joel Searles

Chris Burden: Poetic Practical

A new publication exploring the work that Chris Burden conceived but left unrealized delves into his archive to present sixty-seven visionary projects that reveal the aspirations of this formidable artist. The book’s editors, Sydney Stutterheim and Andie Trainer, discuss its development with Yayoi Shionoiri, executive director of the Chris Burden Estate.

Andreas Gursky, Jonathan Ive, 2019, fine art print mounted on dibond, 64 1/2 × 50 ⅝ inches (163.7 × 128.5 cm). National Portrait Gallery, London, commissioned; made possible by the Outset Commission, supported by Scott Collins in partnership with Outset Contemporary Art Fund, 2019 © Andreas Gursky/VG BILD-KUNST, Bonn

Ive by Gursky: A Meeting of Minds

By exploring the conventions of past portraits of industrial designers and architects, Maria Morris Hambourg unpacks Andreas Gursky’s ingenious recent portrait of Apple designer Jony Ive to reveal its layered meanings.

Theaster Gates, A Song for Frankie, 2017–21, 5,000 records, DJ booth, and record player

Social Works: The Archives of Frankie Knuckles Organized by Theaster Gates

Theaster Gates, steward of the Frankie Knuckles record collection, is engaging with the late DJ and musician’s archive of records, ephemera, and personal effects. For the Quarterly’s “Social Works” supplement, guest edited by Antwaun Sargent, Gates presents a selection of Knuckles’s personal record collection. Chantala Kommanivanh, a Chicago-based artist, educator, and musician—and the records manager for Rebuild Foundation, Chicago—provides annotations, contextualizing these records’ importance and unique qualities. Ron Trent, a dear friend of Knuckles’s, speaks to the legacy evinced by these materials.

Louise Bonnet, Resting Sphinx Black Background, 2021, colored pencil on paper, 24 x 19 inches (61 x 48.3 cm)

Louise Bonnet: Sphinxes

Ali Subotnick investigates the artist’s surreal new series of drawings.

Black-and-white photograph: Donald Marron, c. 1984.

Donald Marron

Jacoba Urist profiles the legendary collector.

Francis Bacon in his studio in Battersea, London. Photo: © The Cecil Beaton Studio Archive at Sotheby’s

The Art of Biography: Mark Stevens and Annalyn Swan

Mark Stevens and Annalyn Swan, coauthors of the 2005 Pulitzer Prize–winning biography of Willem de Kooning, speak with Michael Cary about the research and revelations that went into their biography of Francis Bacon.

Gerhard Richter’s Helen (1963) on the cover of Gagosian Quarterly, Spring 2021

Now available
Gagosian Quarterly Spring 2021

The Spring 2021 issue of Gagosian Quarterly is now available, featuring Gerhard Richter’s Helen (1963) on its cover.