pat Steir: Artist

A film by Veronica Gonzalez Peña

From February 25 to 27, 2022, Gagosian Quarterly presented a special continuous online screening of Emily in Japan: The Making of an Exhibition, coinciding with Emily Kame Kngwarreye’s first ever exhibition in France at Gagosian, Paris. Made by Ronin Films, and directed by Andrew Pike, this feature-length documentary tracks the development and mounting of the Kngwarreye retrospective that toured Osaka and Tokyo in 2008. Featuring interviews with the curators, Margo Neale, a leading Australian authority on Indigenous art, and Japanese critic, curator, and poet Akira Tatehata, the film underscores the historical importance of this museum presentation.

To celebrate Gagosian Quarterly’s Winter 2019 feature on photographer and filmmaker Jerry Schatzberg, the essay’s author, Carlos Valladares, led a conversation between the director and Harmony Korine at Metrograph, New York. The discussion followed a screening of Schatzberg’s 1973 film Scarecrow.

In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.

On the occasion of his exhibition The Fire This Time at Gagosian, Paris, Titus Kaphar discusses themes of history, representation, and collective memory in his recent paintings and hand-carved wood sculptures.

In this video, musical ensemble Sō Percussion performs Steve Reich’s “Music for Pieces of Wood” inside the exhibition Richard Serra: Running Arcs (For John Cage), 1992, at Gagosian, New York.

Join exhibition curator Donna De Salvo as she discusses her selection of the artist’s rarely seen sculptures, drawings, films, and archival materials in Walter De Maria: The Singular Experience at Gagosian, Le Bourget. Chief among these is Truck Trilogy (2011–17), De Maria’s final sculpture and the centerpiece of the exhibition.