Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent, Gagosian, 541 West 24th Street, New York, November 8–December 23, 2022
Artwork © Glenn Brown; video: Pushpin Films; camera: Emma Charles
December 2, 2022
Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent, Gagosian, 541 West 24th Street, New York, November 8–December 23, 2022
Artwork © Glenn Brown; video: Pushpin Films; camera: Emma Charles
The Spring 2023 issue of Gagosian Quarterly is now available, featuring Roe Ethridge’s Two Kittens with Yarn Ball (2017–22) on its cover.
Novelist Andrew Winer reports on the formal, conceptual, historical, and philosophical perspectives embedded in Glenn Brown’s latest paintings and drawings. The two talked after the opening of the artist’s recent New York exhibition Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent.
Glenn Brown speaks with art historian Jacky Klein about working between mediums, his first finished painting of 2021, and the evolution of his artistic voice.
As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Touching on everything from the politics of taste to the vibratory character of lines, Glenn Brown and Xavier Bray, the director of the Wallace Collection, discuss Brown’s exhibition, Come to Dust, in London.
With preparations underway for an exhibition in London, Glenn Brown sat down with author Hari Kunzru to discuss Brown's artmaking process, the idea of the copy, and surprising overlaps between creating visual and literary works.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
In this short film, Glenn Brown demonstrates his process in creating artworks for an exhibition at Museum Het Rembrandthuis, Amsterdam.
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.
In conjunction with her exhibition The Flaying of Marsyas at Museo di Palazzo Grimani, Venice, Mary Weatherford discusses the featured paintings, which are directly inspired by Titian’s late, eponymous masterpiece of circa 1570–76 and reflect her enduring fascination with the painting.
Join president of the Picasso Museum, Paris, Cécile Debray; curator, writer, biographer, and historian Annie Cohen-Solal; art historian Vérane Tasseau; and Gagosian director Serena Cattaneo Adorno as they discuss A Foreigner Called Picasso. Organized in association with the Musée national Picasso–Paris and the Palais de la Porte Dorée–Musée national de l’histoire de l’immigration, Paris, the exhibition reframes our perception of Picasso and focuses on his status as a permanent foreigner in France.