Spring 2023 Issue

Now available

Gagosian QuarterlySpring 2023

The Spring 2023 issue of Gagosian Quarterly is now available, featuring Roe Ethridge’s Two Kittens with Yarn Ball (2017–22) on its cover.

Roe Ethridge’s Two Kittens with Yarn Ball (2017–22) on the cover of Gagosian Quarterly, Spring 2023

Inside this issue, Jim Shaw contributes a zine of his drawings; novelist Andrew Winer reports on Glenn Brown’s new paintings; and Sally Mann and Benjamin Moser discuss the power and responsibility tied up in their respective practices of photography and writing.

We are excited to present a special section guest-edited by Marc Newson with articles covering a wide range of topics, including concept cars, architecture, film, and more. This year’s serialized fiction feature presents a new story by Percival Everett. Elsewhere in the issue, we hear from Richard Wright on the subject of painting and we share a conversation between Lydia Millet and Genieve Figgis on the occasion of their collaboration for Picture Books.

Plus, we have articles on legacy, biography, fashion, the future of the Internet, harnessing the power of the blockchain for art and activism, and so much more.

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

Artwork © Roe Ethridge

Sally Mann and Benjamin Moser

During the 2022 edition of Paris Photo, Sally Mann and Benjamin Moser sat down for an intimate conversation as the first event in Gagosian’s Paris Salon series, initiated by Jessie Fortune Ryan. In light of Moser’s Pulitzer Prize–winning biography of Susan Sontag, Sontag: Her Life and Work (2019), recently translated into French, the two discussed the power and responsibility tied up in their respective practices of photography and writing.

Glenn Brown: From the Inside Out

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.

Adam McEwen, Untitled (Grace), 2023, chromogenic print, dry mounted on Dibond, 60 × 40 inches (152.4 × 101.6 cm). Photo: Prudence Cuming Associates Ltd

Adam McEwen: An Act of Love

Contemporary artists Adam McEwen and Jeremy Deller met up online over the holiday season to discuss McEwen’s upcoming exhibitions in London and Rome. McEwen delves into the motivations and criteria behind his work, as well as the challenges and complexities of memorializing the living.

Game Changer
Ashley Bickerton

Michael Slenske pays tribute to the life and work of artist Ashley Bickerton.

Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent

In conjunction with his exhibition Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent at Gagosian in New York, the artist sits down to discuss his new paintings, sculptures, and drawings.

Jim Shaw, The Master Mason (2020) is a large acrylic work painted on a section of found muslin backdrop. Donald Trump is dressed as a founding father—namely George Washington—complete with tricorne hat and Masonic ritual apron, an emblem of innocence, righteousness, and proper conduct.

“The Present Decline”: Jim Shaw’s Epic Parables

Catherine Taft examines Jim Shaw’s visionary work, which probes the American psyche through political, historical, and cultural allegory.

Jim Shaw performing in the exhibition LEFT BEHIND at CAPC musée d’art contemporain de Bordeaux, France, 2010

Shortlist
Shaw Studio Sing-along Songs

In this Shortlist series we invite artists and writers to tell us about works of art, literature, film, or music that have influenced their work or are at the forefront of their minds today. Here Jim Shaw shares a selection of songs he listens to while working, from new discoveries to childhood staples. Shaw writes of the balance between delight and regret, hope and gloom in his playlist.

Ashley Bickerton, Grey Reflecting Heads No. 2, 2006, acrylic, ink, paper cutouts, felt, and steel pins on paper, 40 × 64 inches (101.1 × 162.5 cm)

Bickerton’s “Bickertons” in the Realm of the Fetish

Abigail Solomon-Godeau analyzes periodization, artistic persona, and fetishism in the expansive work of Ashley Bickerton.

Damien Hirst and Ashley Bickerton during an installation at Newport Street Gallery, London, c. 2017

Truth Revealed: Damien Hirst and James Fox on Ashley Bickerton

In conversation with James Fox, Damien Hirst reflects on the artwork of his longtime friend.

Sky High Farm Symposium at Judd Foundation: The Art Panel

In this video, Deana Haggag, program officer, Arts and Culture at Mellon Foundation; Dan Colen, artist and founder of Sky High Farm; Linda Goode Bryant, artist and founder of Project EATS; and Diya Vij, curator at Creative Time sit down together to explore the roles of artist and audience, place and accessibility, legacy, capital influence, and individual vs. collective agency as they relate to artmaking today.

Sky High Farm Symposium at Judd Foundation: The Community Panel

In this video, Thelma Golden, chief curator and director of the Studio Museum in Harlem; Tremaine Emory, founder of Denim Tears and creative director of Supreme; Father Mike Lopez, founder of the Hungry Monk Rescue Truck; and artist Anicka Yi sit down to explore how the concept of community has shaped their work, and the power in seeing the places we live, our histories, and even our bodies as porous, interdependent, and alive.

Sky High Farm Symposium at Judd Foundation: The Land Panel

In this video, Veronica Davidov, visual and environmental anthropologist; Karen Washington, activist, farmer and co-founder of Black Urban Growers (BUGS) and co-owner of Rise & Root Farm; Candice Hopkins, curator, writer and executive director of Forge Project; and Haley Mellin, artist, conservationist and founder of Art to Acres sit down to explore the tensions and overlaps between different efforts to define, use, and protect land.