March 6, 2024
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.
Simon Hantaï: Azzurro, Gagosian, Rome, February 2–March 30, 2024
Artwork © Archives Simon Hantaï/ADAGP, Paris; video: Pushpin Films; camera: Leonardo Cestari
In conjunction with Azzurro, an exhibition of paintings by Simon Hantaï at Gagosian, Rome, we share the catalogue essay by curator Anne Baldassari. Here Baldassari focuses on the significance of blue in the artist’s practice, illuminating his affinity with Italy and the influence on his work of its classical painting tradition.
Anne Baldassari reflects on the art historical influences and radical breaks reflected in the artist’s work with color.
Anne Baldassari reflects on the time she spent working with Simon Hantaï on an ultimately unrealized stained-glass commission for the Cathédrale Saint-Cyr-et-Sainte-Julitte, Nevers, and explains how this endeavor served as the catalyst for an exhibition of Hantaï’s paintings that she curated at Gagosian, Le Bourget, in 2019.
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.
Join the artist inside Carol Bove: Nights of Cabiria, her recent exhibition at Gagosian, Beverly Hills, as she considers the power of illusion, the histories of her materials, and the philosophical lessons at the heart of Federico Fellini’s films.
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.
The House on Utopia Parkway: Joseph Cornell’s Studio Re-Created by Wes Anderson is an exhibition conceived by curator Jasper Sharp and the acclaimed American filmmaker. The show brings Cornell’s New York studio to the heart of Paris, transforming Gagosian’s storefront gallery into a meticulously staged tableau—part time capsule, part life-size shadow box—for the first solo presentation of the artist’s work in Paris in more than four decades. In this video, Anderson discusses the genesis of the exhibition and the process by which it came together.
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.
Join Glenn Brown in his London studio as he discusses his presentation for the Studio section of Frieze Masters 2025, which explores the idea of the artist’s studio as a time machine: a space in which historical memory fuels creativity, manifesting in artworks that look to the future. Brown speaks about the featured works, which range from new paintings, drawings, and a sculpture to historic works on paper from the Brown Collection.
Paul McCartney: Rearview Mirror: Photographs, December 1963–February 1964 at Gagosian, Beverly Hills, brings together self-portraits, unguarded snapshots of The Beatles, and vivid depictions of the pandemonium that greeted them at every turn. Ahead of the exhibition, McCartney and Joshua Chuang, director of photography at Gagosian, met up at Griffin Editions in Brooklyn, New York, to reflect on the prints featured in the show.
In conjunction with the exhibition Adriana Varejão: Don’t Forget, We Come From the Tropics at the Hispanic Society Museum & Library, New York, Laura Dias Leite produced a video directed by Luisa Marques in which the artist discusses the genesis of the show. The exhibition debuts the latest works in Varejão’s Plate series (2011–), which, shown alongside historic ceramic plates from the museum’s collection, pose questions about aesthetic hierarchies.