Gagosian In Press Archive

The preteen and teenage years are both the most frivolous and the most intense periods of human experience. There is a primal, emotional understanding of urge, but the vocabulary and maturity to expre

Nathaniel Mary Quinn's life has been as disjointed as one of his paintings. He was raised in a housing project on Chicago's South Side, the youngest of five boys. When he was in the eighth grade, an a

Construção When: Feb. 6–Mar. 21 Where: Mendes Wood DM, São Paulo What: Though this exhibition takes its name from Brazilian singer Chico Buarque’s storied 1971 song, which tells the tale of a cons

Benaam, 'without name,' was always for me a monument to the unnamed victims of ongoing conflict. The black covering is literally a plastic bag covering a body that has expired. The hands stretching ou

There isn’t a traditional formula. A lot of times something good happens that makes me realise other things should have happened first. Almost like I built the top floor before the foundation. I have

I was a little bit empty. When I kept finding myself lost, John would say, 'Let's go to the Strand bookstore together.' I remember focusing on the first image I saw in a rococo-period book, which was

The argument between drawing (line and contour) and painting (color and light) goes back to the Renaissance and what some believe is the first great culmination of Western painting. In _Lives of the A

Like the museum, [Simon][0] catalogues objects and information under specific organising principles: symmetry, crispness of detail, and refined, minimal installation. Through this highly careful mode

'The breasts and distended abdomen were made with the help of three water pitchers; the belly from a portion of a large one, and the breasts from two small ones, all picked up from the scrap heap. The

[Ruby][0] gives shape and body to images that are otherwise virtual and in any case always mediated by electronic devices. The corporal and tactile theme permeates another series of works, crucial in

For MOCA's facade, [Wood][0] proposed a version of his Still Life with Two Owls (2014), a complex canvas first exhibited in 2015 at Gagosian Hong Kong in a joint show with the Japanese-born ceramic

We are in [Anselm Kiefer][0]'s studio outside Paris on a hot day in September 2016, looking at some of the works to appear in his forthcoming exhibition at Gagosian, Transition from Cool to Warm. A

A man and a woman in cocktail attire talk near the wall of paintings. There is tension: he gestures with both hands, making a point, as she looks away into a mirror. [Tansey][0]'s paintings are monoch

[Gursky][0]'s signature accomplishment as an artist is his ability to estrange his image from normal perception. Ocean III (2010) asks viewers to assume the nearly impossible position of comprehendi

Writing about the image of woman in [Saville][0]'s nudes, Maria Becker suggests that 'The feeling they leave the viewer with is borne of an understanding of what it means to be a body.' This ability t

[Richard Wright][0] is best known for his rigorous site-specific yet transient works that unite painting with graphic, typographic, and ornamental elements. Actively engaging the laws of visual perspe

Sinuous sculptures crafted from steel, post-WWII abstract paintings and celebrity portraits by Annie Leibovitz are just a few of the highlights of this month's exhibitions

Anish Kapoor, Louise Bourgeois, Rachel Whiteread, Gerhard Richter. These may not be names that spring to mind when you think of the British Museum, but they all have work filed away in its extensive a

PITTSBURGH — That Andy Warhol was a lifelong practicing Byzantine (i.e. Eastern) Catholic is not a secret. At least one book is devoted to his religious concerns. His biographers and some critics not

In 1974, [Chris Burden][0] released his Deluxe Photo Book 1971-73, a self-published catalogue of twenty-three early performances represented by concise narrative descriptions of the works coupled wi

On a January afternoon in his studio, thinking about what it means to paint such familiar faces, [Kami][0] explained, 'When I know a person very well, I want [the portrait] to look very much like th

Lunchbreak (1989) is the first thing the eye rests on as one enters I Don't Like Fiction, I Like History. A diorama of three Floridian white men in repose, it's unusual, for a [Hanson][0], in that

For –one way or other– I've created a series of dispersed installations placed in conversation with particular elements of the building—floor, concrete wall, wooden clerestory. A group of twelve

In the autumn of 1961, performance artist Allan Kaprow arranged a meeting between [Roy Lichtenstein][0] and Ivan Karp, director of the influential Leo Castelli Gallery in New York. The purpose of the