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Now Online—Poetics of Li Shangyin II by Hao Liang

Now Online | 48 Hours Only

ARTIST SPOTLIGHT: HAO LIANG

Hao Liang Poetics of Li Shangyin II, 2021 Ink and color on silk 14 5/8 × 20 1/2 inches (37.1 x 51.9 cm) Framed: 21 1/8 x 28 1/4 x 1 1/8 inches (53.5 x 71.9 x 2.8 cm) $180,000 “When grief comes, you cast iron nets, hoping to catch coral, seas vast, heaven wide open—that’s where you lose your way.” These poignant lines, from a poem by Li Shangyin, form part of the chanced-upon inspiration for Hao Liang’s Poetics of Li Shangyin II. Rendered in ink and color on silk, Hao’s delicate work pictures a constellation of golden yellow cell-like stars, a few of which descend into a tranquil lake of muted blues and purples, representing fugitive emotions in a somber physical space that seems to resonate with the “wind-rinsed radiance” the verse describes. Explore Now

#Hao Liang #Gagosian #Gagosian Spotlight #Artist Spotlight

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Discover Hao Liang in Artist Spotlight

ARTIST SPOTLIGHT: HAO LIANG

__________ In his intricately painted silk portraits and landscapes, Hao Liang filters the techniques, themes, motifs, and conventions of traditional Chinese guohua ink wash painting through a contemporary, cosmopolitan sensibility. Referencing projects and oeuvres from a variety of disciplines, periods, and contexts, he weaves together outwardly divergent influences, ranging from classical poetry to modern literature, film theory, and modern art. Much of Hao’s work is concerned with perspectives on temporality. He positions image making not simply as an exercise in technical skill and art historical knowledge, but also as a reflection of lived experience. Learn More_____Photo: Fan Xi

#Hao Liang #Gagosian #Gagosian Spotlight #Artist Spotlight

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Gagosian’s Artist Spotlight to Feature Hao Liang

Gagosian’s Artist Spotlight to Feature Hao Liang New Painting Will Be Revealed on December 10 and Available Exclusively Online for 48 Hours

NEW YORK, December 2, 2021—Gagosian’s Artist Spotlight—an online series that focuses on an individual artist for one week each month—is pleased to present a new painting by Hao Liang. The featured work will be revealed at gagosian.com on December 10 and available exclusively online for forty-eight hours. In his intricately painted silk portraits and landscapes, Hao filters the techniques, themes, motifs, and conventions of traditional Chinese guohua ink wash painting through a contemporary sensibility. Much of his work is concerned with perspectives on temporality, a concept that has historically been approached quite differently by Chinese and Western artists. He positions image making as not only an exercise in technical skill and art historical knowledge, but also a reflection of lived experience. Artist Spotlight: Hao Liang features a new ink and color on silk painting inspired by a poem by Li Shangyin (c. 813–858) titled “Swallow Terrace: Spring.” This delicate work is one of three by Hao to be prompted by Li’s writings and represents fugitive emotions in a somber physical space that resonates with the verse. On December 8, a new video featuring an interview with Hao will debut on Gagosian Quarterly online. Filmed in his Beijing studio, Hao discusses this new body of work and his approach to interpreting Li’s poetry. This Spotlight presentation precedes a solo exhibition by Hao at Gagosian London in 2023, in which all three works will be included. Hao’s work will also be included in an exhibition opening in January 2022 at the new He Art Museum in Foshan, China, whose building was designed by Tadao Ando. Artist Spotlight is a dynamic platform that enables artists to present their work in the digital realm, sharing their stories with a global audience online. The series, which launched in April 2020 and is now in its third season, is presented once a month as a regular part of Gagosian’s programming. Each installment highlights the work of an individual artist through new editorial features and archival content, and new work is made available with pricing information for forty-eight hours only. _____ Hao Liang in his studio, Beijing, 2019. Artwork © Hao Liang. Photo: Fan Xi

#Hao Liang #Gagosian #Gagosian Spotlight #Artist Spotlight

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Gagosian Announces the Appointment of Christina You as China Representative

Gagosian Announces the Appointment of Christina You as China Representative Former Director of Development and Creative Strategy for UCCA Center for Contemporary Art Will Extend the Gallery’s Presence in China __________ NEW YORK & BEIJING, December 2, 2021—Gagosian is pleased to announce the appointment of Christina You to the role of China Representative for the gallery. You joins Gagosian following a distinguished six-year tenure at UCCA Center for Contemporary Art in Beijing, where she was most recently the Director of Development and Creative Strategy. Her appointment is effective immediately. Nick Simunovic, who has led Gagosian’s activities in Asia since 2007, commented, “Christina brings deep relationships and regional expertise that will help us extend our reach in China in a strategic and thoughtful way. Her many years at one of the preeminent museums in Asia, combined with her experience in the West, provide her with unique perspectives that complement our existing team across China and the region as a whole.” Prior to joining Gagosian, You was the Director of Development and Creative Strategy of UCCA Center for Contemporary Art, the groundbreaking museum with locations in Beijing, Beidaihe, and Shanghai. At UCCA, You was responsible for the museum’s extensive fundraising and outreach efforts, including individual giving and corporate sponsorship. She was also the key organizer of exhibition-related events, cultivation programs, and special projects globally. You commented, “I am thrilled to be joining Gagosian, a world-renowned gallery and authority in the industry. We are experiencing a remarkable moment in China, as a new generation focused on art and collecting comes of age. I am excited to see these two forces combine and I am looking forward to bringing Gagosian’s expertise and programming to collectors across China.” Gagosian opened a gallery in Hong Kong in 2011 and has played an early and instrumental role in the introduction of Western art to collectors across Asia. Over the past decade, Gagosian Hong Kong has presented more than fifty exhibitions of artists including Jean-Michel Basquiat, Mark Grotjahn, Tetsuya Ishida, Donald Judd, Takashi Murakami, Albert Oehlen, Nam June Paik, Rudolf Stingel, Cy Twombly, and Jonas Wood. The gallery has also brought the work of important Chinese artists, including Hao Liang, Jia Aili, and Zeng Fanzhi, to collectors and institutions in the West, with major presentations in New York and London. An exhibition of new works by Jonas Wood is currently on view at Gagosian Hong Kong, and a new work by Hao Liang will be revealed on December 10 as part of the gallery’s online program Artist Spotlight. Hao will also be celebrated with a major solo exhibition—his largest to date—at Gagosian London in 2023.

#Gagosian #Christina You

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Gagosian to Present Modern and Contemporary Works at Art Basel Miami Beach

Gagosian to Present Modern and Contemporary Works at Art Basel Miami Beach

MIAMI, November 22, 2021—Gagosian is pleased to announce its participation in Art Basel Miami Beach 2021 with a presentation of modern and contemporary works. The gallery’s booth will include works by Richard Avedon, Georg Baselitz, Louise Bonnet, John Currin, Urs Fischer, Walton Ford, Helen Frankenthaler, Theaster Gates, Katharina Grosse, Andreas Gursky, Damien Hirst, Alex Israel, Ewa Juszkiewicz, Titus Kaphar, Rick Lowe, Brice Marden, Albert Oehlen, Pablo Picasso, Ed Ruscha, Richard Serra, Cy Twombly, Mary Weatherford, and Christopher Wool, among others. A selection of these works will also appear on gagosian.com and on Art Basel’s Online Viewing Room. To receive a PDF with detailed information on the works, please contact the gallery at [email protected]. To attend the fair, purchase tickets at artbasel.com. Art Basel Miami Beach December 2–4, 2021, Booth D5 Miami Beach Convention Center _____ Urs Fischer, Starburst, 2021, aluminum composite panel, aluminum honeycomb, polyurethane adhesive, epoxy primer, gesso, solvent-based screen-printing paint, water-based screen-printing paint, and alkyd resin, 64 × 80 inches (162.6 × 203.2 cm) © Urs Fischer. Photo: Mats Nordman

#Art Basel #Urs Fischer #Gagosian

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Sally Mann in Artist Spotlight

ARTIST SPOTLIGHT: SALLY MANN

__________ Sally Mann is known for her photographs of intimate and familiar subjects rendered both sublime and disquieting. Her projects explore the complexities of familial relationships, social realities, and the passage of time, capturing tensions between nature, history, and memory. Central to Mann’s investigation are the landscapes that she has photographed both near her home in Virginia’s Shenandoah Valley and across the South for over three decades. Often using a view camera, Mann draws on the history of both her medium and the Southern landscape to produce photographs that are expressive and elegiac. Learn More _____ Photo: © Annie Leibovitz

#Sally Mann #Artist Spotlight #Gagosian Spotlight

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Gagosian to Launch Picture Books Imprint in Collaboration with Emma Cline

Gagosian, Emma Cline, and Peter Mendelsund Collaborate on Picture Books: A Book Series That Pairs Fiction Writers with Leading Contemporary Artists Inaugural Publication Brings Together Author Ottessa Moshfegh and Artist Issy Wood; Second Book Features Author Percival Everett and Artist Richard Prince

NEW YORK, November 17, 2021—Gagosian is pleased to announce Picture Books, a new imprint launching in December that publishes fiction by leading authors alongside contributions by celebrated contemporary artists. The series was conceived by Emma Cline, author of The Girls (2016) and Daddy (2020), who has invited a number of internationally renowned fiction writers and visual artists to collaborate on individual books. Each author is paired with an artist, who is given carte blanche to create an image that is in conversation with the writer’s story. The book and image—in the form of a printed poster—are packaged together in limited hardcover editions designed by Peter Mendelsund, the renowned author, designer, and creative director of The Atlantic. The books will be available for purchase for $30 in the recently relaunched online Gagosian Shop as well as at the physical location on Madison Avenue in New York and at select bookstores. Future authors in the series will include Mary Gaitskill and Elif Batuman. Larry Gagosian commented: “My gallery has long published books on artists by celebrated writers and thinkers. When Emma Cline approached me about creating an imprint that would invite artists to create new images in response to works of literature, it immediately resonated. Bringing creators together in this unique way adds another dimension to the gallery’s innovative and expansive publishing program.” Emma Cline added: “Picture Books creates a space for a new kind of dialogue between art and fiction. While writers often engage with art and artists in the form of a catalogue essay or a critical review, there was no equivalent platform for artists to respond to a work of fiction. Gagosian was the ideal partner in bringing this project to life: the gallery has a strong appreciation for the echoes and illuminations that result from conversations between different mediums and between artists. Peter Mendelsund was another natural fit: across his fiction, nonfiction, and visual work, Peter is always thinking deeply about the interplay between words and images. It’s exciting to create the opportunity for that interplay in the form of these beautiful objects.” Peter Mendelsund said: “As someone who has spent much of his adult life making pictures and writing books, I’m naturally invested in understanding the intersection of these two media (and interested in understanding the limits of each; what can’t words show, and what can’t art say?). So, when Emma and I first started discussing the Picture Books series, in which we’d pair fiction and fine art, I found myself tickled in my sweet spot. Seeing the two forms side by side, responding to one another, will be revelatory in speaking to exactly these intersections and limits.” The Picture Books series will launch with two publications—Ottessa Moshfegh’s My New Novel (2021), matched with an artwork by Issy Wood; and Percival Everett’s Grand Canyon, Inc. (2021), accompanied by a Richard Prince artwork. Wood’s contribution is the down payment (2021), a new oil-on-linen painting; Prince presents a color photograph from his Original Cowboys series (2013). “You think everyone hates you, Jerome. It might be the one thing you’re getting right.” In Moshfegh’s acerbic narrative, My New Novel, struggling writer Jerome Littlefield trades verbal blows with his mother; his therapist; and Stacey, a pregnant stripper who responds to his appeal for an “attentive individual to sit and listen. No speaking required.” The painting that Wood produced in response portrays a weeping Jerome in the midst of what the artist calls “the most directly surreal part of the story.” The pairing of Wood and Moshfegh was an obvious one, says Cline. “Both Moshfegh and Wood share a gothic, spiky humor and an attunement to the darker currents of the world, the hidden realms where shame and desire intersect.” Everett’s Grand Canyon, Inc. relates the tragicomic tale of crack rifle shot Winchell Nathaniel “Rhino” Tanner; his sidekick Simpson Trane, aka BB (named for the BB pellet lodged inextricably in his skull); and their battle to “acquire” the Grand Canyon by constructing an amusement park on Plateau Point. Prince’s photograph, which depicts the sandstone buttes of Monument Valley Navajo Tribal Park on the Arizona-Utah border, sees the artist continue his long engagement with the iconography of the American West. For this series, instead of rephotographing and manipulating images clipped from magazine advertisements, as he has done before, Prince visited the area to seek out quintessential viewpoints established by preceding photographers. “Prince is so wily and wry, in ways that echo Everett,” says Emma Cline. “They are both tricksters who take a sideways look at the mythology of the West and reveal it anew.” Gagosian’s extensive in-house publishing program has produced nearly six hundred books, including catalogues raisonnés, artist monographs, scholarly exhibition catalogues, and limited-edition artist’s books. The gallery started publishing in 1985 and today its output rivals that of traditional arts trade publishers, averaging between twenty-five and forty books a year. Recent subjects include Georg Baselitz, Jean-Michel Basquiat, Helen Frankenthaler, Ellen Gallagher, Katharina Grosse, Damien Hirst, Donald Judd, Y.Z. Kami, Nam June Paik, Gerhard Richter, Jenny Saville, Mary Weatherford, and Rachel Whiteread. The gallery also produces Gagosian Quarterly, a celebrated print and online magazine, which will launch its fifth anniversary issue at the beginning of 2022. Emma Cline is a novelist from California. Her debut novel, The Girls (2016), was shortlisted for the John Leonard Prize by the National Book Critics Circle and the Center for Fiction’s First Novel Prize. Her stories have been published in the New Yorker, Tin House, Granta, and the Paris Review, and her short-story collection, Daddy, was released in 2020. Cline was named one of Granta’s Best of Young American Novelists and was a recipient of the Plimpton Prize for Fiction. Percival Everett is the author of twenty-two novels and four collections of stories. Among his novels are The Trees (2021), Telephone (2020), So Much Blue (2017), and Erasure (2001). He has received awards from the Guggenheim Foundation and Creative Capital. He is a distinguished professor of English at the University of Southern California and lives and works in Los Angeles. Peter Mendelsund is the author of five books: the novels Same Same (2019) and The Delivery (2021), as well the nonfiction works What We See When We Read (2014), Cover (2014), and The Look of the Book (2020). Mendelsund has been described by the New York Times as “one of the top designers at work today,” and his work has been described by the Wall Street Journal as “the most instantly recognizable and iconic.” He is creative director of The Atlantic. Ottessa Moshfegh is a novelist from New England who lives and works in Southern California. Eileen (2015), her first novel, was shortlisted for the National Book Critics Circle Award and the Man Booker Prize and won the PEN/Hemingway Award for debut fiction. My Year of Rest and Relaxation (2018) and Death in Her Hands (2020), her second and third novels, were New York Times bestsellers. She is also the author of a novella, McGlue (2014), and the short-story collection Homesick for Another World (2017). Richard Prince is an artist who lives and works in New York. His works are in the public collections of the Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; and Victoria and Albert Museum, London. He has been the subject of major solo exhibitions, including the Whitney Museum of American Art, New York (1992); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zürich, Switzerland; and Kunstmuseum Wolfsburg, Germany); Solomon R. Guggenheim Museum, New York (2007, traveled to Walker Art Center, Minneapolis; and Serpentine Gallery, London, through 2008); American Prayer, Bibliothèque nationale de France, Paris (2011); Prince/Picasso, Museo Picasso Málaga, Spain (2012); and It’s a Free Concert, Kunsthaus Bregenz, Austria (2014). Issy Wood was born in the United States and lives and works in London. She graduated from Goldsmiths, University of London, with a BA in fine art and history of art in 2015, and earned an MA from the Royal Academy Schools, London, in 2018. Collections include the Institute of Contemporary Art, Miami; High Museum of Art, Atlanta; and Fondation Louis Vuitton, Paris. Exhibitions include All the Rage, Goldsmiths Centre for Contemporary Art, London (2019); and Good Clean Fun, X Museum, Beijing (2020). _____ Left: Percival Everett, Grand Canyon, Inc. / Richard Prince, Untitled (Original Cowboy) (New York: Picture Books | Gagosian, 2021). Right: Ottessa Moshfegh, My New Novel / Issy Wood, the down payment (New York: Picture Books | Gagosian, 2021)

#Picture Books #Gagosian #Emma Cline #Peter Mendelsund #Ottessa Moshfegh #Richard Prince #Issy Wood

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Live in 20 minutes—Watch Nathaniel Mary Quinn on Gagosian Premieres with performance by Raphael Saadiq

Airing in 20 minutes

GAGOSIAN PREMIERES: NATHANIEL MARY QUINN

Featuring Ekow Eshun, Amanda Hunt, and Raphael Saadiq

Tuesday, November 16, 2021, 2pm EST The ninth episode of Gagosian Premieres celebrates Nathaniel Mary Quinn: NOT FAR FROM HOME; STILL FAR AWAY—an exhibition of new paintings and works on paper at Gagosian, New York—featuring a raw musical performance by Raphael Saadiq; an intimate conversation between Nathaniel Mary Quinn and Amanda Hunt, director of public programs and creative practice at the Lucas Museum of Narrative Art in Los Angeles; and insightful commentary from writer and curator Ekow Eshun. Join Us

#Nathaniel Mary Quinn #Gagosian Premieres #Gagosian #Raphael Saadiq #Amanda Hunt #Ekow Eshun

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Gagosian Basel to Present an Exhibition of Paintings and Drawings Produced by Arakawa over a 20-Year Period

Gagosian Basel to Present an Exhibition of Paintings and Drawings Produced by Arakawa over a 20-Year Period Opening November 25, 2021

I wanted to change art, to change life—I became a radical. —Arakawa BASEL, November 15, 2021—Gagosian is pleased to present Waiting Voices, an exhibition of works on canvas and paper by Arakawa produced between 1964 and 1984. This is the artist’s first exhibition with the gallery in Basel. Arakawa (1936–2010) was one of the earliest international pioneers of Conceptual art, and a founding member of the Japanese avant-garde collective Neo Dada. Working in painting, drawing, printmaking, and architecture, he described himself as an “eternal outsider” and an “abstractionist of the distant future.” After relocating from Tokyo to New York in 1961, where he encountered Marcel Duchamp and many of the French artist’s contemporaries, he began producing “diagram paintings,” combining schematic images with text in a study of epistemology and perception. In 1962, Arakawa met his future wife and collaborator, the poet, writer, and philosopher Madeline Gins. From 1963 to 1973, the couple collaborated on an eighty-painting suite, The Mechanism of Meaning, and in the 1990s they worked on a theory of “procedural architecture” through which they aimed to extend the lives of a building’s occupants. Waiting Voices features paintings and drawings produced by Arakawa over a twenty-year span. A Diagram of Imagination (1965), Separated Continuums (1966), and A Couple (1966–67) are among several paintings from the mid-1960s that represent architectural space. The earliest of the three shows part of a simple town plan layered over a grid; the others focus on interior space. In Separated Continuums, coordinates on a grid—featureless apart from two colored lines—are labeled with the names of household objects and fixtures. A Couple is, for the most part, similarly schematic, but Arakawa has added renderings of windows to the graphic marks as well as stenciled words and numbers that denote the contents of the room. The painting’s diptych format also hints at a narrative progression and allows viewers to imagine the unseen titular duo. In Untitled (Voice Inoculations) (1964–65), a diagram of a cube is labeled with words—some of them stenciled backward—that conjure an ambiguous play on orientation, scale, and other attributes of an object. Hard or Soft No. 3 (1969) also features text, which in this case informs the viewer—with Arakawa’s characteristic deadpan wit—that the composition’s meandering arrows “indicate almost nothing” and that the accompanying numbers may be rearranged in any order. The two-part Waiting Voices (1976–77) pairs a grouping of geometric forms—reminiscent of the “suitors” in Duchamp’s The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915–23)—with an abstruse marginal text. Also on view are several works on paper, including Study for “Blank” No. 2 (1981) and Study for the “Sharing of Nameless” No. 3 (1983–84), both of which feature plan-like networks layered over words, arrows, and, in the later example, a grid of variegated tones. Blending coded signification with a shifting ambiguity, they build bridges from Arakawa’s imagination to create an art that is fully realized only in the mind and body of the viewer. Shūsaku Arakawa, known simply as Arakawa, was born in 1936 in Nagoya, Japan, and died in 2010 in New York. Collections include the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Centre Pompidou, Paris; National Museum of Art, Osaka, Japan; and National Museum of Modern Art, Tokyo. Exhibitions include Peintures de Arakawa, Palais des Beaux-Arts, Brussels (1964); Stedelijk van Abbemuseum, Eindhoven, Netherlands (1966); Peintures Récentes, Musée National d’Art Moderne de la Ville de Paris (1970); Minneapolis Institute of Art (1974); Recent Prints, Museum of Modern Art, New York (1974); Stedelijk Museum, Amsterdam (1978); The Mechanism of Meaning, National Museum of Art, Osaka, Japan (1979); Constructing the Perceiver—Experimental Works, National Museum of Modern Art, Tokyo (1991); Reversible Destiny—Arakawa/Gins, Solomon R. Guggenheim Museum, New York (1997); and Funeral for Bioengineering to Not to Die—Early Works by Arakawa Shūsaku, National Museum of Art, Osaka, Japan (2010). Arakawa represented Japan at the 35th Biennale di Venezia (1970) and was included in Documenta 4 (1968) and Documenta 6 (1977). In 2017, Gagosian announced the gallery’s representation of the artwork of Arakawa on behalf of the Estate of Madeline Gins and the Reversible Destiny Foundation, a foundation established by Arakawa and Gins. ARAKAWA Waiting Voices November 25, 2021–January 22, 2022 Rheinsprung 1, Basel _____ Arakawa, Waiting Voices, 1976–77, acrylic, graphite, marker, and varnish on canvas and linen, in 2 parts, overall: 70 × 96 inches (177.8 × 243.8 cm) © 2021 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins

#Shusaku Arakawa #Arakawa #Gagosian

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Now Open in New York—Dan Flavin at Park & 75

Gagosian Presents Works by Dan Flavin in New York

NEW YORK, November 12, 2021—Gagosian is pleased to present two sculptures by Dan Flavin: untitled (to Barnett Newman) two (1971), and untitled (to Sabine and Holger) (1966–71). The dates of the exhibition overlap with those of exhibitions of work by John Chamberlain at 522 West 21st Street and Donald Judd at 555 West 24th Street. Flavin used widely available fluorescent tube lights to radically alter and rearticulate the space shared by work and viewer while maintaining formal and material consistency from one project to the next. In doing so, he also circumvented the limitations imposed by handwrought armatures, as well as by pedestals and other conventional means of object display. In this way, Flavin—alongside his contemporaries including Carl Andre and Donald Judd—played a key role in directing the course of art making in the 1960s and 1970s toward the eradication of the artist’s hand. In untitled (to Sabine and Holger), Flavin transforms the viewer’s experience through what artist Mel Bochner has characterized as “an acute awareness of the phenomenology of rooms.” The work both defines the intersection of the walls and masks the darkness of the receding corner. “I knew the actual space of a room could be broken down and played with,” Flavin explained, “by planting illusions of real light, electric light, at crucial junctures in the room’s composition.” One of four sculptures with the same subtitular dedication, untitled (for Barnett Newman) two was produced for Flavin’s solo exhibition at Dwan Gallery, New York, in 1971. The sculptures were intended as memorials to the painter, their color combinations referring to Newman’s four-painting series Who’s Afraid of Red, Yellow and Blue (1966–70). As with untitled (to Sabine and Holger), the work’s autonomous formal qualities are impossible to consider independently of the environment with which they interact. Saturating the exhibition space with ambient colored light, untitled (for Barnett Newman) two effectively transforms our perception of the room’s internal dynamics without altering its physical structure. Seen together, the two works also underscore Flavin’s interest in serial configurations. Dan Flavin was born in New York City in 1933 and died in Riverhead, New York, in 1996. Collections include the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Tate, London; Museo Nacional Centro de Arte Reina Sofía, Madrid; Stedelijk Museum voor Actuele Kunst, Ghent, Belgium; Royal Museums of Fine Arts of Belgium, Brussels; Musée d’art contemporain de Lyon, France; Kunstmuseum Basel; Ho-Am Art Museum, Seoul; Museum of Contemporary Art Tokyo; and National Museum of Art, Osaka, Japan. Major retrospectives have been organized by the National Gallery of Canada, Ottawa (1969); St. Louis Art Museum (1973); Kunsthalle Basel (1975); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1975); Museum of Contemporary Art, Los Angeles (1989); Solomon R. Guggenheim Museum, New York (1992); Deutsche Guggenheim, Berlin (1999); Dia Art Foundation in association with National Gallery of Art, Washington, DC (traveled, 2004–07); and Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2012, traveled to Kunstmuseum St. Gallen, Switzerland, 2013). Long-term site-specific installations include Dia:Beacon, NY; Chinati Foundation, Marfa, TX; Menil Collection, Houston; Staatliche Kunsthalle Baden-Baden, Germany; and Kunstmuseum Basel. The Dan Flavin Art Institute was established in 1983 in Bridgehampton, NY. DAN FLAVIN Opening reception: Tuesday, November 9, 4–7pm November 9–December 23, 2021 Park & 75, 821 Park Avenue, New York _____ Installation view, Dan Flavin, Gagosian, Park & 75, New York, November 9–December 23, 2021. Artwork © 2021 Stephen Flavin/Artists Rights Society (ARS), New York. Photo: Rob McKeever

#Dan Flavin #Gagosian

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Gagosian Rome to Present Sterling Ruby Exhibition

Gagosian Rome to Present Sterling Ruby Exhibition Artist’s First Show at Gagosian Rome Will Feature New Sculptures and Collages FUTURE PRESENT Opens on November 20, 2021 Special Installation by the Artist Will Be Featured at the Doria Pamphilj Museum from November 20 to December 19, 2021

ROME, November 11, 2021—Gagosian is pleased to announce FUTURE PRESENT, an exhibition of new sculptures and collages by Sterling Ruby that reflect on the perils of environmental deterioration. While this is his first exhibition at the gallery in Rome, Ruby has exhibited in the city before at venues including Museo d’Arte Contemporanea Roma (MACRO) and Fondazione Memmo (both in 2013). Visiting the Roman Forum in late spring several years ago remains one of the most important cultural moments I’ve ever experienced. Red poppies in full bloom scattered the area, life pulling through ruins. We are in a state of constant destruction and becoming, cycling and ever reinventing the past as present. —Sterling Ruby In an oeuvre encompassing sculpture, ceramics, painting, drawing, collage, video, and textiles, Ruby engages art history, institutional power, and his autobiography. By contrasting clean lines and recognizable objects with rough-hewn and uncanny forms, he disrupts aesthetic convention and deconstructs contemporary social structures. Ruby’s sculptural practice draws on the craft traditions of sewing and woodworking as well as the domestic interiors and hot rod culture that he was exposed to while growing up on a farm in southeastern Pennsylvania. Living and working in Los Angeles, he pulls from the physical and conceptual landscapes of the city, exploring the capacity for acts of defacement, such as graffiti, to generate a new painterly sublime. In FUTURE PRESENT, Ruby contemplates our acceleration toward ecological collapse. Six large, bright, perfectly formed monochromatic droplets—monuments to blood, urine, oil, water, “total carbon,” and “greenpeace”—are positioned atop matching Formica pedestals, each of which is inscribed with initials denoting the tribute in question. The contrast between these pristine forms and the debased domestic material below articulates a schism between public and private, and the degraded definitions of each realm. Installed in the gallery’s ovoid space, these forms coalesce as a chorus representing the breadth of spheres—from the bodily to the chemical—affected by or further propelling environmental demise. An accompanying suite of small collages from the ever-evolving series DRFTRS (2013–) (the title is a shortening of drifter) features watercolor paintings of rainbows punctuated by photographic images of bones clipped from archeological magazines, and begs a poignant question: What is a rainbow if nothing remains alive to see it? Ruby has described the medium of collage as an “illicit merger,” implying conceptual as well as technical transgression. The examples on view in Rome—like others in the series—are both analytical and emotive, again combining social comment with formal experiment. Inspired in part by the ruins of ancient Rome, the DRFTRS collages—and FUTURE PRESENT as a whole—manifest Ruby’s continued interest in archeological excavation, in the cyclical nature of humanity, and in all that we may still glean from that which is otherwise lost to time. Also opening on November 20, work by Ruby will be installed in the Toletta di Venere of the Galleria Doria Pamphilj museum in Rome, a repository of old master paintings housed in the private palazzo of one of Italy’s longest-established collecting families. The Doria Pamphilj collection includes Diego Velázquez’s Portrait of Pope Innocent X (1650), which famously inspired several reinterpretations by Francis Bacon. Ruby will exhibit a new painting, WIDW. CRASH CULTURE. (2021), from the WIDW series (2016–), whose title is the artist’s shorthand for “window.” This is a rare opportunity to view a work of contemporary art in this extraordinary museum. Sterling Ruby was born in 1972, holds American and Dutch citizenship, and lives and works in Los Angeles. Collections include the Centre Pompidou, Paris; Tate, London; Moderna Museet, Stockholm; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art Chicago; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; and San Francisco Museum of Modern Art. Ruby’s sculpture DOUBLE CANDLE (2018) is installed permanently at the Hirshhorn Museum and Sculpture Garden, Washington, DC. Exhibitions include DROPPA BLOCKA, Museum Dhondt-Dhaenens, Deurle, Belgium (2013); STOVES, Musée de la Chasse et de la Nature, Paris (2015); Belvedere, Vienna (2016); Ceramics, Des Moines Art Center, Iowa (2018, traveled to Museum of Arts and Design, New York); and Institute of Contemporary Art, Miami (2019–20, traveled to Institute of Contemporary Art, Boston). In June 2019, Ruby launched his clothing label, S.R. STUDIO. LA. CA., after debuting at Pitti Uomo Immagine in Florence, Italy. At the invitation of the Fédération de la Haute Couture et de la Mode, Ruby presented a collection during Paris Couture Week in January 2021. Garments from S.R. STUDIO. LA. CA. are included in the Costume Institute’s survey of American fashion, In America: A Lexicon of Fashion, on view at the Metropolitan Museum of Art, New York, through September 5, 2022. STERLING RUBY FUTURE PRESENT Opening reception: Saturday, November 20, 12–8pm November 20, 2021–February 5, 2022 Via Francesco Crispi, 16, Rome _____ Sterling Ruby, DROP. PISSING., 2021, fiberglass, wood, spray paint, and laminate, 120 × 34 × 34 inches (304.8 × 86.4 × 86.4 cm) © Sterling Ruby

#Sterling Ruby #Gagosian

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Opening Today—Gagosian to Present Paintings by Neil Jenney in New York

Gagosian to Present AMERICAN REALISM TODAY Paintings by Neil Jenney from His Modern Africa and Good Paintings Series

I’m governed by nature. Anything I do, I want it to feel natural. —Neil Jenney NEW YORK, November 9, 2021—Gagosian is pleased to present paintings by Neil Jenney from his recent series Modern Africa (2015–)—a subseries of the New Good Paintings (2015–)—and the preceding series, Good Paintings (1971–2015). Jenney is committed to exploring, and ultimately transcending, realism as both style and philosophy—a project first sparked by the preponderance of Pop-themed Photorealism in late-1960s New York. Having designated his early work “Bad Painting” (a term coined by Marcia Tucker, director of the New Museum, New York, in 1978) and his output after 1970 “Good Painting,” he continues to challenge familiar models of taste and subject matter while pursuing a meticulous and highly idiosyncratic approach to the representation of culture and place. As with proto-Surrealist writer Raymond Roussel’s fanciful travelogue Impressions d’Afrique (Impressions of Africa, 1910), Jenney’s approach to his subject in the paintings on view is rooted in personal imagination, and in Western fantasies about the continent. Although these paintings are landscapes, they eschew sweeping panoramas in favor of more intimate, even introspective scenes. But despite his pictorial restraint, Jenney’s series addresses fundamental conflicts between nature and civilization, and reflects a concern with our deteriorating environment. Modern Africa shows architectural fragments that Jenney characterizes as “utilitarian”—columns, ramps, and stairways—half-submerged in undulating sand dunes. These monumental structures seem to exist in past and future simultaneously, providing both a critical look at the legacies of colonialism and a speculative view of what may lie in wait for humanity should we fail to address climate change. While the shadows and footprints that intrude here and there reveal a continued human presence, no figures are visible, suggesting that Jenney’s envisioned world is incapable of supporting many survivors. Jenney refers to his work as “painted sculpture,” and uses handmade black wooden frames, which he first designed in the early 1970s, to present canvases executed in a crisp, high-contrast style. This device was inspired by the classical Greek notion of viewing a painting as a scene through a window, an idea that he encountered in a Fourth Avenue bookstore. Providing in this way an “architectural foreground” as well as—through their stenciled captions—a guide to title and setting, the frames situate the paintings as objects and interpretations and continue to provide Jenney with what he has described as “the most stimulating prospect” with which he has ever worked. Neil Jenney was born in 1945 in Torrington, Connecticut, and lives and works in New York. Collections include the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Los Angeles County Museum of Art; Louisiana Museum, Humlebæk, Denmark; and Tate, London. Solo exhibitions include Paintings and Sculpture 1967–1980, University of California Art Museum, Berkeley (1981, traveled to Contemporary Arts Museum, Houston; Corcoran Gallery of Art, Washington, DC; Stedelijk Museum, Amsterdam; Louisiana Museum, Humlebæk, Denmark; and Kunsthalle Basel); Collection in Context—Neil Jenney: Natural Rationalism, Whitney Museum of American Art, New York (1994); and North America, Aldrich Contemporary Art Museum, Ridgefield, CT (2007). Jenney’s work has been featured in major group exhibitions and biennials, including the Whitney Biennial (1969, 1973, 1981, and 1987); Representations of America (1977–78, organized by the Metropolitan Museum of Art, New York, and the Fine Arts Museums of San Francisco for the Pushkin Museum, Moscow; Hermitage, Saint Petersburg; and Palace of Art, Minsk, Belarus); New Image Painting, Whitney Museum of American Art, New York (1978); and Bad Painting, New Museum of Contemporary Art, New York (1978). NEIL JENNEY AMERICAN REALISM TODAY Opening reception: Tuesday, November 9, 4–7pm November 9–December 18, 2021 976 Madison Avenue, New York _____ Neil Jenney, Modern Africa #4, 2020–21, oil on canvas, in painted wood artist’s frame, 72 1/4 × 95 1/2 × 3 1/4 inches (183.5 × 242.6 × 8.3 cm) © Neil Jenney. Photo: Rob McKeever

#Neil Jenney #Gagosian

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Gagosian to Present Recent Paintings and New Graphite Drawings by Mark Tansey

Gagosian to Present an Exhibition of Recent Paintings and Graphite Drawings by Mark Tansey in New York

I think of the painted picture as an embodiment of the very problem we face with the notion of “reality.” The problem or question is, which reality? —Mark Tansey NEW YORK, November 9, 2021—Gagosian is pleased to present an exhibition of paintings and drawings by Mark Tansey, representing more than six years of work. The exhibition at 980 Madison Avenue in New York will feature one new painting—Xing (2021)—three other recent paintings, and a selection of new drawings made in graphite mixed with oil or water. Working within the stylistic conventions of figurative painting, Tansey pursues a fascination with history by layering imagery derived from an extensive archive of printed ephemera, collages, and sketches, often depicting sublime landscapes punctuated by figures or vessels. In detailed monochromatic scenes—since 2004 he has made particular use of blue—he distorts perspective and scale, emphasizing their sensate presence while restructuring our readings of historical period and spatial orientation. Tansey paints using a subtractive process, first priming the canvas with gesso, then painting one section at a time and removing the light passages while the paint is still fluid. In the works on view, Tansey makes use of complex mirroring and reflection to explore the idea and painterly tradition of the “picture-within-a-picture” and its concomitant splitting and doubling of meaning and association. In Spinner (2015), a lush vase of flowers sits on a table in front of a restaurant wall that reflects a room filled with diners, while in Reverb (2017), a formally dressed man and woman converse in front of an array of portraits of other couples, their own images framed by a mirror in a haunting visual echo that alludes to the title’s aural equivalent. Russian artist and designer Alexander Rodchenko, the individual subject of Resight (2019), lies on a rocky outcrop, training his camera on the morphing waves and eddies that swirl around him, and Xing shows two figures walking together on wet sand, their reflected and inverted images distorted by light and water. Tansey characterizes the inverted composition of Xing (pronounced “crossing”) as further emphasizing the expressive potential of reflection and shadow. He notes that the mirroring it depicts—through which the work’s physical subjects (as opposed to their reflections) are absented—has parallels in Jacques Lacan’s concept of the “mirror stage,” and in the provocative notion of what Tansey calls “a reductively purified art.” Xing incorporates multiple visual modes and methods, and features an isometric perspective, making for “a two-way picture (up or down—right or left) depending on your spatial or political orientation.” The exhibition also includes new drawings derived from imprints made with crumpled newspaper in liquid graphite, which suggest illusionistic representations of sand, snow, clouds, waves, and rocks. The unique molecular behavior of the graphite combined with the spontaneity of the technique generates base images comparable to Rorschach inkblots, from which multiple possible interpretations may emerge. Introducing deliberately drawn dry graphite figures and other variables such as shadows and reflections, Tansey then reframes and transfigures the works’ grounds to become what he refers to as “sites or situations.” Mark Tansey was born in San Jose, California, in 1949 and lives and works in Portsmouth, Rhode Island, and New York City. Collections include the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Modern Art Museum of Fort Worth, TX; Walker Art Center, Minneapolis; Broad Art Foundation, Los Angeles; and Smithsonian American Art Museum, Washington, DC. Solo exhibitions include Kunsthalle Basel (1990); Art and Source, Seattle Art Museum (1990, traveled to Musée des Beaux-Arts Montréal; St. Louis Art Museum; Walker Art Center, Minneapolis; List Visual Arts Center, Massachusetts Institute of Technology, Cambridge; and Modern Art Museum of Fort Worth, TX, through 1991); Fisher Landau Center for Art, New York (2005); and Museum Kurhaus Kleve, Germany (2005, traveled to Württembergischer Kunstverein, Stuttgart, Germany). MARK TANSEY Recent Paintings and Graphite Drawings Opening reception: Friday, November 12, 4–7pm November 12–December 18, 2021 980 Madison Avenue, New York _____ Mark Tansey, Xing, 2021, oil on canvas, 88 × 60 inches (223.5 × 152.4 cm) © Mark Tansey. Photo: Rob McKeever

#Mark Tansey #Gagosian

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Gagosian to Reveal New Work by Sally Mann for Artist Spotlight Online Program

Gagosian’s Artist Spotlight to Feature Sally Mann Photograph from New Body of Work, Vinculum, Will Be Revealed on November 19 and Available Exclusively Online for 48 Hours

NEW YORK, November 8, 2021—Gagosian’s Artist Spotlight—an online series that focuses on an individual artist for one week each month—is pleased to present a new photograph by Sally Mann. The featured work will be revealed at gagosian.com on November 19 and available exclusively online for forty-eight hours. Artist Spotlight: Sally Mann features a platinum print made this year that is part of Vinculum, a new, never-before-seen series of photographs the artist initiated in 2016. Focusing on the abiding and tenuous nature of human connection, this body of work continues her search for personal, social, and historical meaning in the landscape. Developed with Mann’s dedication to exploratory process and technique, the print transforms a hillside scene of farmland crossed by utility lines into a sublime image that reflects on themes of empathy and communication. From the distinctive photographs of her children in the Family Pictures (1984–94) series to those of decomposing bodies in What Remains (2000–03) and the spaces of Cy Twombly’s studio in Remembered Light (1999–2012), Mann’s work has consistently been guided by her interests in family, mortality, history, and nature. Central to her investigation of those themes are the landscapes that she has photographed both near her home in Virginia’s Shenandoah Valley and across the South for over three decades. As she has described it, “This gradual move from the family pictures to the landscapes was a shift from what I thought of as our private, individual memories to the more public, emotional memories, those that the past discloses through traces inscribed on our surroundings.” Often using a view camera, Mann draws on the history of both her medium and the Southern landscape to produce photographs that are expressive and elegiac. Making images of overlooked patches of land as well as historically significant sites such as Civil War battlefields, she imbues her landscape photography with her singular vision, testing its capacity to convey spirited feeling and bear public witness to the events of the past and present. On November 17, a new video featuring an interview with Mann will debut on Gagosian Quarterly online. Filmed at work in her darkroom and studio and within the surrounding landscape, she discusses her approach to making and printing pictures. In doing so, she expands on the revelations of Hold Still: A Memoir with Photographs, a finalist for the 2015 National Book Awards and winner of the Andrew Carnegie Medal for Excellence in Nonfiction in 2016. Sally Mann: A Thousand Crossings, a major survey exhibition, opened in 2018 at the National Gallery of Art, Washington, DC, and traveled extensively across the United States and to the Jeu de Paume, Paris. This year, Mann was honored with the OPUS Award by the Ogden Museum of Southern Art in New Orleans and was inducted into the International Photography Hall of Fame. Artist Spotlight is a dynamic platform that enables artists to present their work in the digital realm, sharing their stories with a global audience online. The series, which launched in April 2020 and is now in its third season, is presented once a month as a regular part of Gagosian’s programming. Each installment highlights the work of an individual artist through new editorial features and archival content, and new work is made available with pricing information for forty-eight hours. _____ Sally Mann, Lexington, Virginia, 2015. Photo: © Annie Leibovitz

#Sally Mann #Gagosian Spotlight #Artist Spotlight

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Gagosian to Present First Solo Exhibition by Jonas Wood in Hong Kong

Gagosian to Present New Works by Jonas Wood The Artist’s First Solo Exhibition in Hong Kong November 23, 2021–January 15, 2022

Hong Kong, November 8, 2021—Gagosian is pleased to present an exhibition of ten new paintings by Jonas Wood, together with two sets of related drawings in Hong Kong this fall. This is Wood’s first solo exhibition in Hong Kong. The concept for the exhibition stemmed from the artist’s mid-career survey at the Dallas Museum of Art in 2019 when he reencountered Polka Dot Orchid (2015), a painting he had made of a single plant against a black background. The work was hung alongside other paintings of isolated plants in a room wallpapered with repeating tennis balls. Following that exhibition, and over the course of the lockdown period of 2020, Wood continued to consider the idea of making works on black grounds and the opportunity of hanging them together. The new paintings continue Wood’s exploration into motifs of fruits, flowers, and houseplants. Depicting brilliantly hued orchids and succulents, full bunches of bananas, and a robust monstera plant, he uses plants as a vehicle to experiment with color and geometry, isolating the forms on monochromatic backgrounds to explore color theory, pattern, and line. Wood planned the installation from his studio in Los Angeles knowing that he would not be able to visit Hong Kong in person due to travel restrictions. The architectural model, which appears in the catalogue, became essential to this process. As part of his conceptual vision, a room of the exhibition will be installed with floral wallpaper designed by the artist as part of his ongoing interest in pattern and in the repurposing and recontextualizing of his own imagery. Wood develops his hybrid compositions from multiple sources, including photographs appropriated from magazines and representations of his own plant specimens. Some works also incorporate additional natural and artificial elements; Small Yellow Orchid with Baby Snake (2020) features a coiled serpent nestled in its basal leaves, while basketballs—a recurring motif for the artist, an avid sports fan—meld with orchid petals in Bball Orchid with Dots #2 (2021). Plants have remained a key subject for Wood throughout his career, beginning with his arrival in Los Angeles in 2003. Originally from the East Coast, he was astounded by the variety of flora he found in Southern California, and the tropical plants featured in his paintings reflect not only the houseplants that populate his home and studio, but also the region’s climate and cultural identity. The lush growth that inspired these works is thus linked to his immediate environs, and to the semi-autobiographical impetus of his practice. Like his predecessors Paul Cézanne, Henri Matisse, and David Hockney, Wood also uses still-life painting as an opportunity to explore abstract forms while extending the modernist impulse to merge art and life. The exhibition is accompanied by a fully illustrated catalogue and a new poster featuring Yellow Flower with Lines 2 (2021). Jonas Wood was born in 1977 in Boston, and lives and works in Los Angeles. Collections include the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; National Gallery of Art, Washington, DC; Museum of Contemporary Art, Chicago; Hammer Museum, Los Angeles; The Broad, Los Angeles; Los Angeles County Museum of Art; and Museum of Contemporary Art, Los Angeles. Exhibitions include Hammer Projects: Jonas Wood, Hammer Museum, Los Angeles (2010); Clippings, Lever House Art Collection, New York (2013–14); and Shio Kusaka & Jonas Wood, Museum Voorlinden, Wassenaar, Netherlands (2017–18). A mid-career survey of his work was organized by the Dallas Museum of Art in 2019. Public commissions include Shelf Still Life, High Line Art, New York (2014); LAXART Facade, Los Angeles (2014); and Still Life with Two Owls, Museum of Contemporary Art, Los Angeles (2016–18). JONAS WOOD Opening reception: Friday, November 26, 6–8pm November 23, 2021–January 15, 2022 7/F Pedder Building, 12 Pedder Street, Central, Hong Kong _____ Jonas Wood, Yellow Flower with Lines 2, 2021, oil and acrylic on linen, 42 × 36 inches (106.7 × 91.4 cm) © Jonas Wood. Photo: Marten Elder

#Jonas Wood #Gagosian

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Gagosian to Participate in West Bund Art & Design and ART021 Shanghai

Gagosian to Participate in West Bund Art & Design and ART021 Shanghai

Coinciding with Solo Exhibitions by Jia Aili at Tank Shanghai and by Alex Israel at Fosun Foundation, Shanghai

HONG KONG, November 5, 2021—Gagosian is pleased to announce its participation in this year’s editions of West Bund Art & Design and ART021 Shanghai with two extensive group presentations of works by international artists. Returning to Shanghai for the seventh year, Gagosian is one of the few galleries to participate in both events in 2021. A selection of works from each fair will be available on gagosian.com. Also opening in Shanghai this November are institutional exhibitions of gallery artists Jia Aili and Alex Israel. At West Bund Art & Design, Gagosian will present works by Balthus, Georg Baselitz, Jean-Michel Basquiat, Glenn Brown, Helen Frankenthaler, Katharina Grosse, Mark Grotjahn, Damien Hirst, Thomas Houseago, Tetsuya Ishida, Alex Israel, Takashi Murakami, Albert Oehlen, Nam June Paik, Sterling Ruby, Ed Ruscha, Rudolf Stingel, Spencer Sweeney, Zao Wou-Ki, and Zeng Fanzhi, among others. At ART021 Shanghai, the gallery will feature works by artists including Georg Baselitz, Dan Colen, Edmund de Waal, Roe Ethridge, Urs Fischer, Katharina Grosse, Simon Hantaï, Damien Hirst, Jia Aili, Harmony Korine, Takashi Murakami (as an individual artist and in collaboration with Virgil Abloh), Rudolf Stingel, Spencer Sweeney, and Tatiana Trouvé. To receive a PDF with detailed information on the works, please contact the gallery at [email protected]. Jia Aili: Harsh, the first solo exhibition of Jia’s paintings in Shanghai, will be on view at the Tank Shanghai from November 10, 2021, to May 29, 2022. Harsh presents a selection of Jia’s expansive, multifaceted works, including a new painting, his largest to date. Alex Israel: Freeway, the artist’s first institutional solo exhibition in China, will be held at Fosun Foundation, Shanghai, from November 11, 2021, to February 15, 2022. Freeway brings together works from multiple series by Israel, including paintings, sculpture, video, and installation. West Bund Art & Design November 12–14, 2021, booth A102 West Bund Art Center, Shanghai www.westbundshanghai.com #WestBundArtFair ART021 Shanghai November 13–14, 2021, booth C02 Shanghai Exhibition Center www.art021.org #ART021 Jia Aili: Harsh November 10, 2021–May 29, 2022 Tank Shanghai www.tankshanghai.com #JiaAili Alex Israel: Freeway November 11, 2021–February 15, 2022 Fosun Foundation, Shanghai www.fosunfoundation.com #AlexIsrael _____ Tetsuya Ishida, Untitled (Planting Trees), 2000, acrylic on canvas, 9 3/4 × 8 3/4 inches (24.8 x 22.3 cm) © Estate of Tetsuya Ishida

#Gagosian #West Bund Art Fair #ART021 #Jia Aili #Alex Israel #Tetsuya Ishida

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Now Online—on Patmos, I by Edmund de Waal

October 29, 2021

Now Online | 48 Hours Only

ARTIST SPOTLIGHT: EDMUND DE WAAL

__________ Edmund de Waal on Patmos, I, 2021 Porcelain, lead, gold, steel, red iron oxide, red pigment, aluminum, and glass 11 × 11 × 3 7/8 inches (28 × 28 × 10 cm) Price upon request “Patmos is the Greek island of exile,” Edmund de Waal explains. “It’s also the island of revelation . . . it’s a place where things happen.” De Waal uses objects as vehicles to materially investigate themes of diaspora, history, and the contingency of memory. In on Patmos, I, he continues to explore the quiet power of juxtaposition, establishing a tension between the vitrine and its contents—two small blocks of abraded Cor-Ten steel, a rough piece of gilded lead, and two shallow, black-glazed porcelain vessels—and between the objects themselves. Explore Now

#Edmund de Waal #Gagosian #Gagosian Spotlight #Artist Spotlight