May 3, 2021
The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.
Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021
Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021
We are thrilled to present Antwaun Sargent’s guest-edited supplement, “Social Works,” which includes a feature on Weems that pairs her photography with new poetry by Maya Phillips. The section also includes interviews with Rick Lowe, Linda Goode Bryant, Sir David Adjaye OBE, and Lauren Halsey; a look at Theaster Gates’s engagement with the archives of house music legend Frankie Knuckles; and a portfolio of works by Zalika Azim and Allana Clarke, both former fellows of nxthvn.
For the second iteration of our Eye on the Market series, Nick Simunovic shares his insights into the Asian art market, particularly focusing on Hong Kong. Our ongoing collaboration with PEN America brings us a new, haunting short story by Libby Flores: Mercury Was There. In our Building a Legacy feature, Delphine Huisinga and Charles Stuckey delve into the importance of chronologies.
Also inside the issue, Albert Oehlen speaks with Mark Godfrey about his new paintings; Larry Gagosian reflects on the incredible life and career of his friend Doris Ammann; we present a conversation with dance artist Eiko Otake and historian William Johnston about their forthcoming book A Body in Fukushima; and Taylor Aldridge reflects on the enduring legacy of Dr. David Driskell.
For all of this and more, contact the Gagosian Shop to order your copy and subscribe, or read the issue online.
Artwork © Carrie Mae Weems, courtesy the artist and Jack Shainman Gallery, New York
Through June 22, the Hispanic Society Museum & Library, New York, is presenting a solo exhibition of Adriana Varejão’s work, including a new set of paintings from her Pratos (Plates) series and a site-specific outdoor sculpture. To accompany the show, Varejão has curated a selection of historical ceramic plates from the museum’s collection. Here, Louis Vaccara details the conceptual and formal references—and evolutions—in these works.
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.
On the occasion of Willem de Kooning: Endless Painting, curated by Cecilia Alemani and comprising paintings from 1944 through 1986 and two sculptures, the Quarterly revisits a conversation between Albert Oehlen and John Corbett from 2013. The pair reflect on de Kooning’s late work and its lasting influence on them.
Last fall, Taryn Simon debuted an interactive sculpture entitled Kleroterion (2024). Based on a device from the beginnings of democracy in Athens, the work was installed at Storm King Art Center, New Windsor, New York. As part of that presentation, Simon participated in a panel discussion with Nora Lawrence, Tomás González Olavarría, and Philip Lindsay about democracy, sortition, and art’s place in politics.
The Spring 2025 issue of Gagosian Quarterly is now available, featuring Cy Twombly’s Paesaggio (1986) on the cover.
Jenny Saville reflects on Cy Twombly’s poetic engagement with the world, with time and tension, and with growth in this excerpt from her Marion Barthelme Lecture, presented at the Menil Collection, Houston, in 2024.
The Bass Museum of Art, Miami Beach, is presenting Rachel Feinstein: The Miami Years (through August 17, 2025), an expansive exhibition of the artist’s multidisciplinary approach to sculpture. Ahead of the opening, Feinstein met with longtime friend and fellow artist Jack Pierson to reminisce about their years spent in Miami.
Gagosian and Museo di Palazzo Grimani, Venice, hosted a conversation between Rick Lowe; Dieter Roelstraete, curator of Neubauer Collegium for Culture and Society at the University of Chicago; and Abigail Winograd, commissioner and curator of the United States Pavilion at the 60th Biennale di Venezia. The trio discuss the exhibition The Arch within the Arc in the context of Lowe’s overall practice, as well as Gagosian’s recently published monograph on the artist.
Artists Rick Lowe and Kevin Beasley discuss their engagement with material and place, as well as the social potentials of abstraction.
John Elderfield and Lauren Mahony of Gagosian speak with the National Gallery of Art’s Harry Cooper about the new and expanded version of Elderfield’s 1989 monograph on Helen Frankenthaler that Gagosian, in collaboration with the Helen Frankenthaler Foundation, will publish this summer. The conversation traces Elderfield’s long interest in Frankenthaler’s work—from his time as a young curator at the Museum of Modern Art, New York, to the present—and reveals some of the new perspectives and discoveries awaiting readers.
Richard Armstrong, director emeritus of the Solomon R. Guggenheim Museum and Foundation, joins the Quarterly’s Alison McDonald to discuss his election to the board of the Helen Frankenthaler Foundation, as well as the changing priorities and strategies of museums, foundations, and curators. He reflects on his various roles within museums and recounts his first meeting with Frankenthaler.
Dieter Roelstraete, curator at the Neubauer Collegium for Culture and Society at the University of Chicago and coeditor of a recent monograph on Rick Lowe, writes on Lowe’s journey from painting to community-based projects and back again in this essay from the publication. At the Museo di Palazzo Grimani, Venice, during the 60th Biennale di Venezia, Lowe will exhibit new paintings that develop his recent motifs to further explore the arch in architecture.