Gagosian

Now online! Daydreams and Nightmares is a virtual exhibition of modern and contemporary works that engage with the genre of Surrealism. Presented on the Gagosian website and in the Frieze Viewing Room, the show considers the legacy of the original movement, and the ways in which its spirit of adventure and subversion of reality have progressed over the past hundred years to foster an ongoing dialogue between art and society.

#AdrianaVarejao: "Talavera," an exhibition of new paintings and sculptures by Adriana Varejão, is now open at Gagosian, West 21st Street, New York. This is her first show with the gallery in New York, following presentations in Rome in 2016, and Los Angeles in 2017. In the late 1980s, Varejão began researching "azulejos," the glazed terra-cotta tiles of Arab origin that have been the most widely used form of decoration in Portuguese art since the Middle Ages and that were bro...ught to Brazil through colonization and trade. From this, she developed her unique and ever-evolving series of "tile" paintings, made by covering a square canvas with a thick layer of plaster and allowing it to gradually dry to produce a surface with deep fissures resembling ancient crackled porcelainor geological time itself: http://on.gagosian.com/nJMa88e __________ Installation view, "Adriana Varejão: Talavera," Gagosian, West 21st Street, New York, May 3June 26, 2021. Artwork Adriana Varejão. Photo: Rob McKeever See more

#GeorgBaselitz: "Springtime," an exhibition of new paintings by Georg Baselitz, is now open at Gagosian, 555 West 24th Street, New York. Throughout his long and distinguished career, Baselitz has combined a direct and provocative approach to making art with an openness to art historical lineages, counting among others Willem de Kooning and Philip Guston as his key influences. In 1969, he began composing the inverted images for which he has become best known to slow the proces...ses of making, looking, and apprehending. During the past fifty years, he has augmented his visual language with a range of formal and historical allusions while consistently returning to the human figure. Often he reinterpretscannibalizeshis own work: http://on.gagosian.com/zREBclL __________ Installation view, "Georg Baselitz: Springtime," Gagosian, 555 West 24th Street, New York, May 4June 12, 2021. Artwork Georg Baselitz 2021. Photo: Rob McKeever See more

Tune in on tomorrow at 5pm EDT for an online conversation between Dan Colen, artist and founder of Sky High Farm, Aimee Meredith Cox, associate professor of Anthropology and African American Studies at Yale University and author of the award-winning monograph Shapeshifters: Black Girls and the Choreography of Citizenship, and Hank Willis Thomas, Conceptual artist and cofounder of For Freedoms. Moderated by Ora Wise, executive director of Sky High Farm, the group will explore the transformative power of art making, the politics of collaboration, and the role of creative expression within social justice movements. This talk is hosted by Gagosian in partnership with Dover Street Market and is part of a tribute, organized by Frieze New York, honoring the Vision & Justice Project and its founder Sarah Elizabeth Lewis.

#GagosianSpotlight: In this 2019 exhibition at the Musée Eugène Delacroix, which is an affiliate of the Musée du Louvre, Glenn Brown presented new works, with an emphasis on drawing, as well as a large sculpture inspired by Delacroix, among other artists. http://on.gagosian.com/8LhgxFK

#GagosianSpotlight: I want my paintings to be between states in every way you can think of, between beautiful and ugly, between violent and passive, between happy and sad, between male and female. Glenn Brown With preparations underway for an exhibition in London, Glenn Brown sat down with author Hari Kunzru in 2018 to discuss Brown's artmaking process, the idea of the copy, and surprising overlaps between creating visual and literary works.

#NamJunePaik: Gagosian is pleased to participate in a special presentation on 8-bridges in celebration of Asian/Pacific American Heritage Month. Three sculptures and one drawing by Nam June Paik are featured in anticipation of the artist’s major retrospective at SFMOMA San Francisco Museum of Modern Art, opening May 8. In these works, Paik uses paper and TV screens interchangeably as surfaces for gestural improvisation. Dating from the last decade of the artist’s life, they embody his playful and predictive conflations of tech and mass communication with images from nature and spontaneous mark making.

Join Gagosian on Thursday, February 25, at 1pm EST for a conversation with Azikiwe Mohammed, arts worker and founder of Black Painters Academy, and Joeonna Bellorado-Samuels, founder of We Buy Gold and director at Jack Shainman Gallery. The pair will discuss their models for exhibition and educational spaces in comparison to more traditional structures, why such alternatives are necessary, and how these spaces mirror the mental spaces Black people have had to create for themselves since time immemorial. This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics.

Join us today at 1pm EST for a conversation between artist Kevin Beasley, mezzo-soprano Alicia Hall Moran, and musician Jason Moran, in celebration of Black History Month. Drawing on the rich tradition of Black music, the trio will discuss how they each utilize sound in their respective practices. The conversation will consider the history of experimentation at the center of Black musical forms and how it informs an understanding of Black expressions, narratives, and communities. This talk is part of an ongoing program of conversations and presentations with leading artists and cultural figures, as well as a curated selection of interviews, essays, and videos from the gallery’s extensive publishing archive, that explores how Black histories animate contemporary aesthetics.

#IdealLandscape: Gagosian is pleased to present "An Ideal Landscape," a group exhibition exploring contemporary approaches to the depiction of place. The show is on view by appointment only at Gagosian, 980 Madison Avenue, New York, through March 27. Throughout the history of art, landscape painting has functioned as an important locus of visual symbolism. By situating classical allegories in idyllic pastoral settings, for example, seventeenth-century European artists such as Annibale Carracci and Nicolas Poussin were able to present an idealized view of the world that provided visual theater while also reflecting cultural mores. "An Ideal Landscape" takes a parallel yet converse approach for our times, presenting the genre as a vehicle for critique of the flawed and fraught social and political landscapes of today’s world.

Now streaming on HBO, "Black Art: In the Absence of Light" provides an illuminating introduction to some of the foremost Black visual artists working today. Directed by Sam Pollard, the documentary shines a light on the extraordinary impact of David Driskell’s landmark 1976 exhibition, Two Centuries of Black American Art, at the Los Angeles County Museum of Art. Interweaving insights and context from curators and art historians, as well as interviews with a new generation of Black artistsincluding Theaster Gates, Kerry James Marshall, Faith Ringgold, Amy Sherald, and Carrie Mae Weemsthe film offers a look at the contributions of Black American artists in today’s contemporary art world.

The first museum presentation dedicated to the late work of Helen Frankenthaler is now on view at New Britain Museum of American Art, Connecticut. This exhibition features twenty-two works on paper dating from 1990 to 2003, some measuring more than six feet: http://on.gagosian.com/HTlX7zd Through her invention of the soak-stain technique, Frankenthaler expanded the possibilities of abstract painting while referencing figuration and landscape in unique ways. In later years, he...r practice continued to evolve through her use of diverse media and processes, as she shifted from painting canvas on the floor to using larger sheets of paper that were laid out on the floor or on tabletops for easier accessibility. The continuity, in terms of content and execution, between the late work (post-1990) and what came before is striking. Graced with memorable encounters, a vast art historical image bank, and technical prowess, the aging artist moved in whatever direction suited her mood and imagination. Find out more about Frankenthaler in "Gagosian Quarterly": http://on.gagosian.com/DkXhA3M __________ Helen Frankenthaler, "Contentment Island," 2002 (detail) 2021 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York. Photo: Roz Akin See more

Work by Taryn Simon is featured in "Spaces of No Control," which closes today at the Austrian Cultural Forum New York. In this multifaceted exhibition, select contemporary artists based in Austria and the United States reflect on the concept of citizenship and public space through a close examination of the signifying dystopia of the modern city. In this photograph, Simon documented the set of the U.S. government-sponsored Arabic-language television network, which broadcasts to twenty-one million weekly viewers in twenty-two Arabic countries. Established in 2004, it is illegal for this program to air in the United States: http://on.gagosian.com/VDOVPUh __________ Taryn Simon, "Alhurra TV, Broadcast Studio, Springfield, Virginia," 2006/07 Taryn Simon

#RichardArtschwager: "Rather than traditional canvas, Artschwager’s support of choice was Celotex, an antiquated fire-retardant building material made of sugarcane. He admired the insulation material’s variegated texture and characteristic patterns, which functioned to abstract his appropriated imagery. Muddled brushstrokes rendered forms without precise boundaries on the uneven surface, and the technique mimicked the blurred appearance of newsprint’s halftone-dot images on a...n enlarged scale." Bob Monk and Maggie Dougherty An exhibition of works by the late Richard Artschwager from a key period in his career, 1964 to 1987, is on view at Gagosian, Rome: http://on.gagosian.com/nHXJB9h The early 1960s marked the beginning of Artschwager’s experiments with Celotex, a heavily textured compound board. He used this as a ground for his singular grisaille paintings, the waywardness of the industrial material obscuring his hand-drawn lines: http://on.gagosian.com/2WGDFML __________ Richard Artschwager, "AT&T Building in the Year 2000," 1987 2021 The Estate of Richard Artschwager/Artists Rights Society (ARS), New York. Photo: Julien Gremaud