Press release
131KB
giugno 07, 2022 - Gagosian Gallery
Gagosian at Art Basel 2022
Comunicato Stampa disponibile solo in lingua originale.
BASEL, June 7, 2022—Gagosian is pleased to participate in #artbasel 2022 with modern and contemporary works by gallery artists, as well as special entries in the Unlimited section of the fair.
Gagosian's booth in the main section of the fair represents the full breadth and depth of the gallery's programming through work by many of its represented artists. On view are new works by #markgrotjahn, #rudolfstingel, and #jonaswood; works by newly represented artists including Ashley Bickerton, Rick Lowe, and Jordan Wolfson; and works by Theaster Gates and #bricemarden, both of whom are also exhibiting at other venues in Basel—Gagosian's gallery at Rheinsprung 1 and Kunstmuseum Basel, respectively—during the fair.
In his sculpture Kembra & Spencer (2021–22), Urs Fischer portrays fellow artists Kembra Pfahler and Spencer Sweeney as larger-than-life wax candles; a crimson Pfahler, wigged and booted, stands, while Sweeney, in cotton-candy pink, holds his guitar. Adam McEwen's meticulously detailed sculpture Fountain (2009) reproduces a wall-mounted drinking fountain from machined graphite, a curiously inert material that lends the familiar object (which also echoes Marcel Duchamp's foundational work of 1917) a funereal air. Damien Hirst's Love (2008), from the artist's storied Natural History series of formaldehyde sculptures, also hinges on an art historical allusion, referring to Christian iconography—as well as to universal themes of life, death, and memory—by preserving a white dove in spectacular flight. In his mixed-media work Untitled (2022), which features crosses superimposed over an image of a woman in a kimono eating a pizza, Wolfson employs religious symbolism more fancifully still, positioning it as just one part of an anarchic collision in which cultural hierarchies have been gleefully stripped away.
Brice Marden's Elements (1983–84) presents five planes of painted color in a large-scale, vertically tiered composition, part of a pivotal series for the artist linking chromatic and elemental symbolism. Lowe's PRH (2022) belongs to a new series of collage paintings that abstract from the process of developing Project Row Houses (1993–2008), the artist's collaborative community enterprise in Houston's Third Ward. In another new painting, the ornate abstraction Untitled (2022), Stingel combines patterns from carpet, wallpaper, and chain-link fencing, continuing his investigation of the medium's formal and psychological elasticity. Grotjahn operates in a painterly mode between systematic structure and gestural spontaneity with Untitled (Backcountry Capri 54.61) (2021), its arcing lines defining a layered surface. Wood's Black Still Life with Tape Rolls (2022) represents a tabletop occupied by flowers together with decorative and utilitarian objects, its black ground accentuating the brilliant colors and linear definitions of its motifs. Nathaniel Mary Quinn also adopts an idiosyncratic approach to figuration, assembling elements from various sources in Reptile (2022), a composite portrait in which he again probes the shifting relationship between perception and memory.
JUDD 1989.0009
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MCEWE 2009.0008 ALT 2
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MCEWE 2022.0025
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NQUIN 2022.0002 CRP LBL
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RLOWE 2022.0006 CR
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STING 2022.0003 CRP
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TANSE 2021.0001
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UFISC 2022.0003 ALT 3
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WHITE 2021.0013
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WOLFS 2022.0001
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BICKE 2019.0002 CRP
1600x1883, 900KB
CHRIS 1962.0001
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