#gagosian quarterly

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Cy Twombly, Study for Treatise on the Veil, (collage: (drawing paper, transparent adhesive tape), pencil, wax crayon, and ink), [Rome], 1970 [«Gagosian Quarterly», Fall 2022 Issue, Gagosian, New York, NY. Private collection. © Cy Twombly Foundation, New York, NY. Photo: © Mimmo Capone]

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Stella McCartney on being surrounded by art/artists all her life

Derek Blasberg: Has your perspective on the art world changed since then?

Stella McCartney: It’s sort of fluid for me. For example, Leo Castelli was always around in our life when I was a child. And that turned into Larry Gagosian, maybe with Tony Shafrazi and some other characters in between. In London, Robert Fraser was the equivalent, and he was one of my mom’s best friends. My father bought some Magrittes off of him. The art world is like a whole separate life. Peter Blake is my godfather. It’s all still in my life. I mean, Ringo [Starr] is a huge [George] Condo collector! [Allen] Ginsberg and all these other kinds of artists were around constantly too. [David] Bowie and music artists. It was such a huge influence on me.

From: “Fashion and Art: Stella McCartney”, by Derek Blasberg for Gagosian Quarterly, Summer 2021

[jordi-gali]

Adriana Varejão: Interiors , comissariada per Louise Neri, es va presentar a Gagosian, Beverly Hills, el 2017 com a exposició col·lateral de la iniciativa triennal de Getty  Pacific Standard Time: LA/LA , que es va centrar aquell any en l'art llatinoamericà i llatí. En un text adaptat per a l'ocasió de l'assaig més llarg "Pavimentat i enrajolat d'Adriana Varejão", la historiadora i comissària cultural brasilera Lilia Moritz Schwarcz explora els complexos temes culturals de l'obra de Varejão.  https://gagosian.com/quarterly/2017/09/01/adriana-varejao-interiors/

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Essay by Benjamin Labatut about AI-generated art ...

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anonymous club leech x shayne oliver in gagosian quarterly styled by taylor thoroski ph by 1engua

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Artist Research – Jenny Saville

I decided to look at the works of Jenny Saville as her paintings primarily focus on portraiture which is also my preferred area of focus within my practice. I enjoy her works for their often vibrant colour palette and admire her loose style as I tend to be much more of a realist / perfectionist when it comes to my own portraiture and I envy her style.

Shown above:

'Self-Portrait (After Rembrandt),' oil on paper, 137.5 cm x 101.5cm, 2019.

'Virtual,' oil on canvas, 200cm x 160cm, 2020.

[rayshellearningjournal]

Artist Research - Jenny Saville

Jenny Saville is a British contemporary painter known for her artwork that primarily explores themes of identity, sexuality and the human condition (Hicks, 2023) Her work mainly depicts the human form, painted with heavy layers of oil paint that resembles skin pigment not just through tones but in texture. Saville’s brushwork technique involves smearing and scraping layers of oil paint over large canvases. She works and lives in Oxford after studying in the Glasgow school of Art from 1988 to 1992. 

Saville is part of the ‘Young British Artist Movement,’ a group of artists that rose to prominence in the 1980s. (Gagosian) Other known artists who are members are Damien Hirst, Tracey Emin and Garry Hume, whose works are known for calling attention to profound topics. ‘Artistic consensus of the Young British Artist Movement was a common will to provoke.’ (Karg, 2020) The YBA’s positioned themselves politically, exemplifying that through what they produced and how they marketed it. They demonstrated their standpoint within conservative society and within the art world in the 80s and 90s. 

Saville’s way of exhibiting her work within the movement is through her large interest in confrontational figure painting. She challenges society’s perception of the human body and its potential. ‘Her work reveals deep awareness, intellectual and sensory, of how the body has been represented over time and across cultures.’ (Gagosian) For example, she derives inspiration from Hindu sculptures, Renaissance drawings and paintings. 

In relation to identity, Saville ‘deconstructs the stereotypes of beauty/eroticis of the female body.’ (Cue, 2016) She explores the ‘relationship between the physical body and psyche.’ Which are significant attributes to identity since physicality as well as mentality vary uniquely in everyone. Saville herself stated in Cue’s interview, that her art is ‘about human identity.’ The way Saville handles paint ‘seems to evoke this transformative process. The body as something mysterious, fluid and hidden.’ (Saville, 2018, p.20) ‘What strikes Saville is the ease with which identities can be changed, how mutable human identity is - that we all have multiple selves.’ 

Saville’s work relates to gender distinction and representing identity. In societal perception, women are commonly perceived for what’s on the surface, however Saville expresses the ‘states that bind us to our existence, uneasy, anguished, painful, fleshiness.’ (Cue, 2016) She represents identity through the human experience. 

Saville’s work is relevant to my project as her concept relates to experiences in life and how it shapes a person, in terms of physicality and their inner self. I chose this idea since I’m focusing on growth from childhood and changes of the body and self in developmental stages of growth.

Reference List:

Cue, E (2016) Interview with Jenny Saville, Alejandra De Argos, Available at: https://www.alejandradeargos.com/index.php/en/all-articles/21-guests-with-art/576-interview-with-jenny-saville

Available at: https://gagosian.com/artists/jenny-saville/#:~:text=In%20her%20depictions%20of%20the,mobile%20life%20of%20its%20own.

Hicks, A (2023) ‘What is Jenny Saville’s Art Style?’ WaynearthurGallery, Available at: https://www.alejandradeargos.com/index.php/en/all-articles/21-guests-with-art/576-interview-with-jenny-saville

Jenny Saville: A Cyclical Rhythm of Emergent Forms | Essay | Gagosian Quarterly not used

Karg, A (2020) ‘8 Famous Artworks From The Young British Artist Movement (YBA) Available at:  https://www.thecollector.com/young-british-artist/

Saville, J (2018) Jenny Saville, London, Rizzoli International Publications

[garadinervi]

Cy Twombly, Untitled, (acrylic and pencil on paper), 1989 [«Gagosian Quarterly», Summer 2018 Issue, Gagosian, New York, NY. Cy Twombly Foundation, New York, NY]

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[jordi-gali]

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Gerhard Richter

In a new piece for "Gagosian Quarterly," dance artists Rashaun Mitchell and Silas Riener join art and dance historian Megan Metcalf in a conversation about dancing with Gerhard Richter paintings, their evolving relationship to language, and hidden “Easter eggs” in their work. Their performance, pictured here, features in Richter's episode of Gagosian Premieres. Follow the link in our bio to read the article or to watch the full episode.

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Concept store in Kyoto

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The Beauty of Climate Change #31: A Body in Places

A woman in a white linen kimono, with a black silk kimono on top, loosely tied and moving in the wind, moves around a construction site in West Kowloon. The Bank of China tower sits across Victoria harbor, in a sea of steel and glass.

Eiko Otake is a body in a Hong Kong in December 2015. A Body in Places is her first solo work, begun as an extended performance from 2014 to 2019 in irradiated Fukushima. Eiko responded to the Fukushima earthquake, tsunami, and nuclear disaster that left homes, industrial sites, water, and earth irradiated and uninhabited. The Japanese Butoh dancer performed for decades as Eiko of Eiko & Koma, bringing the post-war dance and minimalist, anti-materialist, anti-capitalist forms to the world. Japan is the only nation ever subjected to nuclear attack. Butoh, and Eiko as its expressive face, turned that experience around to witness the effect of violence and destruction around the globe.

At the start, she emerged from a temporary hut, its door facing away from the construction overlooking Victoria Harbor, the channel that divides Hong Kong Island from Kowloon. Then Eiko inched toward the wire link fence on the west edge, and she began to follow the fence with her eyes on the harbor. A construction crane sat idle, its gear dangling high above her head, on the other side of the fence. A digging machine operator was still at work, lowering the bucket of the digger and then raising it to move a medley of stone and dirt from the harbor edge of the site (across the fence) to a large container for debris.

Eiko performed A Body in Hong Kong solo in several venues in the city, each performance responding to the features of the place. Clothed in an off-white kimono, face whitened with clay, and bare legs and bare feet, she is distanced from the audience, bundled up again the winter cold in Hong Kong (a spring-like 50 degrees Fahrenheit).

The minimalist dance forms of Butoh developed in post-war Japan. Some practitioners have spoken of the discipline and the unyielding discipline of students by master dancers. The movements of Butoh seem tortured, slow, apparently erratic. There is repetition and variation, resembling everyday gestures and activities but not everyday.  The minimalist gesture, white-painted bodies, scant clothing, and the illegibility of the form is anti-materialist, anti-capitalist.

Japan is the only nation ever subjected to nuclear attack. Butoh, and Eiko as its expressive face, turned that experience around to witness the effect of violence and destruction around the globe.  of master  Eiko and Koma danced as partners, appearing on stages around the globe until his death in 2001.

Inching around the edges of the construction site in Kowloon, situated on the Chinese mainland, yet 30 miles from the Chinese border, there was no disaster. Eiko used her body to trace the boundaries of a ruin-in-progress. There was, as yet, no disaster in December 2015, only a construction site three years behind schedule. But there had been a series of sit-ins on the main traffic arteries of Hong Kong Island and in Kowloon, from September to December 2014, in the so-called Umbrella Movement. And there would be violence, launched by the government in response to non-violent protests after an Extradition bill was proposed in February 2019, ostensibly to render fugitives from Hong Kong law subject to trial in the territory. There would be violence on both sides of Victoria Harbor.

Beauty of Climate Change #31, completed December 19, 2022 in New York City.

References:

(Re)positioning Dance: Local Sites, Global Issues, ed. Karen Barbour.

Gillian Jakab, A Body in Fukushima,” IN Gagosian Quarterly September 2021 Issue.

[fashioneditswebsite]

Fashion giant Pierpaolo Piccioli steps down from Valentino

Pierpaolo Piccioli with Valentino brand ambassador Florence Pugh (Alamy/PA) Italian designer Pierpaolo Piccioli leaves a legacy of craftsmanship and a provocative approach to color. Pierpaolo Piccioli is leaving Valentino after 25 years. Valentino named the Italian fashion designer as its sole creative director in 2016. In a statement, Piccioli thanked the people he worked with during his time at Valentino. Italian designer Pierpaolo Piccioli is leaving Valentino (Alamy/PA) "I owe everything to the people I met, worked with, shared dreams with, and created beauty alongside. Together, we built something lasting and immutable - a heritage of love, dreams, beauty, and humanity. Today and forever, I carry it with me." "This is the beauty we've created: life, hope, opportunity, and gratitude. My people, my heart, and my love give you endless possibilities. Mr Valentino and Giancarlo Giammetti trusted me. Thanks to everyone who made this possible. It was an honor to share my journey and dreams with you." Throughout his tenure at Valentino, Piccioli established himself as a giant in the fashion industry. Supermodel Naomi Campbell has become a close friend of the fashion house (Alamy/PA) His collections spanned womenswear, menswear, and couture, emphasizing classic designs. Piccioli championed craftsmanship, telling American art magazine The Gagosian Quarterly in 2023 that this was "the DNA of the brand." Piccioli also made a name for himself with his unique use of color. For the label's autumn/winter 2022 collection, models wore one of two things: an eye-searingly bright shade of fuschia or all black. This shade of pink, Valentino Pink PP, was explicitly made in collaboration between Piccioli and Pantone. It started flooding the red carpets—worn by everyone from Dua Lipa to Drew Barrymore—and became a Valentino signature. View this post on Instagram A post shared by Valentino (@maisonvalentino) In 2022, Valentino's creative director, Piccioli, opened up about his obsession with monochrome colors in an interview with AnOther Magazine. According to him, "Monochrome artists used to paint everything in one color to give visibility to other things." This statement highlights the idea that monochrome colors can serve as a canvas, allowing other elements to stand out and shine. The purpose of delivering different things and emotions varies from person to person. "For me, it's like a black and white picture book, after a chapter, you understand. And you go deeper into surface, the hands, the expression, the emotion. So I wanted to use one colour in order to highlight the idea of fashion as cut, design, silhouette, shape, volumes. Patterns, textures. You're obliged to see more." He's built relationships with prominent brand ambassadors, including The Devil Wears Prada actor Anne Hathaway – who dipped into the label's archives for The Fashion Awards 2023, wearing an ivory gown from the early 1990s – and Dune star Zendaya. Before signing a deal with French luxury brand Louis Vuitton, Zendaya was a regular face on the Valentino front row. She wore a Valentino haute couture creation to the 2022 Oscars and appeared in multiple brand campaigns. Zendaya wore Valentino haute couture to the 2022 Oscars (Alamy/PA) Some of fellow brand ambassador Florence Pugh's most memorable fashion moments have been in Valentino—including the sheer pink gown she wore to the label's couture show in July 2023, which caused a stir because the top was entirely see-through. Furthermore, it is worth noting that Piccioli injected a youthful energy into Valentino by setting up a group of brand ambassadors in 2020 called the Di. Vas – meaning 'Different Values' – including racing driver Lewis Hamilton. View this post on Instagram A post shared by Valentino (@maisonvalentino) It seems like the fashion designer mentioned in the previous statement has been making quite a name for himself in the industry. In fact, last year he was a familiar face at the Met Gala, where he dressed multiple celebrities for the event. One of the most notable outfits was worn by Rihanna, who donned a custom white bridal-inspired cape studded with camellias. Piccioli leaves Valentino on a high. Earlier this month, his most recent womenswear collection at Paris Fashion Week was met with rave reviews, as he presented a subversive all-black collection. View this post on Instagram A post shared by Valentino (@maisonvalentino) Although no official statement has been released about who will succeed Piccioli, rumors have been circulating in the industry. One name mentioned is Alessandro Michele, the previous creative director of Gucci. He left the Italian fashion house at the end of 2022. Piccioli has yet to reveal what he will do next. Read the full article

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Translate and Transform

Damien Hirst - Spot Paintings (LO1)

Damien Hirst produced over 1,000 sport paintings that are all done by hand to celebrate technical precision and the joys of colour

the dots 'symbolise the presence of an artist's viewing eye and mind coming to grips with the world via an extended hand and brush'

each series follows a strict system where coloured dots are arranged in a grid formation

predetermined rules were set regarding colour selection, spacing and the sizes of the dots

explores themes of randomness, order and perception

conceptual ideas of colour theory translated visually through a system of dots

Artsy. (2016). Damien Hirst’s Spots - For Sale on Artsy. [online] Available at: https://www.artsy.net/artist-series/damien-hirst-spots [Accessed 2 Feb. 2024].

Gagosian Quarterly. (2020). Damien Hirst: Colour Space Paintings | Essay | Gagosian Quarterly. [online] Available at: https://gagosian.com/quarterly/2020/06/22/essay-damien-hirst-colour-space-paintings/ [Accessed 2 Feb. 2024].

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