Gagosian Quarterly (Fall 2024) – The new issue features Jessica Beck discussing Andy Warhol’s Mao series, contextualizing Warhol’s return to painting in the early 1970s and his attraction to subjects of notoriety. We dig into the archives to honor the inimitable Richard Serra, who had over forty exhibitions at Gagosian since his first in 1983. Elsewhere in the issue, Salomé Gómez-Upegui examines the work of artists confronting the climate crisis, and Péjú Oshin speaks with Jayden Ali about his expansive view of architecture.
Andy Warhol’s Insiders at the Gagosian Shop in London’s historic Burlington Arcade is a group exhibition and shop takeover that feature works by Warhol and portraits of the artist by friends and collaborators including photographers Ronnie Cutrone, Michael Halsband, Christopher Makos, and Billy Name. To celebrate the occasion, Makos met with Gagosian director Jessica Beck to speak about his friendship with Warhol and the joy of the unexpected.
Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.
Gagosian Quarterly (Winter 2023) – The new issue features Annie Cohen-Solal who writes about the exhibition A Foreigner Called Picasso, at Gagosian, New York, detailing the genesis of the project, her commitment to the figure of the outsider, and Picasso’s enduring relevance to matters geopolitical and sociological. Connecting the dots among the Surrealist milieu, including Picasso, a conversation on the underrecognized photographer Lee Miller sets the stage for a New York show about her work, friendships, and collaborations with fellow artists.
Cocurator of the exhibition A Foreigner Called Picasso, at Gagosian, New York, Annie Cohen-Solal writes about the genesis of the project, her commitment to the figure of the outsider, and Picasso’s enduring relevance to matters geopolitical and sociological.
By Annie Cohen-Solal
I have been interested in the issue of immigration ever since I entered the art world. I began my career as an intellectual historian: I was a scholar of Jean-Paul Sartre and wrote his first biography. It was quite unexpected that I would fall into the orbit of the art world, let alone so fast, but two days after I arrived in New York City, in 1989—I had just been nominated cultural counselor to the French Embassy in the United States—I met Leo Castelli at a dinner. Out of the blue, Leo told me, “You don’t look like your predecessors.” (I was the first woman in the position.) “You’ll take New York city by storm and I’ll teach you American art. Come to the gallery tomorrow, I have a show with Roy [Lichtenstein]. Come for the opening and stay for the dinner.”
The American Surrealist photographer Lee Miller is the subject of the exhibition Seeing Is Believing at Gagosian, New York. Here we present a conversation on the stewardship of Miller’s legacy, her photography and writing from the frontlines of war to the pages of Vogue, and the intertwined lives of her friends, lovers, and the many artists she knew.
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