Gagosian/Rizzoli – förlag

Cady Noland: Polaroids 1986–2024 is an artist’s book featuring previously unpublished photographs taken by the artist over the course of her career.This book was conceived of, edited, and designed by Cady Noland. It reproduces nearly one hundred Polaroids taken by the artist over the course of her career, which illustrate sculptures in process and exhibitions in development.

Accompanying catalogue of an exhibition at Gagosian Gallery, Paris. The catalogue includes a fully illustrated, comprehensive listing of the paintings, drawings, and prints in Lichtenstein's Expressionism series. Among the styles and movements appropriated by Lichtenstein, his borrowing of Expressionist motifs-from Alexei Jawlensky's close-up, pensive faces to Ernst Ludwig Kirchner's jagged, feline figures-strikes the clearest irony. Including key paintings, sculpture, drawings, and woodcuts, this catalogue demonstrates the bold paradox that Lichtenstein posed by translating Expressionist subjects into the primary colours and pop flatness of his signature style.

A book documenting Michael Craig-Martin's installation of twelve new large-scale works in the gardens at Chatsworth House. Each work is an immense, vibrantly coloured line drawing in space, fabricated in steel. The book also documents a concurrent exhibition curated by Craig-Martin at Chatsworth House, including sculptures from the Devonshire Collection, in which Craig-Martin has swapped their traditional bases for bright pink plinths and a visually arresting selection of drawings from the Old Master Drawings Cabinet, including drawings by Hans Holbein, Annibale Carracci, and Ghirlandaio.

Paik is considered the founder of video art and was one of the first artists to bring television into the realm of art, treating it as a tactile and multisensory medium

Edmund de Waal's art speaks to his enduring fascination with the nature of objects and the attendant history of their collection and display. Confronting European and Asian traditions of intimate craftsmanship with the scale and sequence of minimalist art and music, Edmund de Waal's ensembles of porcelain vessels evoke at once the delicate measure of Agnes Martin's sublime abstract paintings and the rhythmic pulses of the music of Philip Glass and Steve Reich.

A companion to the upcoming exhibition of Reed s 1974 75 brushstroke paintings, this book features colour plates of works originally exhibited in 1975 at Susan Caldwell Gallery. Along with installation images and plates from that seminal exhibition, related paintings, performances, and film images appear throughout the book in the form of a visual essay. New texts by Richard Hell and Reed appear alongside reprints from the time, including the original exhibition text by Paul Auster. A conversation between Katy Siegel and artist Christopher Wool unfolds the significance and legacy of Reed s early work.

Dealing with the power of artistic gesture, each work, presented here in stunning colour, features a blue glass gazing ball that sits on a painted aluminum shelf attached to the front of the painting that reflects both the painting and the viewer. Through the simple act of placing a gazing ball in front of the images, painting and sculpture are reunited for maximum sensory perception.

This elegant monograph marks Shio Kusaka's first solo exhibition with Gagosian and her first exhibition in Italy.Shio Kusaka's ceramic work often incorporates playful details and subject matter, from basketballs and fruit to dinosaurs, raindrops, and wood grain. However, in this new body of work, she further explores her geometric abstractions, offering a more direct view of her technical mastery as she adheres to a single-process approach to study the possibility of endless permutations.In previous abstract works, Kusaka often ended a line or grid pattern once it became distorted by the curvature of the pot, producing fragmented, interlocking patterns that appear as overlapping drawings, contradicting the three-dimensional volume. In these new works, however, she takes an almost topographic approach by carving, painting, and even drawing with pencil intricate lines along the surfaces of each pot, allowing the shape of each vessel to dictate the curves of the lines.

This vibrant monograph commemorates Jennifer Guidi's first exhibition with Gagosian and her first in Asia.Jennifer Guidi's "sand paintings" mix oil paint with sand to create surfaces of color and texture. Evolving from her earlier figurative works, these abstract sand paintings evoke the traditions of landscape and naturalist painting. Accomplished by applying a thick layer of sand to the painted ground and then making precise marks while the sand is still wet, the paintings' luminous qualities and their textured relief register and generate minute shifts in perception, creating their own sense of ambient light. These physical and tactile emanations are based on her observations of light in Los Angeles, where she lives and works, and where hazy skies caused by the atmospheric conditions of the West Coast, as well as the city's man-made pollution, make for extra-brilliant sunsets.The fourteen paintings in the exhibition also include Guidi's first triangular-shaped canvases, in a spectrum of colors, placing the organic accumulations of paint and sand within a sharp geometry.

Avedon 100 celebrates Richard Avedon’s enduring influence on photography and makes clear his profound impression on visual culture worldwide.Published on the occasion of the eponymous exhibition at Gagosian, New York, in 2023, this striking illustrated catalog celebrates the centenary of the iconic photographer’s birth. Over one hundred celebrated artists, designers, musicians, writers, curators, and figures from the world of fashion were asked to select a photograph by Avedon and elaborate on the ways in which both the image and artist have made an impact on their lives. Participants include Hilton Als, Naomi Campbell, Elton John, Spike Lee, Sally Mann, Polly Mellen, Kate Moss, Chloë Sevigny, Taryn Simon, Christy Turlington, and Jonas Wood.Avedon 100 celebrates Avedon’s enduring influence on photography and makes clear his profound impression on visual culture worldwide. The book represents various periods from his oeuvre, including the widely known In the American West series, images of the social justice movement, classic portraiture, advertising, and fashion work. The photographs reproduced reveal the enormous and fascinating diversity of Avedon’s subjects, while the commentary offered by the celebrated selectors underscores the breadth and longevity of his legacy. Avedon 100 includes a foreword by Larry Gagosian, texts by Derek Blasberg and Jake Skeets, and an essay by Sarah Elizabeth Lewis.

This extensive monograph gathers nearly sixty large-scale sculptures and installations made by Urs Fischer over the past twenty-five years.The nearly four-hundred-page volume groups works under thematic headings such as “holes,” “lines,” and “intersecting objects,” illustrating how the Swiss artist has explored and returned to specific sculptural problems over decades, and how his approaches have changed with technology.In color photographs and short texts, the book illuminates the enormous variety of materials—including food, wax, unfired clay, found objects, stainless steel, cast bronze, and milled aluminum—through which Fischer has investigated ideas of space, perception, representation, and entropy. It documents works that use subtractive gestures such as cutting holes in walls or digging into the ground, as well as the Big Clays series of monumental public sculptures, in which a simple creative gesture is materialized at architectural scale.Shipped with a printed cardboard support to protect its die-cut front cover, the book features an introductory essay by Róisín Tapponi that delves into Fischer’s poetics; a conversation between Jessica Morgan and the artist that examines his interest in scale and traces the evolution of his production processes; and entries on the artworks by book editor Priya Bhatnagar.

This is the most comprehensive exploration of Donald Judd’s paintings and early works to date, providing unparalleled insight into the pivotal seven-year period in which the revered artist transitioned from two to three dimensions.Donald Judd’s radical work and thinking helped shape the look of the late twentieth century and continue to influence artists, architects, and designers worldwide. He exercised a transformative influence over the ways in which both art objects and practical designs are produced, exhibited, encountered, and used.While primarily known for his three-dimensional sculptural work, most notably his famed “stacks” and “progressions” series, Judd began life as a painter. Between 1957 and 1963 he produced around eighty works on canvas: distinctive explorations of line, color, and non-representational composition that would directly inform the iconic three-dimensional objects that followed.This fully illustrated volume is the most comprehensive exploration of Judd’s painting and early works to date, providing unparalleled insight into that pivotal seven-year period, and tracing his transition from two to three dimensions. The book features newly commissioned photography of all of Judd’s paintings, in addition to his early experiments with wall-based sculptures, as well as extended essays from three leading art historians.Eileen Costello, historian of modern and contemporary art, discusses Judd’s eventual rejection of, or transition from, the canvas in favor of the sculptural form. Sarah K. Rich, an associate professor of art history at PennState, Pennsylvania, and director of its Center for Virtual/Material Studies, deconstructs and analyzes Judd’s painterly technique and the resulting works on canvas. Lynn Zelevansky, historian, curator, and former Henry J. Heinz II Director of the Carnegie Museum of Art, Pittsburgh, provides an overview of the period and the peers alongside whom Judd was formulating his paintings and early works.Donald Judd was born in 1928 in Excelsior Springs, Missouri, and died in 1994 in New York. His work is held in numerous collections including those of the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate, London; and Tokyo Metropolitan Art Museum. The Museum of Modern Art presented a major retrospective of Judd’s work in 2020–21. In 1986, Judd founded the Chinati Foundation/La Fundación Chinati in Marfa, Texas, for the permanent installation of his large-scale works. In 1977, he established the Judd Foundation in New York and Marfa, Texas.

Giuseppe Penone, Alain Elkann: 474 Answers delves into the life and career of the acclaimed Italian artist, Giuseppe Penone.First published in Italian in 2022, as Giuseppe Penone, Alain Elkann: 474 Risposte, this book brings together conversations between the renowned Italian novelist and journalist, Alain Elkann, and the Italian artist, Giuseppe Penone, which took place in the latter’s studio in Turin, Italy, between August and October 2020.Penone discusses his childhood in north-west Italy, his family, and his lifelong love of nature. He describes his early career as the youngest of the artists associated with Arte Povera, his formative experiences in the art world, and key figures he has met and collaborated with along the way. He discusses some of the most significant projects which have taken him to galleries and museums all over the world.These intimate and informal conversations shed light on Penone’s interests and influences, his respect and fascination for nature, and his experimentation with materials and media. The book is brought to life by ample illustrations drawn from the artist’s archives of works being made, travels and events, friends and family.  With great eloquence these “answers” combine to offer an extensive insight into Penone’s enquiring mind and the passions that have motivated him throughout a career spanning over fifty years.

Updated and newly illustrated edition of Francesco Bonami’s Maurizio Cattelan: The Unauthorized Autobiography.First published in 2011 in Italian, and subsequently in 2013 in English, STUCK: Maurizio Cattelan: The Unauthorized Autobiography, charts the life of the Italian artist beginning with his childhood in Italy. His longtime friend and collaborator Francesco Bonami assumes Cattelan’s perspective, and recounts with great humor episodes from the artist’s life and decades’ long career. The new edition includes illustrations of some of Cattelan’s key works featured in the book, a new foreword, and six new chapters, which take the reader beyond the retrospective at the Solomon R. Guggenheim Museum in New York in 2011 up until 2019 and Comedian, the infamous taped banana.

Brice Marden: Works on Paper accompanies an exhibition at Gagosian Paris of rarely seen drawings and prints by the late painter, and includes an introductory text by art historian Eileen Costello.This book was published on the occasion of the exhibition Brice Marden: Works on Paper at Gagosian, rue de Ponthieu, Paris. Organized in collaboration with the Estate of Brice Marden, it featured previously unseen work from the artist’s final two decades, selected by his daughters Mirabelle Marden and Melia Marden, and paid tribute to Marden’s long ties to the city.This selection of works shows that, for Marden, drawing was as valuable as painting, and reveals his commitment to employing it in the abstract depiction of place. During a visit to Paris in 1964, the artist produced gridded monochrome works using charcoal rubbings of the tiled walls in the home where he stayed, and this graphic documentation of his surroundings constituted a significant intuitive leap. Also evident in Marden’s development of distinctive gestural marks is his fascination with conceptual choreography; his works on paper show—as do his paintings—how light and color can dance.The publication includes color reproductions of the more than thirty works in the exhibition as well as details and a photograph of the artist in his studio. It also features “A Direct Form of Expression,” an introductory text by art historian Eileen Costello that traces the key role of drawing in the artist’s practice, exploring what it reveals about his artistic interests and techniques.

DWELVE: A Goosebump in Memory documents Jadé Fadojutimi’s inaugural exhibition with Gagosian, and features a newly commissioned essay, an interview between the artist and the composer Jerskin Fendrix, and poetic fragments written by Fadojutimi herself.Jadé Fadojutimi is one of the most exciting artists of her generation. In her striking abstract paintings, which are often monumental in scale, Fadojutimi orchestrates color, space, line, and movement in the service of fluid emotion and the quest for self-knowledge. With a fluidity of gesture and a distinctive palette, she interprets everyday experience in ways that reflect a drive to understand more completely the intertwined ideas of identity and beauty.Since 2018, when Fadojutimi became the youngest artist to enter the Tate’s  collection, her work has been exhibited at and collected by leading institutions around the world. DWELVE: A Goosebump in Memory documents her debut show at Gagosian, New York, in 2024, which included new paintings on canvas and works in notebooks. The title combines the words dwell and delve, suggesting both domestic familiarity and sites that prompt further discovery.In “A Portrait of the Artist as All of Her Colors,” Harry Thorne revisits Josef Albers’s color theory as a means of repositioning Fadojutimi’s abstractions as a form of self-portraiture. In addition to new photography of Fadojutimi’s paintings and notebooks, which are reproduced using a hexachromatic printing method, the book includes poetic fragments written by the artist, as well as a conversation between her and the Academy Award-nominated composer Jerskin Fendrix about the relationship between soundtracks and art.

The first-ever monograph on painter Helen Marden, covering over forty years of her work.This is the first ever monograph to present the full oeuvre of the painter Helen Marden. The book documents her development from the abstracted, dark, and muted landscapes of the early 1980s, through the vibrantly hued, more lyrical work of the 1990s and early 2000s, to the most recent Grief paintings, made in response to the passing of her husband, the artist Brice Marden. Over the last decade, Marden has attached found objects—primarily shells collected from around the world—to the surfaces of her works, giving them a unique texture and providing an index of her travels. A new essay by Anna Godbersen discusses the development of Marden’s practice in concert with changes in her personal life, her voyages around the globe, and her close relationships with key figures in the art world. An interview with the artist Kiki Smith is also included, along with a “travelogue” documenting Helen and Brice’s studios and travels over the course of their fifty-five-year marriage.

Published to document Gagosian Gallery's 2015 Balthus exhibition in Paris, this striking new book depicts the beautiful paintings, drawings, and photographs that were part of that career-spanning exhibition, the first of Balthus's work in Paris since the 1983-84 retrospective at the Centre Georges Pompidou. Vibrant color reproductions of the artist's interior portraits, street scenes, and landscapes, along with striking installation shots, present the self-taught classicism that Balthus cultivated as a framework for his more enigmatic artistic investigations. A conversation between Olivier Zahm and Setsuko Klossowska de Rola completes the catalogue, providing an insightful look into the world of this reclusive painter of charged and disquieting narrative scenes.

Volume one of this beautiful new book features archival images of both artists among new texts by curator Joachim Pissarro and others, as well as never- before-translated texts by Isaku Yanaihara, Dino Buzzati, and Pierre Descargues. Detailed illustrated chronologies for each artist complete volume one, while the colorful second volume includes colour plates of all the works displayed during Gagosian Gallery s 2016 London exhibition of the same title, as well as installation images.