Search results for ""Gagosian Gallery""

For Heaven's Sake was produced for the Damien Hirst: Forgotten Promises inaugural exhibition at Gagosian Gallery, Hong Kong in 2011. The book title, named after the artwork "For Heaven's Sake" (2008), includes full-color plates of the skull, including fabrication shots and installation shots at the Hong Kong exhibition where this life-size human baby skull cast in platinum and covered in 8,128 pavé-set perfect diamonds: 7,105 natural fancy pink diamonds and 1,023 white diamonds on the fontanel was shown for the first time. Also included are 8 unique preliminary drawings by the artist. This spectacular memento mori was cast from an original skull that formed part of a nineteenth-century pathology collection that Hirst acquired some years ago. As Hirst says: "Diamonds are about perfection and clarity and wealth and sex and death and immortality. They are a symbol of everything that's eternal, but then they have a dark side as well." The book includes a short text by curator, writer and critic, Francesco Bonami published in both Chinese and English. Bonami is the Manilow Senior Curator at the Museum of Contemporary Art in Chicago. He is also the artistic director of the Fondazione Sandretto ReRebaudengo per l'Arte in Turin, Fondazione Pitti Discovery in Florence and the Centro di Arte Contemporanea Villa Manin. He was the director of the 50th Biennale di Venezia of Visual Arts in 2003.

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This hardback catalogue illustrates the complete paintings featured in Damien Hirst's Gagosian Gallery, New York exhibition, The Elusive Truth, in 2005. Extended captions written by the artist accompany many of the paintings. The book features 22 diecuts and 31 tipped-in plates.

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With full-color plates of paintings and sculptures, this title was produced for the inaugural exhibition at Gagosian Gallery, Hong Kong, Damien Hirst: Forgotten Promises. It includes "For Heaven's Sake" (2008), a life-size human baby skull cast in platinum and covered in 8,128 pink and white diamonds, as well as beautiful diamond cabinets in gold and silver. A group of paintings from 2008 to 2009, including "Age of Magnificence" and "Fading Magnificence," show real butterflies entombed in layers of shiny metallic paint. The new Love Paintings are painted in oil with painstaking attention to realistic detail. "Why else would you do it, when you could just get a photograph that looks identical?" Hirst has said. "But it's not the same thing, is it? A photograph is from a moment, a split second. Painting is about stopping to look at the world, considering it, and giving it more and more importance."

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This comprehensive monograph was produced to accompany the drawings retrospective Damien Hirst: Corpus: Drawings 1981-2006, held at Gagosian Gallery, New York in 2006. It features more than 200 drawings that offer a historical insight into rarely seen aspects of the artist's work and process. Included are early drawings from Hirst's student days; pencil sketches for seminal sculptures such as "The Physical Impossibility of Death in the Mind of Someone Living," "A Thousand Years," "'The Acquired Inability to Escape," "Away from the Flock" and "The Hat Makes the Man"; preparatory diagrams for early spot paintings and medicine cabinets; a large-scale series of 14 drawings for The Stations of the Cross (2004); and proposals for unrealised and future projects. Accompanying the drawings is a conversation between the artist and political philosopher John Gray (author of Straw Dogs, False Dawn and Al Qaeda and What It Means to Be Modern), and an essay by British historian Simon Baker.

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A catalogue of five monumental new works, shown in two exhibitions at Gagosian Gallery, New York. Richard Serra's most recent sculptures, all from 2013, include 7 Plates 6 Angles, his largest indoor work to date.

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A catalog documenting an exhibition of Marcel Duchamp's editioned readymades at Gagosian Gallery, New York, replicating his American debut at Cordier and Ekstrom in the same building in 1965 and including new essays.

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Created in close collaboration with the artist, this beautiful new book not only presents Michael Heizer s first exhibition with Gagosian Gallery in New York, but also firmly establishes the artist s reputation as a legendary sculptor.

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Since childhood, Kusama has been afflicted with a condition that makes her see spots, which means she sees the world in a surreal, almost hallucinogenic way that sits very well with the Wonderland of Alice. She is fascinated by childhood and the way adults have the ability, at their most creative, to see things the way children do, a central concern of the Alice books.The classic book is colour illustrated with a clothbound jacket, and produced to very high specification. Kusama's images are interspersed throughout the text.Produced in collaboration with the Kusama Studio, Tokyo and Gagosian Gallery.

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Urs Fischer’s work explores the genres of classical art history (still lifes, portraits, nudes, landscapes, and interiors) at the intersection with everyday life—in cast sculptures and assemblages, paintings, digital montages, spatial installations, mutating or kinetic objects, and texts. This volume includes fifty-five color illustrations from Urs Fischer’s Beds and Problem Paintings show that was exhibited at Gagosian Gallery in Los Angeles from February 23–April 7, 2012. This was the artist’s first major solo exhibition with the gallery. Beds and Problem Paintings was designed by the artist, and the images within the book include installation photos from the exhibition as well as photographs taken by the artist.

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The art that I make takes place about one step away from the normal stir of human activity. -Richard Artschwager This book documents Richard Artschwager's last series of work, shown posthumously at Gagosian Gallery, New York, in 2014. For five decades, Richard Artschwager has forged a maverick path by confounding the generic limits of art while making the visual comprehension of space and the everyday objects that occupy it strangely unfamiliar. For his last series of work, Artschwager returned to an image, the isolated Running Man, that fascinated and inspired him for twenty years. About the works, Robert Morgan notes in his essay They are remarkableas a metaphor in reference to existence and mortality.

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Volume 2 of this exceptional catalogue raisonné project compiles the unique works on paper that Edward Ruscha (b. 1937) made between 1977 and 1997, the artist’s midcareer period, during which he achieved international renown. More than 1,000 works are documented, among them hundreds that have rarely, or never, been exhibited or published. Highlights include Ruscha’s inimitable word and phrase works, made in organic materials, pastel, or acrylic; compositions featuring signature images (windows, ships, silhouetted objects and figures, and film closing credits); and drawings and studies related to important public commissions for the Miami-Dade Public Library, the Denver Central Library, and the Getty Center. Each work is catalogued with a beautiful color reproduction, collection details, full chronological provenance, exhibition history, and bibliographic references. Essays by Lisa Turvey and Gwen Allen complete the volume, providing critical frameworks and historical context for the art within.Distributed for Gagosian Gallery

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Idolatry, illusion, glitz and greed in Damien Hirst’s seminal sculpture and painting cycles In 2010, Gagosian Gallery staged a seminal exhibition of Damien Hirst’s (born 1965) paintings and sculptures. Titled End of an Era, it addressed concepts of illusion and reality, myth and idolatry, and took its name from the central sculpture in the exhibition: a severed bull’s head in a gold vitrine. The work served as a sequel to Hirst’s 2008 sculpture The Golden Calf, a formaldehyde-preserved bull. Alongside this sculpture, the exhibition showed Hirst’s Diamond Fact Paintings for the first time—a series of photorealist depictions of the world’s most illustrious jewels—as well as two Diamond Cabinets. This catalog collects these pieces and includes a catalogue raisonné of each series (Gold Tanks, Diamond Cabinets and Diamond Fact Paintings). The publication also features a conversation between Hans Ulrich Obrist and Hirst.

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Thirteen years after her first Rizzoli monograph, British artist Jenny Saville releases this much-anticipated volume--her most comprehensive to date--including many never-before-published paintings. One of the most renowned living figurative painters of our time, Saville has set auction records and her highly sensual canvases invite us to consider the female form in all its glory. Great artists are of their moment, but push boundaries to revitalize our world. The British artist Jenny Saville is best known for painting monumental close-ups of large nude women exposing things that are usually left unshown: flab, fat, bulge. Today, when the body has never mattered more or counted less, Saville is undoubtedly the painter for our times. Saville has specialized in subjects on the margins of society: the obese, the disfigured, and transsexuals; yet under her fluctuating light and painstaking hues and layers, her subjects transcend their strangeness to take on a universal quality. Among artists of her generation, Saville is unusual in her devotion to figurative painting. This much-anticipated volume unites new work with almost all of Saville's paintings and drawings to date, many of them unpublished works. Published in association with Gagosian Gallery, the book also features a complete and illustrated chronology of the artist's career. A conversation with acclaimed American photographer Sally Mann, and essays by art critic Mark Stevens and Gagosian Director, London Richard Calvocoressi complete the volume.

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