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Sculpture

March 22–April 27, 2012
Hong Kong

Installation view Artwork, left to right: © Cy Twombly Foundation; © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Martin Wong

Installation view

Artwork, left to right: © Cy Twombly Foundation; © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Martin Wong

Installation view Artwork, front left and right: © Cy Twombly Foundation; center back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Martin Wong

Installation view

Artwork, front left and right: © Cy Twombly Foundation; center back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Martin Wong

Installation view Artwork © Cy Twombly Foundation. Photo: Martin Wong

Installation view

Artwork © Cy Twombly Foundation. Photo: Martin Wong

Installation view Artwork, front to back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; © Cy Twombly Foundation. Photo: Martin Wong

Installation view

Artwork, front to back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; © Cy Twombly Foundation. Photo: Martin Wong

Installation view Artwork © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Installation view

Artwork © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Installation view Artwork © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Installation view

Artwork © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Installation view Artwork, front to back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; © Cy Twombly Foundation. Photo: Martin Wong

Installation view

Artwork, front to back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; © Cy Twombly Foundation. Photo: Martin Wong

Installation view Artwork, front and back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; center: © Cy Twombly Foundation. Photo: Martin Wong

Installation view

Artwork, front and back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; center: © Cy Twombly Foundation. Photo: Martin Wong

Installation view Artwork © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Installation view

Artwork © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Installation view Artwork, front to back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Installation view

Artwork, front to back: © 2012 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York; © Archiv Franz West and © Estate Franz West. Photo: Martin Wong

Works Exhibited

John Chamberlain, GOOSECAKEWALK, 2009 Painted and chrome-plated steel, 82 ½ × 45 ½ × 32 ½ inches (209.6 × 115.6 × 82.6 cm)© Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Mike Bruce

John Chamberlain, GOOSECAKEWALK, 2009

Painted and chrome-plated steel, 82 ½ × 45 ½ × 32 ½ inches (209.6 × 115.6 × 82.6 cm)
© Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Photo: Mike Bruce

About

Gagosian Hong Kong is pleased to present an exhibition of sculpture by game-changers of postwar American art John Chamberlain, Robert Rauschenberg, and Cy Twombly, together with recent work by the irrepressible Austrian sculptor Franz West. Each of these artists, in ways befitting their respective contexts, has sought inspiration from found materials and everyday life.

One of the most inventive artists in postwar American art, Rauschenberg worked in “the gap between life and art” to develop an altogether new visual language based on collage as a microcosm of the larger, messy world. Walking the streets of New York, he picked up trash and discarded objects that interested him, integrating them into bold paintings or assembling freestanding sculptures. These he called, simply yet paradigmatically, “combines.” The Gluts series (1986–95) are a direct comment on surplus in the 1980s Texan oil market as well as the widely fabled material greed and excess of the era. Exploring the reflective, textural, sculptural, and thematic possibilities of road signs and scrap automobile parts he assembled wall reliefs such as Bumper Slip Late Summer Glut (1987) and Splice Early Winter Glut (1987). Thus transformed into powerful aesthetic objects, these junkyard relics yet retain some of their original, non-abstract identity. Hoax Summer Glut (1987), a rare freestanding sculpture of the primarily wall-based series, proposes a more overt narrative with a battered construction helmet, and a dramatically balanced swathe of industrial mesh.

Rauschenberg’s friend and sometime collaborator Twombly began making sculptures in 1946. In contrast to the gritty exuberance of Rauschenberg’s sculptures, his bricolages are rather more austere and elegiac. Taking humble materials and found objects, he coated them in chalky white gesso, producing totemic sculptures possessed of an almost archaeological beauty, with a refined play between fragility and obduracy, ancient and modern, epic and everyday. In 1979 Twombly began casting some of these bricolages in bronze, thus transforming and preserving the tenuous forms into cohesive and more robust wholes. While discrete sculptural elements are often partially merged and abstracted by the casting process, in the vertical Untitled (2004–09) each remains clearly visible; a broom inside a funnel resting on a cylindrical pedestal.

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Oscar Murillo and Ben Luke on Franz West

In Conversation
Oscar Murillo and Ben Luke on Franz West

In conjunction with Franz West: Papier, the gallery’s presentation of paper-based works by Franz West at Frieze Masters 2023, artist Oscar Murillo and arts writer, critic, and broadcaster Ben Luke sit down to discuss Murillo’s collaboration in selecting the works on view, as well as his personal experiences meeting the late artist in London.

Image of Cy Twombly's Treatise on the Veil (Second Version), 1970

Cy Twombly: Imperfect Paradise

Eleonora Di Erasmo, cocurator of Un/veiled: Cy Twombly, Music, Inspirations, a program of concerts, video screenings, and works by Cy Twombly at the Fondazione Nicola Del Roscio, Rome, reflects on the resonances and networks of inspiration between the artist and music. The program was the result of an extensive three-year study, done at the behest of Nicola Del Roscio in the Rome and Gaeta offices of the Cy Twombly Foundation, intended to collect, document, and preserve compositions by musicians around the world who have been inspired by Twombly’s work, or to establish an artistic dialogue with them.

Black and white image of the interior of Cy Twombly’s apartment in Rome

Cy Twombly: Making Past Present

In 2020, the Museum of Fine Arts, Boston, announced their plan for a survey of Cy Twombly’s artwork alongside selections from their permanent ancient Greek and Roman collection. The survey was postponed due to the lockdowns necessitated by the coronavirus pandemic, but was revived in 2022 with a presentation at the J. Paul Getty Museum in Los Angeles from August 2 through October 30. In 2023, the exhibition will arrive at the Museum of Fine Arts, Boston. The curator for the exhibition, Christine Kondoleon, and Kate Nesin, author of Cy Twombly’s Things (2014) and advisor for the show, speak with Gagosian director Mark Francis about the origin of the exhibition and the aesthetic and poetic resonances that give the show its title: Making Past Present.

Cy Twombly, Untitled (Say Goodbye, Catallus, to the Shores of Asia Minor), 1994, oil, acrylic, oil stick, crayon, and graphite on three canvases,

Say Goodbye, Catullus, to the Shores of Asia Minor

Thierry Greub tracks the literary references in Cy Twomblys epic painting of 1994.

Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021

Now available
Gagosian Quarterly Summer 2021

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

Cy Twombly, Untitled, 1990, acrylic, wax crayon, and pencil on handmade paper, 30 ⅝ × 21 ⅝ inches (77.8 × 54.8 cm)

Twombly and the Poets

Anne Boyer, the inaugural winner of the Cy Twombly Award in Poetry, composes a poem in response to TwomblyAristaeus Mourning the Loss of His Bees (1973) and introduces a portfolio of the painters works accompanied by the poems that inspired them.