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Beverly Hills 20-Year Anniversary Invitational Exhibition, 1995–2015

October 30–December 19, 2015
Beverly Hills

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Installation view Photo: Douglas M. Parker Studio

Installation view

Photo: Douglas M. Parker Studio

Works Exhibited

Joe Bradley, Club Foot, 2015 Oil on canvas, 76 ⅛ × 67 ⅛ inches (193.4 × 170.5 cm)© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Club Foot, 2015

Oil on canvas, 76 ⅛ × 67 ⅛ inches (193.4 × 170.5 cm)
© Joe Bradley. Photo: Rob McKeever

Glenn Brown, Woman II, 2015 Oil paint over acrylic, steel structure and bronze, marble base, vitrine, 38 ⅝ × 13 ¾ × 13 ¾ inches (98 × 35 × 35 cm)© Glenn Brown. Photo: Mike Bruce

Glenn Brown, Woman II, 2015

Oil paint over acrylic, steel structure and bronze, marble base, vitrine, 38 ⅝ × 13 ¾ × 13 ¾ inches (98 × 35 × 35 cm)
© Glenn Brown. Photo: Mike Bruce

Dan Colen, Under the Table, 2015 Gum on canvas, 105 × 85 inches (266.7 × 215.9 cm)© Dan Colen

Dan Colen, Under the Table, 2015

Gum on canvas, 105 × 85 inches (266.7 × 215.9 cm)
© Dan Colen

Roe Ethridge, Double Teresa Oman, 2015 Chromogenic print, framed: 54 ½ × 41 ½ inches (138.4 × 105.4 cm), edition of 5

Roe Ethridge, Double Teresa Oman, 2015

Chromogenic print, framed: 54 ½ × 41 ½ inches (138.4 × 105.4 cm), edition of 5

Urs Fischer, TBD, 2015 Aluminum panel, aramid honeycomb, two-component polyurethane adhesive, two-component epoxy primer, galvanized steel rivet nuts, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, acrylic paint, 141 ¾ × 106 ⅜ inches (360 × 270.2 cm)© Urs Fischer. Photo: Mats Nordman

Urs Fischer, TBD, 2015

Aluminum panel, aramid honeycomb, two-component polyurethane adhesive, two-component epoxy primer, galvanized steel rivet nuts, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, acrylic paint, 141 ¾ × 106 ⅜ inches (360 × 270.2 cm)
© Urs Fischer. Photo: Mats Nordman

Piero Golia, Intermission painting #4 red to gold, 2014 EPS foam, hard coat, and pigment, 48 × 38 × 8 ½ inches (121.9 × 96.5 × 21.6 cm)© Piero Golia. Photo: Josh White

Piero Golia, Intermission painting #4 red to gold, 2014

EPS foam, hard coat, and pigment, 48 × 38 × 8 ½ inches (121.9 × 96.5 × 21.6 cm)
© Piero Golia. Photo: Josh White

Damien Hirst, Black Sheep with Golden Horns, 2009 Glass painted stainless steel, silicone, acrylic, gold, cable ties, sheep, and formaldehyde, 43 ⅜ × 63 ⅞ × 25 ¼ inches (110.3 × 162.3 × 64.1 cm)© Damien Hirst and Science Ltd. All rights reserved, DACS 2015

Damien Hirst, Black Sheep with Golden Horns, 2009

Glass painted stainless steel, silicone, acrylic, gold, cable ties, sheep, and formaldehyde, 43 ⅜ × 63 ⅞ × 25 ¼ inches (110.3 × 162.3 × 64.1 cm)
© Damien Hirst and Science Ltd. All rights reserved, DACS 2015

Alex Israel, Self-Portrait (Marine Layer), 2015 Acrylic and Bondo on fiberglass, 96 × 84 × 4 inches (243.8 × 213.4 × 10.2 cm)© Alex Israel

Alex Israel, Self-Portrait (Marine Layer), 2015

Acrylic and Bondo on fiberglass, 96 × 84 × 4 inches (243.8 × 213.4 × 10.2 cm)
© Alex Israel

Adam McEwen, Michael III, 2014 Inkjet print on cellulose sponge, 32 ¾ × 129 ¼ inches (83.2 × 328.3 cm)© Adam McEwen

Adam McEwen, Michael III, 2014

Inkjet print on cellulose sponge, 32 ¾ × 129 ¼ inches (83.2 × 328.3 cm)
© Adam McEwen

Adam McEwen, Trash Can, 2014 Graphite, 39 ⅝ × 8 × 10 inches (100.6 × 20.3 × 25.4 cm)© Adam McEwen. Photo: Jason Mandella

Adam McEwen, Trash Can, 2014

Graphite, 39 ⅝ × 8 × 10 inches (100.6 × 20.3 × 25.4 cm)
© Adam McEwen. Photo: Jason Mandella

Sterling Ruby, SP137, 2010 Spray paint on canvas, 125 × 185 inches (317.5 × 469.9 cm)© Sterling Ruby. Photo: Robert Wedemeyer

Sterling Ruby, SP137, 2010

Spray paint on canvas, 125 × 185 inches (317.5 × 469.9 cm)
© Sterling Ruby. Photo: Robert Wedemeyer

Ed Ruscha, Untitled, 2015 Acrylic on canvas, 72 × 124 inches (182.9 × 315 cm)© Ed Ruscha

Ed Ruscha, Untitled, 2015

Acrylic on canvas, 72 × 124 inches (182.9 × 315 cm)
© Ed Ruscha

About

To mark the twentieth anniversary of Gagosian Beverly Hills on North Camden Drive, founder Larry Gagosian has selected a special exhibition of works by more than thirty artists spanning three generations.

Born in Los Angeles, Gagosian opened his first galleries on Almont Drive and Robertson Boulevard in the early 1980s. Chris Burden and Jean-Michel Basquiat were among the first artists to be exhibited. Drawing on the city’s abundance of talented artists, Gagosian was at the forefront of developing a bicoastal model for contemporary art galleries—the beginning of a global expansion that now numbers fifteen galleries in three continents—when he moved to New York in 1985 and opened his first gallery there, in collaboration with Leo Castelli.

Los Angeles provided both artists and galleries with an ideal infrastructure for creating and exhibiting diverse bodies of work, sometimes on a very large scale, and in 1995 Gagosian Beverly Hills, designed by acclaimed American architect Richard Meier, opened with new sculptures by Frank Stella. A major exhibition in homage to Castelli’s legendary gallery followed, which brought together works by artists including Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, and Bruce Nauman. The program continued to evolve with a survey of Basquiat’s paintings and drawings (1998), Lichtenstein’s Nudes (1998), Andy Warhol’s iconic Camouflage Paintings (1999), and Alexander Calder’s Mobiles (2003), among many other exhibitions.

In 2010, the expansion of the Beverly Hills gallery into the next-door building to create a second light-filled space of equal scale—again designed by Meier—enabled even more ambitious programming, with major exhibitions by Urs Fischer, Andreas Gursky, Jeff Koons, Giuseppe Penone, Richard Prince, Ed Ruscha, Richard Serra, and Taryn Simon, among others. The career-spanning survey Avedon: Women (2013) was the first exhibition of Richard Avedon’s photography in Los Angeles since 1976.

At Gagosian’s much-anticipated “Oscar shows,” an annual fixture in the Los Angeles cultural calendar, the art, film, and celebrity communities rub shoulders prior to the Academy Awards ceremony. To date, these include Cindy Sherman’s photographic self-portraits (2000); Richard Prince’s Check Paintings (2005); Andreas Gursky’s Ocean photographs (2010); Ed Ruscha’s Psycho Spaghetti Western still-life landscape paintings (2011); Urs Fischer’s dramatic and droll sculptural installations (2012); and, most recently, John Currin’s oil paintings of perverse libertine fantasies (2015).

With Damien Hirst’s black-sheep vitrine (2009), Robert Therrien’s enigmatic No title (blue bow) (2015), and Nancy Rubins’s sculptural graphite Drawing (2015), as well as new works by Thomas Houseago, Sterling Ruby, and Rudolf Stingel, among the more than thirty participating artists, the twentieth-anniversary exhibition celebrates the gallery’s richly diverse international program in the city where it all began.

Installation view of Rachel Whiteread's ...And the Animals Were Sold exhibition in Italy

Rachel Whiteread: … And the Animals Were Sold

An installation by Rachel Whiteread in the Palazzo della Ragione, Bergamo, Italy, commissioned by Galleria d’Arte Moderna e Contemporanea di Bergamo and cocurated by Lorenzo Giusti and Sara Fumagalli, opened in June of 2023 and ran into the fall. Conceived in relation to the city, the architecture of the site, and the history of the region, it comprised sixty sculptures made with local types of stone. Fumagalli writes on the exhibition and architect Luca Cipelletti speaks with Whiteread.

Urs Fischer: Wave

Urs Fischer: Wave

In this video, Urs Fischer elaborates on the creative process behind his public installation Wave, at Place Vendôme, Paris.

Dorothy Lichtenstein and Irving Blum stand next to each other in front of Roy Lichtenstein's studio in Southampton, New York

In Conversation
Irving Blum and Dorothy Lichtenstein

In celebration of the centenary of Roy Lichtenstein’s birth, Irving Blum and Dorothy Lichtenstein sat down to discuss the artist’s life and legacy, and the exhibition Lichtenstein Remembered curated by Blum at Gagosian, New York.

Alison McDonald, Daniel Belasco, and Scott Rothkopf next to each other in front of a live audience

In Conversation
Daniel Belasco and Scott Rothkopf on Roy Lichtenstein

Gagosian and the Art Students League of New York hosted a conversation on Roy Lichtenstein with Daniel Belasco, executive director of the Al Held Foundation, and Scott Rothkopf, senior deputy director and chief curator of the Whitney Museum of American Art, New York. Organized in celebration of the centenary of the artist’s birth and moderated by Alison McDonald, chief creative officer at Gagosian, the discussion highlights multiple perspectives on Lichtenstein’s decades-long career, during which he helped originate the Pop art movement. The talk coincides with Lichtenstein Remembered, curated by Irving Blum and on view at Gagosian, New York, through October 21.

Art&Newport

Art&Newport

Writers and curators Dodie Kazanjian and Alison Gingeras spoke with the Quarterly’s Alison McDonald about the arts organization Art&Newport and the possibilities the historic Rhode Island town offers contemporary artists. Their current exhibition, Games, Gamblers & Cartomancers: The New Cardsharps, on view through October 1, 2023, examines the varied custom of card play and includes artists such as John Currin, Hadi Falapishi, and Katie Stout.

Steve Martin playing a banjo

Roy and Irving

Actor and art collector Steve Martin reflects on the friendship and professional partnership between Roy Lichtenstein and art dealer Irving Blum.