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October 19–28, 2007
Barvikha Luxury Village, Moscow

Cecily Brown, Oh Marie!, 2007 Oil on canvas, 65 ¼ × 85 ¼ inches (165.7 × 216.5 cm)

Cecily Brown, Oh Marie!, 2007

Oil on canvas, 65 ¼ × 85 ¼ inches (165.7 × 216.5 cm)

Glenn Brown, The Alabama Song, 2007 Oil on panel, 57 ⅞ × 47 3/16 inches (147 × 120 cm)

Glenn Brown, The Alabama Song, 2007

Oil on panel, 57 ⅞ × 47 3/16 inches (147 × 120 cm)

John Currin, Christiania, 2007 Oil on canvas, 14 ⅞ × 19 ⅞ inches (37.8 × 50.5 cm)

John Currin, Christiania, 2007

Oil on canvas, 14 ⅞ × 19 ⅞ inches (37.8 × 50.5 cm)

Dexter Dalwood, Altamont, 2007 Oil on canvas, 82 11/16 × 68 ½ inches (210 × 174 cm)

Dexter Dalwood, Altamont, 2007

Oil on canvas, 82 11/16 × 68 ½ inches (210 × 174 cm)

Willem de Kooning, Untitled, 1979 Oil and charcoal on paper laid down on canvas, 41 ¼ × 30 inches (104.8 × 76.2 cm)

Willem de Kooning, Untitled, 1979

Oil and charcoal on paper laid down on canvas, 41 ¼ × 30 inches (104.8 × 76.2 cm)

Tom Friedman, Robot, 2007 Blue foam insulation, styrofoam balls, acrylic paint, and cardboard, 66 × 46 × 46 inches (167.6 × 116.8 × 116.8 cm)

Tom Friedman, Robot, 2007

Blue foam insulation, styrofoam balls, acrylic paint, and cardboard, 66 × 46 × 46 inches (167.6 × 116.8 × 116.8 cm)

Arshile Gorky, From a High Place, 1947 Oil on canvas, 18 ¾ × 28 inches (47.6 × 71.1 cm)

Arshile Gorky, From a High Place, 1947

Oil on canvas, 18 ¾ × 28 inches (47.6 × 71.1 cm)

Jeff Koons, Peg Leg Whistles, 2005 Inkjet and oil on canvas, 126 × 131 ⅜ inches (320 × 333.7 cm)© Jeff Koons

Jeff Koons, Peg Leg Whistles, 2005

Inkjet and oil on canvas, 126 × 131 ⅜ inches (320 × 333.7 cm)
© Jeff Koons

Roy Lichtenstein, LE, 1975 Oil and magna on canvas, 54 × 60 ⅛ inches (137.2 × 152.7 cm)

Roy Lichtenstein, LE, 1975

Oil and magna on canvas, 54 × 60 ⅛ inches (137.2 × 152.7 cm)

Takashi Murakami, Flowerball (Flower Dumpling), 2006 Acrylic on canvas mounted on board, 23 ⅝ inches diameter (60 cm diameter)© 2007 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

Takashi Murakami, Flowerball (Flower Dumpling), 2006

Acrylic on canvas mounted on board, 23 ⅝ inches diameter (60 cm diameter)
© 2007 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

Marc Newson, Wingless Micarta Chair, 2007 Linen phenolic composite, 29 × 25 × 31 ⅜ inches (73.7 × 63.5 × 79.7 cm)

Marc Newson, Wingless Micarta Chair, 2007

Linen phenolic composite, 29 × 25 × 31 ⅜ inches (73.7 × 63.5 × 79.7 cm)

Pablo Picasso, La Jupe Rouge, 1901 Pastel on board, 21 13/16 × 18 ½ inches (55.4 × 47 cm)

Pablo Picasso, La Jupe Rouge, 1901

Pastel on board, 21 13/16 × 18 ½ inches (55.4 × 47 cm)

Richard Phillips, Chasity, 2007 Oil on canvas, 120 × 90 ⅝ inches (304.8 × 230.2 cm)

Richard Phillips, Chasity, 2007

Oil on canvas, 120 × 90 ⅝ inches (304.8 × 230.2 cm)

Richard Prince, The Red Joke, 2003 Acrylic on canvas, 70 × 50 inches (177.8 × 127 cm)

Richard Prince, The Red Joke, 2003

Acrylic on canvas, 70 × 50 inches (177.8 × 127 cm)

Jenny Saville, Untitled (Stare Study), 2005 Oil on watercolour paper, 59 4/5 × 47 4/5 inches (152 × 121.5 cm)

Jenny Saville, Untitled (Stare Study), 2005

Oil on watercolour paper, 59 4/5 × 47 4/5 inches (152 × 121.5 cm)

Richard Serra, Videy, 1991 Paintstick on paper, 68 ¾ × 86 ½ inches (174.6 × 219.7 cm)

Richard Serra, Videy, 1991

Paintstick on paper, 68 ¾ × 86 ½ inches (174.6 × 219.7 cm)

Philip Taaffe, Divination Frieze, 2006 Mixed media on canvas, 35 ½ × 104 inches (90.2 × 264.2 cm)

Philip Taaffe, Divination Frieze, 2006

Mixed media on canvas, 35 ½ × 104 inches (90.2 × 264.2 cm)

Cy Twombly, Naumackia, 1992 Tempera, pencil on paper, 30 × 22 inches (76.2 × 55.9 cm)

Cy Twombly, Naumackia, 1992

Tempera, pencil on paper, 30 × 22 inches (76.2 × 55.9 cm)

Piotr Uklański, Untitled (Chartreuse), 2007 Crayola wax crayon shavings and Plexiglas with adhesive film in wood frame, 66 ½ × 79 ½ × 3 inches (168.9 × 201.9 × 7.6 cm)

Piotr Uklański, Untitled (Chartreuse), 2007

Crayola wax crayon shavings and Plexiglas with adhesive film in wood frame, 66 ½ × 79 ½ × 3 inches (168.9 × 201.9 × 7.6 cm)

Andy Warhol, Airborne- We kill for Peace (pos), 1986 Synthetic polymer paint on canvas, 50 × 68 inches (127 × 172.7 cm)

Andy Warhol, Airborne- We kill for Peace (pos), 1986

Synthetic polymer paint on canvas, 50 × 68 inches (127 × 172.7 cm)

Christopher Wool, Untitled, 2000 Enamel on linen, 78 × 60 inches (198.1 × 152.4 cm)

Christopher Wool, Untitled, 2000

Enamel on linen, 78 × 60 inches (198.1 × 152.4 cm)

About

Gagosian is pleased to present its inaugural exhibition in Moscow of major works by today’s leading artists.

International contemporary art in Russia is a recent phenomenon, but interest in it is growing apace. The first Moscow Biennale of Contemporary Art was held in 2005 and the World Fine and Contemporary Art Fairs have enjoyed several successful years. In Europe and the United States, ambitious Russian collectors are making an impact on both primary and secondary art markets.

Given these converging factors, Gagosian and Prime Concept have taken the initiative to present an autonomous exhibition in Moscow of premium-quality paintings, drawings, sculptures, photographs, and exclusive limited-edition furniture by some of the world’s most renowned living artists, as well as rare masterpieces by seminal figures in twentieth-century art.

In this richly diverse exhibition, the senior vanguard sets standards as exacting as they are thrilling, from the visceral yet cerebral emanations of Cy Twombly and Richard Serra to the coolly ironic images of Edward Ruscha and Ilya and Emilia Kabakov. Contemporary painting is at its most vibrant and provocative with recent works by Cecily Brown, Glenn Brown, John Currin, Dexter Dalwood, Jenny Saville, Philip Taaffe, and Christopher Wool, among others, each with his or her own distinctive obsessions and highly refined techniques. Sculpture finds a fourth dimension in Tom Friedman’s work, where everyday materials and forms become complex and funny. Edgy conceptualists Douglas Gordon, Piotr Uklański, and Francesco Vezzoli work fluidly across many mediums including film, language, and installation. Also featured are major works by contemporary art world giants Damien Hirst, Jeff Koons, and Richard Prince, as well as Neo-Pop art phenomenon Takashi Murakami. Limited-edition furniture—an increasingly sought-after category of contemporary artistic production—is represented in the highly crafted and engineered elegance of designer Marc Newson.

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Installation view with Douglas Gordon, Pretty much every film and video work from about 1992 until now... (1999–)

Douglas Gordon: To Sing

On the occasion of Douglas Gordon: All I need is a little bit of everything, an exhibition in London, curator Adam Szymczyk recounts his experiences with Gordon’s work across nearly three decades, noting the continuities and evolutions.

A Foreigner Called Picasso

Behind the Art
A Foreigner Called Picasso

Join president of the Picasso Museum, Paris, Cécile Debray; curator, writer, biographer, and historian Annie Cohen-Solal; art historian Vérane Tasseau; and Gagosian director Serena Cattaneo Adorno as they discuss A Foreigner Called Picasso. Organized in association with the Musée national Picasso–Paris and the Palais de la Porte Dorée–Musée national de l’histoire de l’immigration, Paris, the exhibition reframes our perception of Picasso and focuses on his status as a permanent foreigner in France.

Dora Maar, Portrait de Picasso, Paris, studio du 29, rue d’Astorg, winter 1935–36

A Foreigner Called Picasso

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.

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.

still from video of eyeball

Douglas Gordon: if when why what

Douglas Gordon took over the Piccadilly Lights advertising screen in London’s Piccadilly Circus, as well as a global network of screens in cities including Berlin, Melbourne, Milan, New York, and Seoul, nightly for three minutes at 20:22 (8:22pm) throughout December 2022, with his new film, if when why what (2018–22). The project was presented by the Cultural Institute of Radical Contemporary Art (CIRCA) in conjunction with the exhibition Douglas Gordon: Neon Ark at Gagosian, Davies Street, London.

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.