WANAFOTO: Gagosian Gallery

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27/10/25

Ed Ruscha @ Gagosian, Paris - Exposition 'Talking Doorways'

Ed Ruscha

Talking Doorways

Gagosian, Paris

22 octobre – 3 décembre, 2025

Ed Ruscha

Talking Doorways, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

Gagosian présente actuellement l'exposition Ed Ruscha: Talking Doorways à la galerie de la rue de Castiglione à Paris. Dans ces nouvelles peintures, Ed Ruscha délaisse les façades tournées vers l’espace public pour explorer le drame silencieux des intérieurs privés. Talking Doorways coïncide avec Ed Ruscha: Says I, to Myself, Says I, une exposition d’une autre série de travaux de l'artiste présentée à la galerie Gagosian de Davies Street à Londres.

Depuis plus de six décennies, Ed Ruscha revient fréquemment à l’architecture et aux infrastructures comme sujets, représentant stations-service, immeubles, parkings, musées, maisons ou des sites industriels vus depuis la rue ou du ciel. Avec Talking Doorways, il délaisse pour la première fois les extérieurs au profit d’intérieurs, utilisant de subtils dégradés en pointillés pour représenter des pièces nues, décorées uniquement de moulures et d’encadrements de portes. Chaque œuvre présente en outre une porte à travers laquelle apparaît une phrase peinte, franchissant le seuil, accompagnée de bandes linéaires évoquant à la fois des faisceaux lumineux et les ondes sonores de paroles prononcées.

Ed Ruscha

Talking Doorways, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

L’intérêt de Ed Ruscha pour les intérieurs a, en partie, été suscité par l’oeuvre du peintre danois Vilhelm Hammershøi (1864–1916). Célèbre pour ses tableaux énigmatiques de pièces baignées de lumière, vides ou habitées par une seule figure, Hammershøi a créé des oeuvres à la palette restreinte, empreintes d’une observation minutieuse, évoquant une attention silencieuse. En évoquant sa réflexion sur les peintures de Hammershøi, Ed Ruscha explique:

J’ai commencé à voir l’intérieur des murs, avec des moulures, des lambris, des petites corniches, des détails qui m’ont intrigué. Et bien que mon travail ne ressemble en rien au sien, je peux dire qu’il m’a inspiré. Il est plus direct, franchement rigide comparé à ce que font les artistes aujourd’hui. Formel, rigide et froid, mais porteur d’un véritable propos.

Ed Ruscha

Says I To Myself Says I, 2025

Acrylic and graphite on canvas

54 x 120 inches (137.2 x 304.8 cm)

Photo: Jeff McLane

Courtesy Gagosian

Ed Ruscha

Talking Doorways, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

Les nouvelles œuvres de Ed Ruscha expriment elles aussi une forme d’intériorité, bien que leur quiétude soit perturbée par les textes peints, suggérant une conversation ou un monologue. Says I to Myself Says I (2025), une toile de trois mètres de long, met en avant la phrase éponyme tirée du langage vernaculaire, divisée en trois bandes qui soulignent la répétition palindrome (mot ou groupe de mots qui peut se lire indifféremment de gauche à droite ou de droite à gauche en gardant le même sens) de « Says I ». Cette œuvre, qui représente la parole franchissant un encadrement de porte, constitue aussi une nouvelle déclaration de l’artiste sur l’art et le langage.

Gagosian publiera un catalogue dédié à ces nouvelles œuvres de Ed Ruscha à l’occasion de l’exposition.

Pour consulter la biographie d’Ed Ruscha ainsi que l’historique de ses expositions, rendez-vous sur gagosian.com.

GAGOSIAN PARIS

9 rue de Castiglione, 75001 Paris

gagosian.com

21/10/25

Ed Ruscha @ Gagosian Gallery, London - 'Says I, to Myself, Says I' Exhibition

Ed Ruscha

Says I, to Myself, Says I

Gagosian, London

October 14 – December 19, 2025

Ed Ruscha

New Hey, 2024

Acrylic on linen

20 x 24 inches (50.8 x 61 cm)

Photo: Jeff McLane

Courtesy Gagosian

Gagosian presents Says I, to Myself, Says I, Ed Ruscha’s first exhibition dedicated to his paintings on unprimed linen. On view at the Davies Street gallery in London, it coincides with Talking Doorways, an exhibition at Gagosian’s rue de Castiglione gallery in Paris.

Ed Ruscha began making paintings on raw linen in the early 1990s, although this body of work has never before been the focus of an exhibition. The ten new works in this format presented in London establish visual and textural contrasts between the painted words and images and their supports, emphasizing their definition and potential. Rendered in a serif typeface and mostly in white, many of the words are underlined with tapering black shapes that accentuate them and suggest horizons and cast shadows within otherwise flat compositions, while some canvases include additional painted passages and symbols.

Ed Ruscha

It's It, 2024

Acrylic on linen

20 x 24 inches (50.8 x 61 cm)

Photo: Jeff McLane

Courtesy Gagosian

Since the 1960s, Ed Ruscha has consistently foregrounded the strangeness of everyday language, exploring how the relationships between words and images transform the meanings of each. It’s It (2024) suggests an attempt to clarify the identity of something, though the lack of antecedents renders the doubled pronoun somewhat cryptic. It’s It also incorporates the naturalistic image of a wooden plank stretched across the top of the composition—the defining element of the artist’s Tom Sawyer paintings from 2022.

Ed Ruscha

And What Not, 2023

Acrylic on linen

24 x 20 inches (61 x 50.8 cm)

Photo: Jeff McLane

Courtesy GagosianEd Ruscha

Other works picture a mountain peak—among Ed Ruscha’s most iconic motifs—in a juxtaposition of archetypal landscape imagery with signifying language. Instead of using the snowy range as a backdrop to text as he did in his Mountain series (1997–), Ed Ruscha here positions it as a graphic and painterly element, replacing abstract shapes in these paintings.

Ed Ruscha

Says I, to Myself Says I, 2024

Acrylic on linen

20 x 24 inches (50.8 x 61 cm)

Photo: Jeff McLane

Courtesy Gagosian

Says I, to Myself Says I (2024) places its text at a diagonal, the words’ dynamism emphasized by the geometric shapes that extend from the lines to the right. An intriguing example of vernacular language, the phrase can be found in Irish and American folk songs and colloquial sayings, while the repetition of “Says I” suggests an introspective declaration.

Gagosian will publish a catalogue on Ruscha’s new work to accompany the exhibition.

Ed Ruscha

Says I, to Myself, Says I, 2025, installation view

Artwork © Ed Ruscha

Photo: Prudence Cuming Associates Ltd

Courtesy Gagosian

GAGOSIAN, LONDON

17–19 Davies Street, London W1K 3DE

gagosian.com

13/10/25

Stanley Whitney @ Gagosian, Athens - 'Return to the Garden' Exhibition

Stanley Whitney: Return to the Garden

Gagosian, Athens

October 2, 2025 – January 17, 2026

Stanley Whitney

The Courage of the Poet, 2025

Oil on linen

60 x 60 inches (152.4 x 152.4 cm)

Photo: Owen Conway

Courtesy Gagosian

Stanley Whitney: Return to the Garden,

Installation View, 2025

Photo: Stathis Mamalakis

Courtesy Gagosian

Gagosian presents Return to the Garden, an exhibition of new and recent paintings by Stanley Whitney in Athens. This is Whitney’s first exhibition in Greece since his participation in Documenta 14 in 2017.

The exhibition’s title, Return to the Garden, evokes themes of arcadian innocence and harmony with nature. Unencumbered by preconceived subjects or narrative elements, these vibrant abstractions offer viewers the opportunity to engage with a heightened awareness of color and perception.

Stanley Whitney asserts the power of color through loose grids of roughly rectangular shapes, creating compositions of three or four rows separated by horizontal bands that traverse the canvas. Characterized by active brushwork, layered pigment, and jostling borders, each field is defined in relation to its neighbors and to each painting as a whole. In some works, he repeats variations of the same hues either between multiple blocks or extended across their lateral bands, establishing myriad formal connections and contrasts.

Stanley Whitney

On the Street Where You Live, 2024

Oil on linen

60 x 60 inches (152.4 x 152.4 cm)

Photo: Owen Conway

Courtesy Gagosian

Stanley Whitney: Return to the Garden,

Installation View, 2025

Photo: Stathis Mamalakis

Courtesy Gagosian

By sustaining this format, Stanley Whitney has developed a compositional framework from which to produce individual canvases full of unexpected, energetic harmonies between vivid colors and fluid gestures. Influenced by traditions including Abstract Expressionism and quiltmaking, his paintings additionally parallel the polyphonies and syncopation of jazz, forming compelling expressions of creativity and freedom.

Stanley Whitney also admires ancient Greek vase painting, particularly of the preclassical Geometric and Archaic eras (c. 900–500 BCE). Painted by hand and divided into banded registers, the abstract linear patterns of these early vases underly the compositions of later, more figurative styles. In looking to such ancient sources when developing his stacked compositions, Stanley Whitney draws upon an interest in archaic forms that similarly motivated both the Abstract Expressionists and earlier modernists.

Stanley Whitney: Return to the Garden,

Installation View, 2025

Photo: Stathis Mamalakis

Courtesy Gagosian

Stanley Whitney

Roma 55, 2023

Oil on linen

24 x 24 inches (61 x 61 cm)

Photo: Owen Conway

Courtesy Gagosian

In another connection with Mediterranean antiquity, the title of the Roma series (2017–) speaks to the inspiration Stanley Whitney found in Rome, where he lived and worked for five years in the 1990s. It was then that he consolidated the approach to abstraction that he continues to explore, a method sparked in part by the ancient architecture and murals that he encountered there and in Egypt. Unlike the straight lines of modern construction, the weathered, hand-built structures of the ancient world possess irregular contours and surfaces that correspond with the gestural demarcations of Whitney’s paintings.

Other works featured in Return to the Garden include new paintings from the ongoing Stay Song series (2017–), which Stanley Whitney debuted in Athens for Documenta 14, as well as the Monk & Munch paintings (2020–). In these rectangular canvases, he pays homage to jazz pianist and composer Thelonious Monk and expressionist painter Edvard Munch, highlighting essential relationships between art and music.

GAGOSIAN GALLERY

22 Anapiron Polemou Street, Athens 11521

gagosian.com

Related Posts:

Stanley Whitney: How High the Moon

Institute of Contemporary Art/Boston, April 17 – September 1, 2025

Stanley Whitney: Dance With Me Henri

Baltimore Museum of Art, November 20, 2022 – April 23, 2023

Something to Say: The McNay Presents 100 Years of African American Art

The McNay Art Museum, San Antonio, Texas, February 8 – May 6, 2018

Stanley Whitney: Drawings

Lisson Gallery, New York, 8 September – 21 October 2017

Stanley Whitney: Paintings

Lisson Gallery, Milan, 2 October – 13 November 2015

10/10/25

Albert Oehlen @ Gagosian Gallery, Paris - 'Endless Summer'

Albert Oehlen: Endless Summer

Gagosian, Paris

October 20 – December 20, 2025

Texte en français ci-dessous

Albert Oehlen

Endless Summer, 2021

Oil on canvas

35 1/2 x 27 5/8 inches (90 x 70 cm)

Photo: Simon Vogel

Courtesy the artist and Gagosian

Albert Oehlen

Untitled, 2021

Oil on canvas

35 1/2 x 27 5/8 inches (90 x 70 cm)

Photo: Stefan Rohner

Courtesy the artist and Gagosian

Albert Oehlen

Untitled, 2022

Acrylic, oil and lacquer on canvas

62 7/8 x 72 1/4 inches (159.5 x 183.5 cm)

Photo: Simon Vogel

Courtesy the artist and Gagosian

Gagosian will present Endless Summer, an exhibition of new paintings by Albert Oehlen in Paris. The paintings explore the theme of the bather, a motif deeply embedded in French art history that captivated such artists as Pierre Bonnard, Paul Cézanne, Edouard Manet, and Pablo Picasso.

The bather has maintained a significant and diverse presence throughout the history of art, and in Endless Summer, Albert Oehlen contributes to the tradition in characteristically expressive style. Presenting variations on a dark-haired female nude, he sometimes approaches, sometimes retreats from his ostensible subject, using it as a template for unbounded experimentation. While the woman’s shape is clearly legible in some paintings, in others it dissolves into pure gesture, shifting Oehlen’s project continually between representation and abstraction.

Neither directly observed nor wholly improvised, Oehlen’s recurring figure originates in Tramonto Spaventoso (Terrifying Sunset, 1940–49) by the Russian-born American modernist painter John Graham, whose work Albert Oehlen discovered in the 1990s. Embellishing, reworking, and recontextualizing Graham’s image, the artist combines graphic gestures and “painterly” drips with surprising color combinations and textural obfuscations. The density of the compositions also varies—some are packed with formal incident, while others appear relatively sparse.

In Endless Summer, Albert Oehlen again tests the limits of coherence, reinventing a long-established motif while rejecting the quest for stable form and meaning.

Endless Summer is presented in the Paris gallerie of Gagosian and Galerie Max Hetzler, and is accompanied by a copublished catalogue featuring an essay by Jean-Pierre Criqui and an interview with Max Dax about Albert Oehlen’s filmmaking.

Texte en français

Gagosian va présenter Endless Summer, une exposition de nouvelles peintures d’Albert Oehlen qui explorent le thème de la baigneuse, un motif profondément ancré dans l’histoire de l’art français qui a captivé des artistes tels que Pierre Bonnard, Paul Cézanne, Edouard Manet et Pablo Picasso.

La baigneuse a maintenu une présence significative et variée tout au long de l’histoire de l’art, et dans Endless Summer, Albert Oehlen s’incrit dans cette tradition avec un style expressif caractéristique de son travail. Présentant des variations sur un nu féminin aux cheveux noirs, il s’approche de son sujet et parfois s’en éloigne, l’utilisant comme modèle pour une expérimentation sans limite. Si la forme de la femme est clairement lisible dans certaines peintures, dans d’autres elle se dissout dans un geste pur, faisant continuellement osciller le projet d’Oehlen entre représentation et abstraction.

Ni directement observée ni totalement improvisée, la figure récurrente d’Albert Oehlen trouve son origine dans Tramonto Spaventoso (Coucher de soleil terrifiant, 1940–49) du peintre moderniste américain d’origine russe John Graham, qu’Albert Oehlen a découvert dans les années 1990. En embellissant, retravaillant et recontextualisant l’image de John Graham, l’artiste mêle des gestes graphiques, des drips « picturaux », des combinaisons de couleurs surprenantes et des obstructions texturales. La densité des compositions varie également : certaines foisonnent d’incidents formels, tandis que d’autres paraissent relativement éparses.

Albert Oehlen

Untitled, 2024

Oil on canvas

74 7/8 x 50 3/8 inches (190 x 128 cm)

Photo: Simon Vogel

Courtesy the artist and Gagosian

Albert Oehlen

Untitled, 2024

Oil on canvas

74 7/8 x 63 inches (190 x 160 cm)

Photo: Simon Vogel

Courtesy the artist and Gagosian

Albert Oehlen

Untitled, 2024

Oil on canvas

11 7/8 x 9 1/2 inches (30 x 24 cm)

Photo: Simon Vogel

Courtesy the artist and Gagosian

Albert Oehlen

Untitled, 2025

Acrylic, oil and lacquer on canvas

108 x 90 inches (274.3 x 228.6 cm)

Photo: Simon Vogel

Courtesy the artist and Gagosian

Dans Endless Summer, Albert Oehlen teste à nouveau les limites de la cohérence, réinventant un motif établi de longue date tout en rejetant toute quête de forme et de signification stable.

Endless Summer est présentée dans la galerie Gagosian et la galerie Max Hetzler à Paris, et est accompagnée d’un catalogue coédité comprenant un essai de Jean-Pierre Criqui ainsi qu’un entretien avec Max Dax au sujet du travail cinématographique d’Albert Oehlen.

GAGOSIAN PARIS

4 rue de Ponthieu, 75008 Paris

gagosian.com

06/10/25

Brice Marden @ Gagosian Gallery, London - 'Etched Letters' Exhibition Curated by the Estate of Brice Marden

Brice Marden

Etched Letters

Gagosian Gallery, London

October 10 – November 29, 2025

Gagosian presents Etched Letters, an exhibition of editioned prints, unpublished proofs, and related drawings produced by Brice Marden between 2007 and 2012. Curated by the Estate of Brice Marden, this is the first gallery display of Marden’s prints in London, and reflects the artist’s dedication to printmaking, which began in the 1960s and continued throughout his career.

While his 2006–07 retrospective at the Museum of Modern Art, New York, was traveling, Brice Marden embarked on an international trip of his own. At the National Palace Museum in Taipei, he encountered “Seven-character Poem (Besotted by Flower Vapors)” (1087), a Song dynasty verse by Huang T’ing-chien (1045–1105). This example of Chinese calligraphy, which was mounted to an album page with blank borders on both vertical edges, inspired Brice Marden to make the first drawings in what became the Letter paintings and works on paper.

Beginning in 2007, Brice Marden worked with master printmaker Jennifer Melby to produce a set of etchings derived from the Letters of Gratitude drawings—works that had been made as tokens of appreciation for help received during the lead up to the MoMA retrospective. While the sheets were still in development, they were photographed, and printmaker Lothar Osterburg translated these images onto copper plates using photogravure, a process that replicated Marden’s original marks with a new tonal and textural character.

Brice Marden then elaborated on the plates with his own hand-rendered aquatint additions, with Melby running off test proofs as they moved through different states. Three plates were completed to full editions: #1, which was printed in 2011 as First Etched Letter; #3 (2007–12), which was derived from Letter of Gratitude #1; and #8 (2007–12), which began life as Letter of Gratitude #17.

In the prints, as well as the drawings from which they were developed, each page is filled with letter-like marks that suggest a formal visual language as a guide to Marden’s compositional and psychological space. The artist’s use of ink-dipped sticks as drawing instruments lends the work an unpredictability and, along with its calligraphic influence, it is embedded with a clear interest in classical geometry.

With the Estate of Brice Marden, Gagosian is developing a book to update the catalogue published by Tate in 1991. The new volume includes prints made from that date onward and features an essay by Jeremy Lewison, curator of the Tate exhibition.

GAGOSIAN GALLERY LONDON

28–29 Burlington Arcade, London W1J OQJ

gagosian.com

25/09/25

Carol Bove @ Gagosian, Beverly Hills - "Nights of Cabiria" Exhibition of new sculptures

Carol Bove

Nights of Cabiria

Gagosian, Beverly Hills

September 25 – November 1, 2025

Carol Bove

Nights of Cabiria, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

Carol Bove

Idiopathic Abstraction, 2020-25

Found steel, stainless steel and urethane paint

84 13/16 x 100 1/2 x 89 5/8 inches (215.4 x 255.2 x 227.6 cm)

Photo: Maris Hutchinson

Courtesy Gagosian

Carol Bove

Nights of Cabiria, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

Gagosian presents Nights of Cabiria, an exhibition of new sculptures by Carol Bove. This is the artist’s first exhibition at the gallery in Beverly Hills.

In Nights of Cabiria, Carol Bove reflects on the industrial heritage of Los Angeles as a Cold War–era center for precision aerospace and weapons manufacturing, along with subcultural expressions of that focus such as surfboard production, with its devotion to perfect surface finish. The exhibition design responds to the unique architectural features of the Beverly Hills gallery and makes use of reclaimed structural scaffolding components called “soldier beams.” This scaffolding, intended for applications in civil engineering, provides the components for an architectural folly that supports two of the sculptures and partially reconfigures the gallery space.

Also dividing the gallery’s interior are a fence-like suspended metal lattice and two fabric scrims. One of these, made from diaphanous chiffon, has been screenprinted with an image of the lattice at the same scale. The other is made from the silkier material known as charmeuse, and is printed with a still from Italian silent film Cabiria (1914). Directed by Giovanni Pastrone, shot in Turin, and set during the Second Punic War of 218 to 202 BCE, the classical epic is credited with various innovations including the first extensive use of a moving camera.

Carol Bove

Similar Salamander, 2025

Nickel-plated steel structural scaffolding and stainless steel

76 3/4 x 44 1/4 x 38 3/4 inches (194.9 x 112.4 x 98.4 cm)

Photo: Maris Hutchinson

Courtesy Gagosian

Carol Bove

Tied Light, 2025

Steel structural scaffolding, stainless steel and fluoropolymer coating

102 1/8 x 28 1/8 x 27 1/8 inches (259.4 x 71.4 x 68.9 cm)

Photo: Maris Hutchinson

Courtesy Gagosian

Carol Bove

Priestcraft, 2025

Steel structural scaffolding, stainless steel and urethane paint

100 3/4 x 24 1/2 x 20 1/4 inches (255.9 x 62.2 x 51.4 cm)

Photo: Maris Hutchinson

Courtesy Gagosian

Several of Bove’s new works also integrate scaffolding into their formal designs, some retaining the beams’ raw surfaces. Priestcraft (2025), for example, incorporates a crumpled steel tube that has been bent into a loop, painted a vibrant orange, and perched atop a stand made from the weathered girders. Other works combine square tubing with mirror-polished steel disks, recalling Hardware Romance (2021), Bove’s sculpture that was on view in 2023–24 at Gagosian’s Park & 75 gallery in New York, their varied surface treatments prompting viewers to question assumptions about the “inherent” qualities of the material world.

GAGOSIAN, BERVERLY HILLS

456 North Camden Drive, Beverly Hills, CA 90210

gagosian.com

23/09/25

Paul McCartney Photographs Exhibition @ Gagosian, London - "Rearview Mirror: Liverpool–London–Paris"

Paul McCartney

Rearview Mirror: Liverpool–London–Paris

Gagosian, London

August 28 – October 4, 2025

Paul McCartney

Self-portrait in my room at the Asher family home,

Winpole Street, London, December 1963, 2025

Courtesy Gagosian

Gagosian presents Rearview Mirror: Liverpool–London–Paris, an exhibition of photographs by Paul McCartney at the Davies Street gallery in London. The works chronicle Paul McCartney and his fellow Beatles as their reputation spread beyond Liverpool and Hamburg between December 1963 and early February 1964. Each picture was taken with McCartney’s 35mm Pentax camera, acquired in late 1963 around the time that the term “Beatlemania” was coined to describe the unprecedented mass hysteria that followed the band’s every move.

Paul McCartney

Photographers, fans, and officers,

rue de Caumartin, Paris, January 1964, 2025

Courtesy Gagosian

Paul McCartney

John on the Champ-Elysées,

Paris, 15 January 1964, 2025

Courtesy Gagosian

Seen from McCartney’s perspective as both protagonist and observer, his photographs—a mix of single frames and multi-image works—comprise a singular contribution to the visual record of the 1960s, a culturally and socially transformative decade. Shot with unassuming candor, the works at Davies Street offer an intimate account of the band as they toured across the UK and in Paris in the formative weeks before their debut visit to America. They show the in-between moments tied to key events in The Beatles’ trajectory: their autumn 1963 UK tour, their first as headliners; their appearance on the BBC’s Juke Box Jury, which garnered a record 23 million viewers; The Beatles Christmas Show, which greatly broadened their appeal; and their three-week residency at the Olympia Theatre in Paris, an early proving ground.

An enigmatic self-portrait shows Paul McCartney reflected in the mirror of his attic room—where he dreamed the melody for “Yesterday”—in the London family home of his then-girlfriend, Jane Asher. The group’s camaraderie and cool is captured in atmospheric scenes backstage at the Lewisham Odeon, London Palladium, and Finsbury Park Astoria. Enlarged contact sheets recount in rich detail vignettes marked by an unguardedness that could only have been recorded by one of their own, including the charged moments before the band’s transatlantic flight took off for New York.

Remastered from original negatives and contact sheets thought to have been lost for over half a century, each of the works has been prominently signed by Paul McCartney, issued in a small edition, and framed in a bespoke profile of his design. Rearview Mirror: Liverpool–London–Paris follows McCartney’s debut presentation at the gallery earlier this year at Gagosian Beverly Hills, and coincides with the touring exhibition Paul McCartney Photographs 1963–64: Eyes of the Storm, which opened at the National Portrait Gallery in London in 2023 and which is currently on view at the de Young, Fine Arts Museums of San Francisco, through October

Paul McCartney was born in Liverpool, England, in 1942. Passionate about art from a young age, he became attuned to the medium of photography as a teenager upon seeing the pictures published in the sports section of the Observer, as well as those taken by his younger brother, Michael. This was reinforced when The Beatles, during their time in Hamburg, Germany, befriended the photographers Astrid Kirchherr and Jürgen Vollmer, who were influential in helping the group form a distinct visual identity. In the mid-1960s Paul McCartney encountered the British avant-garde through John Dunbar, a cofounder of Indica Books and Gallery, and gallerist Robert Fraser, who introduced Paul McCartney to Andy Warhol, Claes Oldenberg, Peter Blake, and Richard Hamilton—the latter two artists invited by McCartney to design Beatles album covers that became instantly iconic. In the early 1980s, inspired by a discussion with Willem de Kooning, Paul McCartney took up painting, exhibiting his work at the Arnolfini Gallery, Bristol, in 2000, and at the Walker Art Gallery, Liverpool, in 2002. Paul McCartney Photographs 1963–64: Eyes of the Storm was organized by the National Portrait Gallery, London, opening there in 2023 before traveling to the Chrysler Museum of Art, Norfolk, Virginia (2023–24); Brooklyn Museum of Art, New York (2024); Tokyo City View (2024); Knowledge Capital Event Lab, Osaka, Japan (2024–25); Portland Art Museum (2024–25); de Young, Fine Arts Museums of San Francisco (2025); and Frist Art Museum, Nashville (2025–26).

GAGOSIAN

17–19 Davies Street, London W1K 3DE

gagosian.com

17/09/25

Richard Serra: Running Arcs (For John Cage), 1992 @ Gagosian, New York

Richard Serra

Running Arcs (For John Cage), 1992

Gagosian, New York

September 12 – December 20, 2025

Gagosian presents the US exhibition debut of Running Arcs (For John Cage) (1992), a large-scale sculpture by RICHARD SERRA (1938–2024). The work has been exhibited only once before, more than thirty years ago, opening on September 12, 1992, at Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany. Running Arcs (For John Cage), on view at Gagosian’s 522 West 21st Street gallery, openened thirty-three years—to the date—after its initial presentation.

Running Arcs (For John Cage) is composed of three identical conical steel segments, inverted relative to each other, installed in a staggered formation. Each panel is approximately 52 feet long, 13 feet high, and 2 inches thick.

GAGOSIAN

522 West 21st Street, New York, NY 10011

gagosian.com

Nathaniel Mary Quinn @ Gagosian, New York - "ECHOES FROM COPELAND" Exhibition

Nathaniel Mary Quinn

ECHOES FROM COPELAND

Gagosian, New York

September 10 – October 25, 2025

Nathaniel Mary Quinn

Paint-Drawing Study for Brownfield’s Daydream, 2025

20 x 20 inches (50.8 x 50.8 cm)

Photo: Owen Conway

Courtesy Gagosian

Nathaniel Mary Quinn

Paint-Drawing Study for Margaret and Her Baby, 2025

Oil paint, oil pastel, and gouache

on linen canvas stretched over wood panel

48 x 48 inches (121.9 x 121.9 cm)

Photo: Jackie Furtado

Courtesy Gagosian

Gagosian presents ECHOES FROM COPELAND, an exhibition of new paintings by Nathaniel Mary Quinn, at 541 West 24th Street, New York. In these works, the artist explores themes of familial dysfunction, hope, aspiration, and redemption, inspired by Alice Walker’s debut novel, The Third Life of Grange Copeland (1970). As part of a continued meditation on his own creative influences, which include Francis Bacon and Romare Bearden, Nathaniel Mary Quinn situates figures in different environments including interiors, a cityscape, and natural settings. These complex paintings combine intricate line work with detailed backgrounds, further contextualizing an increased narrative scope.

Nathaniel Mary Quinn

Study for Grange Copeland, 2025

Oil paint and gouache on linen canvas

stretched over wood panel

18 x 15 inches (45.7 x 38.1 cm)

Photo: Jackie Furtado

Courtesy Gagosian

Nathaniel Mary Quinn

Paint-Drawing Study for Down The River, 2025

Oil paint, oil pastel, and gouache

on linen canvas stretched over wood panel

18 x 15 inches (45.7 x 38.1 cm)

Photo: Jackie Furtado

Courtesy Gagosian

Captivated by the pursuit of self-realization and recovery from ancestral trauma that color Walker’s text, which tells the story of an African American family in rural Georgia over three generations, Nathaniel Mary Quinn renders both real and imagined scenes and characters from the author’s somber narrative through a hopeful lens. In Study for Grange Copeland (2025), vibrant blue, orange, and yellow marks accent a portrait of the Georgia sharecropper against a shadowy background. In the novel, Grange is burdened by racial oppression and poverty. Becoming abusive toward his wife, Margaret, and son, Brownfield, he eventually abandons them to travel north, only to reexperience the very problems he sought to escape. In response, Nathaniel Mary Quinn constructs an idealized reverie from Brownfield’s perspective, Paint-Drawing Study for Down The River (2025), a surreal episode in a father’s search for a better life.

Nathaniel Mary Quinn

ECHOES FROM COPELAND, 2025,

installation image

Photo: Owen Conway

Courtesy Gagosian

Nathaniel Mary Quinn

Study for The Traveler, 2024

Oil paint, oil pastel, and gouache

on linen canvas over wood panel

36 × 36 inches (91.4 × 91.4 cm)

Photo: Jackie Furtado

Courtesy Gagosian

Nathaniel Mary Quinn

Study for Mary and Red Curtain—The Queen, 2025

Oil paint, oil pastel, and gouache

on linen canvas stretched over wood panel, in 4 parts

Overall: 80 x 60 inches (203.2 x 152.4 cm)

Photo: Jackie Furtado

Courtesy Gagosian

In other works, Nathaniel Mary Quinn builds on foundational aspects of his own practice by drawing on personal history. In Study for The Traveler (2024), the artist portrays himself dreaming of an escape from the impoverished conditions of austere public tenement housing on the South Side of Chicago. And in Study for Mary and Red Curtain—The Queen (2025), he considers the way in which his own mother may have seen the world during her midcentury Mississippi childhood.

The consistent presence of drawing techniques in Quinn’s new paintings, which retain their predecessors’ interweaving of naturalistic and fractured imagery, is signaled by the appearance of the term “paint-drawing” in their titles. “I didn’t want to lose my attachment to drawing,” the artist explains, “so I found a way to bring it into painting. As long as it remains harmonious with the work as a whole, that’s the key.”

GAGOSIAN

541 West 24th Street, New York, NY 10011

gagosian.com

15/09/25

Tyler Mitchell @ Gagosian, London

Tyler Mitchell

Gagosian, London

September 15 – October 3, 2025

Tyler Mitchell

Harlem Stoop, 2024

Gelatin silver print, in artist's frame

30 x 37 1/2 inches (76.2 x 95.3 cm)

Edition of 3 + 2 AP

Courtesy Gagosian

Tyler Mitchell

The Dinner Party, 2024

Gelatin silver print, in artist's frame

30 5/8 x 48 1/2 x 1 1/2 inches (77.6 x 123 x 3.8 cm)

Edition of 3 + 2 AP

Courtesy Gagosian

Gagosian presents an exhibition of photographs by Tyler Mitchell at its gallery in London’s historic Burlington Arcade. This marks the first public display of works from “Portrait of the Modern Dandy,” a visual essay developed for the catalogue of Superfine: Tailoring Black Style, the spring 2025 Costume Institute exhibition at the Metropolitan Museum of Art, New York. The installation at Burlington Arcade coincides with the launch of Mitchell’s first monograph with Aperture, Wish This Was Real, and features a curated selection of publications that inform and expand his practice.

Cover of the book Superfine: Tailoring Black Style

(New York: Metropolitan Museum of Art, 2025)

Courtesy the artist and Gagosian

Cover of the book Tyler Mitchell: Wish This Was Real

(New York: Aperture, 2025)

Courtesy the artist and Gagosian

Examining the historical and cultural significance of Black style from the eighteenth century through to contemporary expressions, Superfine focuses on the concept of dandyism through the lens of the African diaspora. The exhibited garments and Mitchell’s photographs together articulate how self-fashioning becomes a form of agency, distinction, and resistance.

Introducing this body of work, Tyler Mitchell notes:

In this visual essay, my aim was not only to depict visions of profound camaraderie, beauty, and joy—though that alone would have been a worthy pursuit—but to explore how Black individuals have appropriated and transformed classical European fashion into something uniquely our own. Featuring models in garments from Superfine: Tailoring Black Style alongside fabulously self-styled men in vintage or the wearer’s own attire, this project is a love letter to modern Black dandyism.

Tyler Mitchell

Untitled (Abdou Shirtless), 2024

Gelatin silver print, in artist's frame

20 x 14 5/8 inches (50.8 x 37 cm)

Edition of 3 + 2 AP

Courtesy Gagosian

Tyler Mitchell

Untitled (Christian in Wales Bonner Cover), 2024

Archival pigment print, in artist's frame

45 x 34 1/2 inches (114.3 x 87.5 cm)

Edition of 3 + 2 AP

Courtesy Gagosian

These portraits engage in a dialogue with traditions of historical studio and portrait photography, emphasizing the symbolic power of dress. Mitchell’s images reflect his ongoing interest in constructing scenes of elegance, kinship, and Black visual sovereignty.

On Saturday, September 20, from 3 to 6pm, Gagosian will host a book signing with the artist for both Wish This Was Real and the Superfine catalogue.

GAGOSIAN

28–29 Burlington Arcade, London W1J OQJ

gagosian.com

22/04/25

Amoako Boafo @ Gagosian, London - "I Do Not Come to You by Chance" Exhibition

Amoako Boafo

I Do Not Come to You by Chance

Gagosian, London

April 10 – May 24, 2025

Amoako Boafo

Black Cycle, 2025

Oil and paper transfer on canvas

82 3/8 x 86 5/8 inches (209 x 220 cm)

Photo: Joe Humphrys

Courtesy Gagosian

I make paintings that allow me to celebrate where I come from and what I aspire to be, while sharing unique perspectives and understanding.
—Amoako Boafo

Gagosian presents I Do Not Come to You by Chance, an exhibition of new work by Amoako Boafo. Titled after Adaobi Tricia Nwaubani’s 2009 novel, it marks the artist’s debut at Gagosian London and his first solo presentation in the United Kingdom. The exhibition incorporates paintings into a transformative and involving design conceived by the artist in collaboration with architect and designer Glenn DeRoche of DeRoche Projects—who previously worked with Boafo on dot.ateliers | Ogbojo, the writers’ and curators’ residency program he established in Ogbojo, Ghana, in 2024—and extends his exploration of space and community.

Boafo’s portraits celebrate the Black figure in a spirit of authenticity and joy, countering the flawed narrative of stereotypes through images that elevate their subjects. Focused on Black identity, his paintings prompt a reexamination of the Western understanding of contemporary Africa and the African diaspora, exploring intimacy, community, and self-determination. Amoako Boafo paints the faces and bodies of his subjects with his fingertips, the directness of his touch enhancing their expressive qualities and allowing them to return the viewer’s gaze with charismatic presence. His self-portraits confront the observer with expressions of vulnerability and creativity that challenge traditional narratives of masculinity.

I Do Not Come to You by Chance unfolds across the gallery’s three rooms. Throughout, Amoako Boafo integrates his family’s story and local Ghanaian history, layering and interweaving autobiographical contexts. Visitors first encounter a wallpapered entrance before entering a full-scale re-creation of the courtyard of the artist’s childhood home in Ghana. The final room presents Boafo’s first double-sided freestanding painting. Two life-size female figures are incorporated into a screen within a sculptural wood enclosure, the folding panels reimagining nkyinkyim, an Adinkra symbol that represents “twisting.” This is not just a frame for the paintings but a tribute to the resilience of Boafo’s Black figures, reflecting the perseverance needed to navigate societal challenges.

The courtyard installation transcends the conventional gallery interior and invites visitors to view paintings in a formative personal environment. The architectural intervention pays homage to Boafo’s early artistic experiences of communal spaces as sources of collaborative creativity akin to shared studios, where families observed one another, and local artists such as Aplerh-Doku Borlabi, Kwesi Botchway, Otis Kwame Kye Quaicoe, and Eric Adjei Tawiah often gathered to share materials and inspiration. The courtyard symbolizes a space of knowledge; it was here that Amoako Boafo learned what it means to share space, an experience that helped shape the foundation of his practice.

Many of the works on view reflect themes of relaxation and play. Among them is one of Boafo’s largest self-portraits to date, Self-Portrait with Cacti (2024). Measuring over four meters (thirteen feet) in length, it depicts the artist in a moment of tranquility, lounging in bed and surrounded by an assortment of lush plants. Another painting, Black Cycle (2025), shows him riding a bike, the fabric of his clothing echoing the exhibition’s wallpapered entrance. The motifs in these paintings continue his exploration of repeated textures and materials.

GAGOSIAN LONDON

20 Grosvenor Hill, London

gagosian.com