The artists work with Gagosian director Freja Harrell, who said in a statement that it was “purely coincidental” that the gallery started working with relatively fresh surrealist-influenced painters at the same time. I think those tacit nods of approval from other art-world luminaries gave Gagosian the added comfort to take them both on in terms of representation.” “Ewa I had met initially through Alison Gingeras. “I had done Louise’s first New York solo show at Half Gallery in 2017, which resulted in a wonderful Peter Schjeldahl review ,” Powers continued. He also knew that, because the two painters only had so much exposure to American collectors, Larry wouldn’t take the leap without some institutional heft. And when he found an artist he particularly liked, he showed them to the art world’s reigning king. Many of the artists in the Gagosian exhibition had early shows at Half Gallery-Powers has been aggressive about scouring top MFA programs and art schools for talent. “I think he appreciated that they were both older artists, and had a visceral reaction to the work.” “I introduced both of work to Larry in 2019 when I curated ‘Domestic Horror’ at 75th and Park,” Powers said in a statement, referring to the title of the show. In addition to Juszkiewicz and Bonnet, artists in the show included Ginny Casey, Chloe Wise, Tanya Merrill, and Genieve Figgis. It was perhaps the first time that a now-widespread movement got a high-profile platform: new-ish painters, often women, making boldly imagined figurative paintings with giddy surrealist touches. There’s still no official succession plan in place for who will lead the gallery after its namesake hangs up his hat-if such a thing, um, actually ever happens-but there does seem to be a succession plan for the programming.īoth Juszkiewicz and Bonnet were brought into the Gagosian fold in late 2019, when Bill Powers-the dealer, curator, writer, and long-time proprietor of Half Gallery-curated a show for the gallery. The moves mark a turn for a mega-gallery that has long filled its spaces with household names. Louise Bonnet, Calvary with Potato, 2020 © Louise Bonnet. Bonnet’s work has only appeared at auction once, this March, selling for $81,900 at Sotheby’s. What’s more, Gagosian’s Basel gallery opened a show in early June of new works by Louise Bonnet, who had just a handful of shows before landing a solo exhibition at Gagosian’s Park & 75 storefront space last September. Though sculptures by longtime gallery artist Rachel Feinstein scattered the floorspace, the booth’s walls were given over to a young Polish artist, Ewa Juszkiewicz, who, until 2020, had never had a solo show in the U.S. Gagosian’s first fair booth in 15 months was a little different. It was the consensus top booth in the fair.Īnd Iwan Wirth, the youngest of the mega-gallery overlords, had monster pieces by Cindy Sherman and Gary Simmons-both of whom had moved over from Metro Pictures, which will close this fall-as well as Henry Taylor and George Condo, the fiercely sought-after painters that joined the gallery in the early days of 2020. Jeff Koons, the most expensive living artist at auction, had recently left for Pace, and his glorious Sling Hook (2007–9), a “Popeye” series inflatable featuring a shark and lobster intertwined, hung from the rafters in his new gallery’s booth at the fair.Īround the corner, David Zwirner, Larry Gagosian’s primary antagonist (the two dealers have famously never sat down for a one-one-one drink in the three decades they’ve known each other) had a suite of new works by Dana Schutz, the newest star to join Zwirner’s stable. When Frieze New York opened in May, Gagosian, the gallery with more outposts than any other in the history of the world, was at a crossroads.
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