March 8 - 11, 2018
We will present a special solo project by the artist JR.
Image: JR, Migrants, Walking New York City, 2015
April - May 2018
18 Wooster Street
Presented by Larry Gagosian and Jeffrey Deitch
December 5 –10, 2017
Moore Building, Miami Design District
On the occasion of Art Basel Miami Beach, Gagosian and Jeffrey Deitch are pleased to present ABSTRACT / NOT ABSTRACT, an exhibition of new abstract painting at the Moore Building in the Miami Design District.
Abstraction entered the realm of painting around 1910, and is one of the great innovations of modernism. It continues to inspire artists today. To make a fresh abstract painting following all the remarkable achievements of the School of Paris and the New York School is daunting and challenging, yet the current generation of artists continues to make astonishing and complex work with exciting innovations in the tradition. ABSTRACT / NOT ABSTRACT includes work by some of the most groundbreaking contemporary artists who are redefining abstraction for our time.
In the first half of the twentieth century, many artists tried to achieve a pure abstraction. Today, this purity is less relevant, and, perhaps, not even possible. While the formalist abstract image has come to represent our definition of the term, this is far from the only approach. Abstraction and representation are increasingly difficult to separate, and this interchange between the two reflects our contemporary reality. The artists in the exhibition have vivid and varied approaches to abstract painting, utilizing new technology and industrial techniques to create work that is abstract, yet not purely abstract. ABSTRACT / NOT ABSTRACT explores the continuing evolution of abstraction in contemporary art.
ABSTRACT / NOT ABSTRACT features the work of more than thirty artists, from influential figures such as John Armleder, Jeff Koons, and Albert Oehlen to important emerging artists like Christina Quarles. Latifa Echakhch, Urs Fischer, and Analia Saban are among those who have created new works specifically for this exhibition.
John Armleder, Korakrit Arunanondchai, Tauba Auerbach, Math Bass, Kerstin Brätsch, Dan Colen, Latifa Echakhch, Jeff Elrod, Urs Fischer, Mark Flood, Aaron Garber-Maikovska, Naotaka Hiro, Alex Israel, Wyatt Kahn, Jeff Koons, Elizabeth Neel, Albert Oehlen, Steven Parrino, Seth Price, Richard Prince, Christina Quarles, Daniel Richter, Sterling Ruby, Analia Saban, Borna Sammak, Jan-Ole Schiemann, Josh Smith, Rudolf Stingel, Ryan Sullivan, Torey Thornton, Blair Thurman, Kelley Walker, and Christopher Wool.
Larry Gagosian and Jeffrey Deitch have been colleagues since 1979, working with many of the same artists. “ABSTRACT / NOT ABSTRACT” is their third collaborative exhibition in the Moore Building in the Miami Design District. The influential
exhibition “Unrealism” was presented in 2015 and “Desire,” curated by Diana
Widmaier Picasso, was presented in 2016.
Gagosian was established by Larry Gagosian in 1980.
Jeffrey Deitch began his art career with a small gallery in Lenox, Massachusetts in 1972. He will be opening a gallery in Los Angeles in September 2018.
The Miami Design District, developed by Craig Robins in partnership with L Catterton Real Estate, is a neighborhood dedicated to innovative fashion, design, art, architecture and dining. It features distinctive architectural projects by Aranda/Lasch, Sou Fujimoto, Johnston Marklee, K/R, and other leading young architects; and public commissions of art and design by John Baldessari, Ronan & Erwan Bouroullec, Urs Fischer, Buckminster Fuller, Zaha Hadid, and Marc Newson. This year marks the opening of the new Institute of Contemporary Art, Miami, in the Design District. Their inaugural exhibition will open the same week as “ABSTRACT / NOT ABSTRACT.”
October 21 - December 22, 2017
18 Wooster Street
The faces are melting in Kenny Scharf’s new paintings. “Things are disintegrating,” he says, “I am reacting to our increasingly out-of-control situation.” Scharf’s work continues to be infused by his inexhaustible optimism and his sense of fun but there has always been an engagement with profound issues beneath the façade. Ecology, the environment, and capitalist excess have long been central themes. More recently, his paintings have shown his alarm over the effects of petroleum and the mountains of nondegradable plastic that are produced from it.
Scharf’s work has always combined and contrasted the pop culture he absorbed growing up in Los Angeles with the important innovations in modern and contemporary art. His earlier work fused Dali and Disney. More recently, he has been in dialogue with Pollock and Abstract Expressionism. In the new work, he merges his distinct style with color field and stain painting. “I like to connect with every movement in 20th-century art,” Scharf explains. “I make new hybrids, taking it all in and putting it in a blender.”
A distinctive style is something that Scharf admires in other artists and from the beginning has tried to achieve in his own work. He believes in art as an expression of individual identity. From his first mature work as a student at the School of Visual Arts, a painting by Kenny Scharf was instantly recognizable. Still adhering to his signature style, he continuously invents new forms.
Scharf is very enthusiastic about his new “sloppy style” that characterizes the major paintings in the exhibition. Rows of faces disintegrate into colorful drips reminiscent of both New York School painting and the serial imagery of minimal art. In these new works, Scharf is striving to create clear and simple forms that resonate with meaning. He feels liberated and excited, adding that “it is so much fun.”
The expression of emotion in art is essential to Scharf. Art that is cold leaves him cold. He explains that cartoon faces can express emotion with abstract power. Like his artistic colleagues from his early years in New York, Jean-Michel Basquiat and Keith Haring, Scharf studied cartoons as a way to intensify figurative expression.
It is his early downtown history that brings Scharf back to New York this October. The Museum of Modern Art is opening an exhibition on the seminal performance space Club 57 in which Scharf played a central role. Watching him paint, one can see how his experience as a backup dancer for Klaus Nomi and his other performative roles have shaped his approach to his work. One side of his painting practice is detailed and meticulous to the extreme. The other side is tremendously physical and requires him to use his body like a dancer.
Visitors to Scharf’s Los Angeles studio are greeted by a hundred or more discarded plastic toys in his yard and on his roof. During the early part of his career, Scharf found his art materials in the garbage. To this day, he still stops his car when he finds plastic toys and TV sets thrown away on the street. These discarded plastic objects have inspired the two other bodies of work featured in the show: his Assemblage Vivant Tableaux Plastiques, and his TV Bax. The assemblage works, which are inspired by the Nouveau Realistes, are constructed from his stock of recycled plastic toys. The TV Bax are painted on the plastic backs of discarded television sets. Like the toys, the TV backs have a disconcerting anthropomorphic quality. Scharf wonders if their anonymous designers created these plastic covers, which are different for every model, to resemble a face.
Scharf finds these thrown-away toys and TV backs to be poignant objects, resonant with emotion. “Each of these objects carries a story,” Scharf explains. He thinks about how people might have struggled and sacrificed to buy these toys and TVs, and about the intense relationship that children and families have with them. Scharf resurrects the lives of these inanimate objects in his work. He also notes that garbage keeps changing with technology. The backs of TV sets used to have large protruding “noses.” Now they are flatter and more similar to a canvas.
Since his childhood, Scharf has been fascinated by outer space. Space travel and the portrayal of infinite space have long been central themes. In his life and in his work, he tries to eliminate boundaries and borders. As he pursues his dialogue with the great painters of the New York School, he is increasingly preoccupied with the inner space of painting. His exploration of inner space creates a dynamic tension with his passion for outer space. With his characteristic exuberance and his moral voice, Scharf reformulates his unique combination of Pollock and Pop to create a vibrant new body of work.
Photo Credit: The1point8 and Adam Reich
Read about the Club 57 exhibition at MoMA in the New York Times here.
July 18 - July 29, 2017
September 5 - 30, 2017
18 Wooster Street
A year after the passing of Alan Vega, who I first knew as Alan Suicide, we will present Dream Baby Dream, a memorial exhibition to commemorate Alan’s life and work. The exhibition has two components: video projections of historic performances by Suicide, and a selection of Alan’s sculpture and works on paper from the 1960s to his last works in 2016. We will also feature interviews with Alan, along with videos documenting his artwork. The following tribute is adapted from a text I wrote for Kaleidoscope Magazine after Alan’s death:
One of my formative artistic experiences was an encounter with the work of Alan Suicide at the O.K. Harris gallery in 1975. The impact began with the black press-type sign with the artist’s name on the entrance wall. Instead of the meticulously aligned letters that had become standard in every SoHo gallery, the name Alan Suicide was half scratched out in an early manifestation of punk attitude. It was a simple gesture, but shocking in its disruption of the expected protocol. Stepping into the gallery, I was confronted by an assemblage of discarded TV picture tubes, Christmas lights, broken radios, and various electronic debris dragged in from the street. Dangling wires were plugged in, activating the lights and popping tubes. The structures were as anti-form as possible, but surprisingly dense. They fused Punk, Pop and Pollock.
Another one of my formative experiences was seeing Alan and Marty Rev’s band Suicide perform at Max’s Kansas City in the spring of 1976. Half of the audience seemed to embrace Alan’s confrontational performance; the other half was infuriated. Alan described his approach in a 2002 Village Voice interview with Simon Reynolds: “Back then, people went to shows to forget their everyday life for a few hours. With Suicide, they came off the street and I gave them the street right back.” Alan’s unhinged performance was riveting, but what really astonished me was what happened when Alan and his band mate Marty walked off the stage. Marty’s noise box was still sounding. The music kept playing without anyone playing it. Those early Suicide concerts changed the concept of musical performance, influencing the development of electro pop and electronic dance music.
Alan Vega, a.k.a. Alan Suicide, died at the age of 78 on July 16th, 2016. Friends who I spoke with about his death were incredulous to learn that he was 78. He always maintained the stance and the style of someone who was in his twenties. He was one of the inventors of the Punk aesthetic in art and music, and in 1970, may have been the first to describe his sound as punk. His first Suicide show, at the Project of Living Artists on 729 Broadway was advertised as “Punk Music by Suicide.” Punk describes only one part of Suicide’s artistic and musical direction, however. With his black beret and his hipster lingo, and his immersion into assemblage, Alan also created his own extension of Beat culture. His music also drew deeply on rockabilly and on the Doo-Wop that he would have heard on the Brooklyn street corners when he was a teenager in the 1950s. In his way he was also a Pop artist.
I enthusiastically followed all the new bands emerging at CBGB and Max’s during the mid 1970s, but for me Suicide was the most radical and the closest in its alignment with concurrent developments in visual art. My friend the photographer Marcia Resnick arranged for us to meet Alan for drinks at Max’s a few weeks after his astonishing performance. Two Suicide fans from New Jersey also showed up, delighting Alan with their home made white-on-black Suicide T-shirts. I remember asking Alan about his favorite artists. Making sure that his young fans could not hear him, he whispered to me, “I like Jackson Pollock.” At the time, I thought of Pollock as a monument from my art history courses, not as a direct influence on a punk rocker. Alan’s admission about one of his primary aesthetic sources was a breakthrough insight for me, deepening my understanding of how radical art remains radical. It also helped me to understand the way innovations in one artistic medium such as painting, can extend into other media such as music. Alan helped me to see the work of Pollock as alive, rather than ossified art history, continuing to inspire a new approach to artistic form.
Alan’s art, music and insights still resonated with me twenty-five years later, around 2001, when I began hearing some of my young artist friends talk about their interest in Suicide. A whole contingent of artists connected to my projects had gone to see a Suicide New Year’s Eve performance. I decided to try to re-connect with Alan and find out if he might consider an exhibition of his radical sculpture from the 1970s. Alan was not easy to contact. Finally, I was able to speak with his manager, Liz Lamere, who I eventually found out was also his wife. We arranged to meet in Alan’s Financial District loft apartment, which he enjoyed for its remoteness from the commercialization of the former artist neighborhoods. “I have been waiting twenty-five years for you to follow up,” he admonished me as he greeted me at the door. He had remembered my enthusiasm for his work from our conversation at Max’s in 1976.
Alan agreed to retrieve and re-construct some of his light and electronic parts sculptures from the 1970s and we presented an exhibition entitled Collision Drive, named after his second solo album, in January 2002. Alan and Marty also put on a brilliant Suicide performance during the exhibition, drawing long time fans from the ‘70s and ‘80s as well as enthusiasts from the new generation. It was great to see Alan’s work embraced by young artists.
Several years after Collision Drive, Alan was Dan Colen’s and Dash Snow’s first choice to perform inside their notorious sculptural environment, The Nest. Alan went all out, performing knee deep in the paper from shredded phone books, backed by A.R.E. Weapons.
Alan was both of his time and way ahead of his time. Alan and Marty’s seminal debut album, Suicide, from 1977 was too radical to achieve commercial success when it was released, but is now listed by Rolling Stone as one of the 500 most influential albums of all time. Alan’s sculpture is not yet in the collections of the major contemporary art museums, but one of my missions is to see his sculptural work also achieve the public recognition that it deserves.
Alan was a pioneer in the blurring of boundaries between media. His aesthetic approach encompassed sculpture, music, poetry and art performance. His work created an original, uniquely American, fusion of Abstract Expressionism, Pop, Assemblage, Minimalism and anti-form. All of his work was literally charged with electricity. Modernism was pushed into a combustible clash with pop culture. Alan was an anti-pop star and an anti-artist. He was both a proponent and a progenitor of the radical strain in American art.
-- Jeffrey Deitch
May 2 - June 30, 2017
76 Grand Street
Grandfather as I am
Mike protects the sick girl
I work on the Heidi chalet
Neither admits to t*he goat
Heidi as European model as Madonna
Heidi as European fashion
Heidi as a fashion model as Madonna
Heidi as purity – as fashion
Horror movie as model as docudrama
Docudrama as horror movie
Surrogate parts as stand-ins
Stand-ins as stunt props
Modern decorative purity
A lesson in aesthetics
Ultimately a question of taste
Acceptance of the role of beauty as correctness
Insistence on the role of beauty as correctness
Heidi, Midlife Crisis Trauma Center & Negative Media-Engram Abreaction Release Zone (1992), Paul McCarthy and Mike Kelley’s first important collaborative work, combines painting, sculpture, architecture, and performance. Based on Johanna Spyri’s Heidi, a children’s story that deals with the oppositions of city and country, culture and nature, McCarthy and Kelley’s version subverts the familiar tale and turns it into a quasi-horror film. Through McCarthy and Kelley’s piece, the viewer explores the dichotomy between the bucolic and the horrific, and the dialogue between American and European culture. According to McCarthy, “in American horror films, your car runs out of gas in the middle of the woods and you go to the farm house where this crazy inbred family cuts you up. There is this fear of rural life. In Switzerland, you run out of gas and you really do meet Heidi, this sweet young girl or this sweet grandfather who takes care of you. Heidi becomes Americanized in a sort of dysfunctional horror film.”
Heidi… takes place, in McCarthy’s own words, on “a television stage set, a schizophrenic collusion of Alpine decoration and reductive Modernism.” Kelley wrote, “One of the things we were striving for was that the set itself maintain its presence as a sculpture, even when paired with the tape, and that the figures, props, and other items used in the production of the tape, in conjunction with the set, be seen as a whole rather than an accumulation of leftovers.” Presented together, the video and the sculptural installation disorient the viewer, confusing the boundary between what is real and what is not. The cast is found in McCarthy and Kelley themselves, in rubber figures, and scattered body parts. They “perform as different characters, switching identities, becoming Heidi, becoming Peter, becoming Grandfather.” Together, McCarthy and Kelley deconstruct Spyri’s novel, taking on familial relationships, false belief systems, and pushing the boundaries of taste.
This exhibition marked the first time Heidi… was presented in the United States since Paul McCarthy’s 2001 retrospective at the New Museum.
Presented in Collaboration with Hauser & Wirth
Image: © Paul McCarthy and Mike Kelley Foundation for the Arts
Courtesy Paul McCarthy, Mike Kelley Foundation for the Arts and Hauser & Wirth
Presented by The Armory Show
March 2 - 6, 2017
The Florine Stettheimer Collapsed Time Salon is presented in homage to the artist and saloniste Florine Stettheimer (1871-1944), whose remarkable life and work has influenced many artists. The Salon will be presented as a special project at The Armory Show, New York, from March 2 – 6, 2017.
The first Florine Stettheimer Collapsed Time Salon was staged at the Gramercy Hotel Art Fair in 1995 in the hotel’s penthouse. The space was decorated with cellophane curtains, Doric columns, and white furniture with gold trim to evoke the atmosphere of the Stettheimer salon in her Beaux Arts Building studio. Artists whose work channeled Stettheimer, including Jane Kaplowitz, Elizabeth Peyton, and Jeff Koons were invited to display their work. There was a program of salon talks led by Francis Naumann. We were fortunate to be able to borrow some extraordinary paintings by Florine Stettheimer herself from Columbia University and private collections. Later that year, a definitive Stettheimer retrospective was presented at the Whitney Museum, curated by Elisabeth Sussman and Barbara J. Bloemink. Since then there has been an increasing awareness of Stettheimer’s work and a deepening engagement with her legacy by contemporary artists.
The Armory Show, the successor to the Gramercy Park Hotel Art Fair, asked me to present an updated version of The Florine Stettheimer Collapsed Time Sale for their March 2017 show. Some great artists have emerged since 1995 whose work connects with Florine Stettheimer’s distinctive artistic vision. The original participants in the project and some of the most exciting artists of the new generation have been invited to display their work in this year’s salon. Ricky Clifton and Jane Kaplowitz will be coordinating the decoration of the salon in a Stettheimer inspired style. Artists, curators and art historians will be invited to lead discussions.
I first became aware of Florine Stettheimer when I read Andy Warhol’s recollection of Henry Geldzahler’s first visit to his house in 1961, in his 1980 book Popism:
“I could see Henry doing an appraisal of every single thing in the room. He scanned all the things I collected – from the American folk pieces to the Carmen Miranda platform shoe (four inches long with a five inch heal) that I’d bought at an auction of her effects. Florine Stettheimer studio at the Beaux Arts building, 80 West 40th Street, New York. Almost as quickly as a computer could put the information together, he said, ‘We have paintings by Florine Stettheimer in storage at The Met. If you want to come over there tomorrow, I’ll show them to you.’ I was thrilled. Anyone who’d know just from glancing around one room of mine that I loved Florine Stettheimer had to be brilliant…”
Geldzahler had assumed correctly that Warhol was already aware of Stettheimer’s prescient and original fusion of Pop, decorative and Dadaist sensibility. Her four Cathedrals have long since been resurrected from storage and now are among the most celebrated modern paintings in the museum.
I was so intrigued by this passage in Popism that I began to research Florine Stettheimer’s work myself. Since then her paintings, her salon, and her remarkable network of friendships with Marcel Duchamp, Virgil Thompson, Carl Van Vechten and other luminaries of the New York’s Modernist vanguard have been an ongoing source of inspiration. Her unique artistic sensibility and her engagement with her community of artists and writers are especially relevant to today’s art discourse.
Artists Included in the 2017 Florine Stettheimer Collapsed Time Salon:
McDermott & McGough
Curated by Diana Widmaier-Picasso
Presented by Larry Gagosian and Jeffrey Deitch
November 30 – December 4, 2016
Moore Building, Miami Design District
On the occasion of Art Basel Miami Beach, Jeffrey Deitch and Larry Gagosian are pleased to present Desire, an exhibition curated by Diana Widmaier-Picasso, at the Moore Building in the Miami Design District.
Desire explores modern and contemporary approaches to eroticism in art. One of the very earliest and most fundamental artistic themes, eroticism has served to reflect the social mores and cultural values of different civilizations. As the representation of eroticism has evolved in society, boundaries are tested, bringing to life artistic fantasies and unprecedented imagery. Eroticism reinvents itself with every subsequent generation. Today, for example, the promiscuous overexposure of nude bodies on the Internet and television has forever altered the very notion of erotic representation.
Eroticism fuses together opposing and complementary concepts: form and feeling, spirit and body, intellect and emotion. It is at once the most accessible and most challenging subject in art. Its portrayal can be theoretical, abstract, romantic, carnal, or all of these combined. It may be infused with humor, anxiety, or terror. It can be subtle or brash, creating tension between artist, subject and viewer. In modern and contemporary art, eroticism often elicits feelings of unease, in the navigation between the male and female gazes, and between voyeurism and self-exposure. Sometimes, the art that explores eroticism in the least expected way possesses the strongest erotic charge.
Desire features the work of more than fifty artists from modern masters such as Pablo Picasso and Balthus to emerging talents. Joe Coleman, Gaspar Noé, and Tschabalala Self are among those who have created new works specifically for this exhibition. In addition to painting, sculpture, and photography, video installations by Harmony Korine and Jordan Wolfson will be featured.
Artists exhibited include:
William N. Copley
Urs Fischer & Georg Herold
Tom of Finland
Barkley L. Hendricks
Alex Israel & Bret Easton Ellis
Larry Gagosian and Jeffrey Deitch have been colleagues since 1979, working with many of the same artists. Desire is their second joint exhibition project, following the influential Unrealism show in the same space last year.
Diana Widmaier-Picasso is an art historian specializing in Picasso sculptures. She co-curated Picasso and Marie-Thérèse: l’amour fou with John Richardson (Gagosian, 2011), and Picassomania with Didier Ottinger and Emilie Bouvard (Grand Palais, Paris, 2015). She is the author of numerous essays including “The Provenance of Picasso’s Collection of Erotic Japanese Prints,” which was collected in the catalogue Secret Images: Picasso and the Japanese Erotic Print, edited by Museu Picasso, Barcelona, 2010 and a book Picasso: Art can only be erotic (Prestel, 2005).
The Miami Design District, developed by Craig Robins in partnership with L Real Estate, is a neighborhood dedicated to innovative fashion, design, art, architecture, and dining. It features distinctive architectural projects by Sou Fujimoto, Aranda/Lasch, Johnson Marklee and other leading young architects; and public commissions of art and design by John Baldessari, Buckminster Fuller, Zaha Hadid and Marc Newson.
November 5 - December 23, 2016
18 Wooster Street
Many artists engage with current political issues in their work, but it is the rare artist whose message transcends the art discourse and influences a wide international audience. Ai Weiwei has built on the moral authority of his work to focus attention on some of the world’s most urgent problems. Through his work, he has become one of the most important advocates of human rights.
Laundromat is an extraordinary exhibition project that addresses the current refugee crisis. The exhibition focuses on the refugee camp at Idomeni on the border of Greece and FYROM, the former Yugoslav Republic of Macedonia. Ai Weiwei explains the background and the concept of the exhibition in the following Q & A:
How did the refugee project begin?
The refugee project began while I was living under soft detention in Beijing. Following my arrest and secret detention in 2011, my passport was confiscated and I was prohibited from traveling outside of China. Although I could not leave the country, I was able to stay engaged globally through the Internet. I have participated in hundreds of exhibitions in absentia.
For the 56th Venice Biennale, the Ruya Foundation asked me to make a selection of drawings for a publication entitled Traces of Survival. The drawings were made by refugees living in the Shariya refugee camp in Iraq. This gave me an opportunity to get further involved and I asked to make a visit to the camp. I designed a survey and, because I could not leave China, had two assistants travel to the camp. The survey asked of the refugees several basic and essential questions: Who are they? What kind of life did they have before? How did they become refugees? What did they think of their future? In total, my assistants conducted over a hundred interviews at the Shariya camp.
In July 2015, I received my passport back from the Chinese authorities and traveled to Berlin. There, I visited some refugees who had recently arrived from Syria. I decided to become more involved. I was unfamiliar with the situation and the scope of the issue was wide enough for me to study. During Christmas, I visited the Moria refugee camp in Lesbos, with my son and partner. I saw how the refugees arrived on the Greek shore, many of them women and children. The conditions at the camp were shocking.
I thought back on my own experience as a refugee. When I was born, my father, Ai Qing, was denounced as a ‘rightist’ and was criticized as an enemy of the party and the people. We were sent to a labour camp in a remote region far away from our home. We carried almost nothing with us to the camp, only trying to survive. It was an extremely difficult time being seen as a foreigner in your own nation, an enemy of your own people, an enemy of those my father loved most. I know what it is like to be viewed as a pariah, as sub-human, as a threat and danger to society.
How did you first get involved in Idomeni?
The refugees leave their homes because of the war. They are trying to escape immediate danger. They have lost their relatives. I met a young boy, only 18 or 19 years old, and he was shaking. I put my arm around him. He told me that, underneath his blanket, he had lost his right arm. I also began to shake. He’s so young and you can only imagine what he has been through, what his future will be like. That fear, even after having arrived in Europe, can still be seen in their eyes. I can imagine that fear has not dissipated, but their new reality has given them even more to worry about.
I cannot give them food or tea, or money, but rather I can let their voices be heard and recognized. I can give them a platform to be acknowledged, to testify that they are human beings. During the saddest moments in our history, mankind has had to prove their worth as humans to their own kind. Unfortunately, this has proven to be the most difficult task. As an artist, this is something I would like to take on.
I decided to follow the refugees’ path. I went to the Idomeni refugee camp. It had become a bottleneck when the flow of refugees entering Europe was completely shut off. Before, the refugees would travel through Idomeni on the so-called Balkan Route to reach Europe. Once the Macedonian government closed the border, the camp swelled to over 15,000 refugees.
They stayed in the field next to the railroad tracks, living in temporary tents provided by the NGOs. They stayed there with no government assistance. The NGOs provide support for the flow of refugees, but many things are beyond their power. They cannot handle things such as registering the refugees and they have no authority to enact order. They cannot establish basic sewage or clean water systems. During my visit, it rained constantly. The Idomeni fields turned to mud. The refugees, many of them women and children, lived through these extremely difficult conditions, waiting to be handed a cold sandwich and news of what would come next. With great frustration, we couldn’t do much. I start- ed to take many photographs, to try to record the moment. The harsh reality can act as evidence and make us reflect on these conditions. This is a condition many people refuse to see, or try to distort or ignore. Many willfully believe this isn’t actually taking place. When you see so many children out of school, 263 million children worldwide, you can easily predict what our future holds.
By this point, we had already decided to make a documentary. We had several teams covering different people’s stories: a young pianist from Syria, a lady who brought her cat with her on the long journey, a family of thirty from Afghanistan, an economics student who hoped to finish his PhD in Europe but who is, today, still stuck in a Greek refugee camp. We have filmed in Greece, Turkey, Lebanon, Jordan, Israel, Gaza, and Kenya. We will film in Afghanistan, Iraq, Pakistan, Bangladesh, and Mexico. I have personally visited over twenty camps in different locations and interviewed over a hundred people including politicians, NGOs, volunteers, smugglers, gravediggers and countless refugees.
How did the concept of Laundromat come together?
When we started filming in Idomeni, the first thing we noticed was people trying to change their clothes. These are the clothes they wore from Syria, wet and soiled from the difficult journey across the ocean, over mountains and through woods. They had no chance to wash their clothes until they were forced to stop in Idomeni. They would hand wash the clothes and throw it on the border fence to dry. There was nowhere else to hang dry their laundry. We photographed the clothes, but we did not, and could not, imagine they could later be included in an exhibition. The clothes were some of the few possessions they could take when they decided to leave their homes. There is not much else they could take. Off the coast of Lesbos, I found an abandoned boat drifting in the sea. Inside, I found a copy of the Bible and a baby’s bottle. You would also find small objects wash up on the shore. These objects were the most precious things a person could have, the last things they brought with them as they sought a new life.
Once the refugees were forced to evacuate to different camps from Idomeni, many of those possessions were left behind. Trucks came in and loaded these items up to take towards the landfill. I decided to see if we could buy or collect them so they would not be destroyed.
Previously, my studio collected many life jackets from the local officials in Lesbos and made an installation with them at the Berlin Konzerthaus. My team negotiated with local officials who agreed to let us have the collected material. They were aware of our presence and were supportive. With a truckload of those materials, including thousands of blankets, clothes and shoes, all impossibly dirty, we transported them to my studio in Berlin. There, we carefully washed the clothes and shoes, piece by piece. Each article of clothing was washed, dried, ironed, and then recorded. Our work was the same as that of a laundromat.
The work that will be shown at Jeffrey Deitch, let’s talk about some of the parts. You will be showing the clothes on the clothing racks in the main space. Is that the evidence of the work, evidence of what happened in Idomeni?
My work is a total work. What I do everyday, shooting documentary footage, doing research, archiving materials, that is all part of the same effort. It could be called an individual work, but it’s really part of a total effort.
One of the aspects included in the exhibition is the Allen Ginsberg poem…
Allen is an old friend of mine. He has always had a strong compassion for those in need of help. With the help of the Allen Ginsberg Project and Larry Warsh, we received Allen’s early poems and readings. I think this is the best location for New York City to experience its own poet, the son of an immigrant, reading September on Jessore Road. His voice reflected the Bangladesh refugee crisis, which he saw when he visited the West Bengal refugee camps in the 70s. It’s a very touching poem evoked by a gentle, human voice. The story it tells is the same one unfolding today, the same story from a thousand years ago and, unfortunately, one that might continue into the future.
September 17 - October 22, 2016
18 Wooster Street
During the summer of 1974, only a few weeks after I began working as the all purpose assistant at the John Weber Gallery in SoHo, Walter Robinson and Edit deAk walked in with a pile of Art-Rite magazines and deposited them on the office counter. The art world was a small community in those days and the most effective distribution system for a vanguard art magazine was just to leave stacks of them on the reception desks or in the offices of the six major galleries. There was no need to send them out in the mail to subscribers or to sell them on newsstands. Almost every relevant reader would be likely to come around and pick up a copy.
Every few years there is a new art magazine that is able to position itself at the center of the dialogue around new art. In the mid 1970s, the magazine was Art-Rite, printed on the cheapest possible newsprint and edited by Walter and Edit and their friends in their Wooster Street communal loft. Art-Rite had no veneer of intellectual snobbery. Artists, writers and hangers on were welcome to drop in to the Art-Rite loft almost any time of day or night. You could always enter an interesting conversation, some of which were transformed into texts for the magazine.
The conversation with Walter Robinson that began when he and Edit dropped off the stack of Art-Rites continues to this day, more than forty years later. My first art critical essay, on the work of my first real artist friend, Christopher D’Arcangelo, was written for Art-Rite but unfortunately it never ran in the magazine because Carl Andre, who Chris and I looked up to as our art guru, insisted that it was problematic. (Luckily I kept a copy and it was finally published to some acclaim several years ago.) Walter and I kept the dialogue going through the Times Square Show in 1980, during his early exhibitions at Metro Pictures, and most recently during my Unrealism exhibition in Miami where for many of the visitors, Walter was the major re-discovery.
Walter has been at the center of the art discourse through Art-Rite, his pioneering art work, and his many years of astute commentary in Art in America, Artnet and on his legendary underground TV show with Paul H-O, "Gallery Beat". When I found out that Barry Blinderman had not been able to find a New York venue for his Walter Robinson retrospective exhibition, I volunteered that this would be the ideal project to inaugurate my return to my Wooster Street gallery. I am very pleased to host this lively exhibition that documents Walter’s exceptional artistic achievements. Walter painted Nurse Paintings before Richard Prince and Spin Paintings before Damien Hirst. He has long been at the center of the art community but his modest manner and his disdain for aggressive careerism have left his work less recognized than it should be. I am looking forward to presenting this sensitively curated overview of Walter’s work to the New York art community.
-- Jeffrey Deitch
September 8 - 10, 2016
Performances at 7 PM
18 Wooster Street
Jeffrey Deitch is pleased to announce the re-opening of his Wooster Street gallery with three evenings of performance by Eddie Peake. Eddie Peake’s work fuses painting, sculpture, and musical and dance performance. He creates an artistic experience that builds on the history of these media to make a completely contemporary statement. Inspired by Eddie Peake’s commission for Performa hosted by the Swiss Institute in the Wooster Street space in November 2013, Jeffrey Deitch invited Eddie Peake to inaugurate his new program.
Peake’s new work builds on a series of performances created over the last few years for numerous galleries and spaces, including Tate Modern, London (2012), Chisenhale Gallery, London (2012) and Performa, New York (2013). Articulating the complex strains of intimacy that develop between people, Eddie Peake has developed a gallery-based performance in which the relationships between an ensemble are made palpable through a series of choreographed gestures and interactions. Developing his work in collaboration with his performers, Peake creates episodic performances in which bodies might switch between being seen as sculptural objects or complex human subjects, and in which emotions such as desire, jealousy, shame or power are played out using surreal or unexpected signifiers such as colored body paints or animal costumes. Featuring original, devised musical compositions, this performance slowly builds in energy, taking surprising twists and turns, and treading a fine line between displaying bodies in order to invite casual voyeurism and working with them to initiate more direct forms of address.
Born in London in 1981, Eddie Peake graduated from the Slade School of Fine Art in 2006, undertook a residency at the British School at Rome from 2008 to 2009, and in 2013 graduated from the Royal Academy Schools, London. Performance projects include The David Roberts Art Foundation (2012), The Tanks, Tate Modern (2012) Chisenhale Gallery (2012); The Royal Academy of Arts (2012), Cell Project Space (2012), Performa 13 (2013), Palais de Tokyo (2015) and most recently Eastside Projects (2016) and Tenuta Dello Scompiglio (2016). International solo exhibitions include Galleria Lorcan O’Neill, Rome (2015) Peres Projects, Berlin (2014) Southard Reid, London (2012) (with Prem Sahib), Focal Point Gallery, Southend (2013) and White Cube Sao Paulo (2013). Peake’s recent exhibition in the Barbican’s Curve Gallery, The Forever Loop (2016), was his largest and most ambitious to date.
Made in collaboration with Eric Berey, Ann Chiaverini, Emma Fisher, Tim Goalen, Gwilym Gold, Gareth Mole, Alexis Nuñez and Paolo Rosini.
Eddie Peake had a solo exhibition at White Cube, Hong Kong that opened 24th November 2016.
May 5 - June 4, 2016
76 Grand Street
“How did these get here!?” I was shocked to see a pile of stickers on my gallery reception desk in the Spring of 1996 with the outrageously provocative phrase “Nuke the Swiss” printed above a red cross. “They were left there by that funny guy who comes in here all the time,” my staff explained. A few weeks later, I was there when the culprit walked in, smirking as he handed me a fresh stack of Nuke the Swiss stickers. His engaging manner somehow neutralized the egregious content of his free art. This was my first introduction to Tom Sachs, who twenty years later, still visits during his walks around the neighborhood, and who continues to perfect his fusion of radical conceptual performance, Modernist idealism, bricolage and provocation.
Tom and I have discussed presenting his work in my gallery since 1996, but it took twenty years to realize an exhibition. There were several false starts. In the late 1990s, Tom amused himself by setting up a contest between three art dealers who were keen to show his work, Angela Westwater, Mary Boone, and myself. He even published a zine about the “competition.” He decided that Mary Boone was the winner and rewarded her with a solo show. I opened my copy of The New York Times on September 30, 1999 to see the astonishing headline, “Art Dealer Arrested for Exhibition of Live Ammunition.” Tom had placed a vase full of live 9-millimeter cartridges on Mary Boone’s reception desk for visitors to take home as souvenirs. Mary was hauled off to jail for unlawful distribution of ammunition and resisting arrest. She was also charged with possession of unlawful weapons and possession of stolen property for another piece in the show, which featured homemade guns. I was lucky to have dodged a bullet. There was much more water under the bridge, but I will save those stories for my memoirs.
Last year Tom called to invite me for a tea ceremony. He had transformed a section of his wunderkammer studio into a subversion of a Japanese tea house, constructed with Con Edison excavation barriers and Blue Foam instead of rice paper and bamboo. I was deeply entranced in Tom’s remix of the tea ceremony when he stunned me by lifting the lid of a lacquer box that I assumed would contain an exquisite tea biscuit. Instead of a biscuit, it was a perfectly measured line of cocaine. The ceremony was confounding, but the taste of the carefully sourced matcha was transporting.
Some months later Tom told me the good news that his entire tea house along with its extensive Japanese garden and his bronze bonsai tree (made from 3,500 casts of Q-tips, tampon cases, tooth brushes, and enema nozzles) would be the focus of a major exhibition at the Noguchi Museum. In addition, his Boom Box retrospective, which had been enthusiastically received in Austin, would be coming to the Brooklyn Museum. Tom suggested that maybe now was the time to present the gallery show that we had been discussing for twenty years.
Tom’s proposal for our gallery show was Nuggets, a presentation of his Sachsified versions of Modernist masterpieces. The doorbell to Tom’s Center Street studio is marked “Brancusi.” Appropriately, the major work in the exhibition is Tom’s response to Brancusi’s Le Coq, perfectly crafted from plywood, resin and sheet metal screws, rather than marble. In Michel Gondry’s film Be Kind Rewind, the protagonists, video store clerks played by Jack Black and Mos Def, remake their favorite movies in the vacant lot behind the shop after they have inadvertently erased the store’s inventory. Their “sweeded” versions of movies become more popular with their customers than the originals. In his way, Tom has been “sweeding” the icons of modern art and consumer culture his whole career. We will find out whether the audience prefers Tom’s reboot of Brancusi to the real thing.
There is an aesthetic equivalence in Tom’s world between icons of modern art and icons of contemporary consumer culture. Tom’s sculpture of a laundry basket, meticulously crafted out of plywood and resin, is mounted on a museum pedestal with the same reverence as his Brancusi. He worships the brilliantly efficient design of the lowly cinder block as much as he admires a stacked sculpture by Donald Judd. My favorite “Nugget” is Tom’s astonishing and functioning exact size reconstruction of a photocopy machine, perhaps the true icon of Post Modernism. Tom’s work embodies a contradiction at the core of his unique aesthetic: his veneration of the purity of modern art and industrial design and his love of bricolage and handicraft. His works are fabricated with the combination of industrial rigor and hand made artistry that have become his trademark.
The works in Nuggets span the spectrum of Tom’s artistic, cultural and sociological interests, from Brancusi to McDonald’s. Among the resonant works are his Kelly Bag in plywood, canvas, steel, resin, latex and nylon and his plywood, latex, and epoxy milk crate, with steel hardware, his homage to a masterpiece of modern design. There is also Nutritional Facts, a giant wood burned chart of the nutritional content of the full McDonald’s menu. The works are presented on pedestals like rare tribal sculpture in the Metropolitan’s Michael Rockefeller Wing.
Tom Sachs is one of the rare artists who does not just create works of art, he has constructed an entire aesthetic world. His studio is a bricoleur’s dream factory, itself one of his greatest art works. From his distinctive handwriting, to his influential films, Tom is always making art. Tom Sachs’ official biography articulates his unique approach to his work:
Sachs is a sculptor, probably best known for his elaborate subversions of various Modern icons, all of them masterpieces of engineering and design of one kind or another. A lot has been made of the conceptual underpinnings of these sculptures: how Sachs samples capitalist culture, remixing, dubbing and spitting it back out again, so that the results are transformed and transforming. Equally, if not more important, is his total embrace of "showing his work." All the steps that led up to the end result are always on display. This means that nothing Sachs makes is ever finished. Like any good engineering project, everything can always be stripped down, stripped out, redesigned and improved. The reward for work is more work.
Presented by Larry Gagosian and Jeffrey Deitch
December 2 – 6, 2015
The Moore Building, Miami Design District
“King of Arms,” a procession and performance by Rashaad Newsome, will pass through the Design District at 6:30pm to 7:30pm.
Larry Gagosian and Jeffrey Deitch Collaborate to Present an Exhibition of New Figurative Painting and Sculpture in the Miami Design District
UNREALISM celebrates the recent revival of interest in figurative painting and sculpture. The exhibition features the work of more than fifty of the most original and compelling artists working in figuration from the 1980s to the present. The title points to the challenge of portraying contemporary reality where the real is often confused with the unreal.
The exhibition focuses on an emergent wave of painters and sculptors who are exploring new approaches to figurative imagery. In doing so, they are also generating renewed interest in innovative precursors.
Artists exhibited include:
Njideka Akunyili Crosby
Barkley L. Hendricks
Kerry James Marshall
Nathaniel Mary Quinn
Emily Mae Smith
Jakub Julian Ziolkowski
Figuration is one of the oldest art forms, but it is continually evolving, reflecting contemporary concepts of human identity. Figurative art responds to technical innovations like printing, photography and digital reproduction, but the ancient craft of rendering the figure renews itself with each subsequent generation. The artists featured in UNREALISM work within the figurative canon without becoming academic. They are able to make a venerable tradition in art completely of our time.
UNREALISM will take place over four floors around the atrium of The Moore Building, a 1921 Art Deco-style, former furniture showroom that is also the current home of the ICA Miami. Larry Gagosian and Jeffrey Deitch have been colleagues since 1979 and have worked with many of the same artists. UNREALISM is their first collaboration. In October of this year, Gagosian Gallery opened its fifteenth location in Mayfair, London. Jeffrey Deitch’s most recent curatorial project is The Extreme Present, one of the inaugural exhibitions for the new Aishti Foundation in Beirut.
The exhibition preview took place on December 1 from 5–8pm, along with the celebration of GARAGE Magazine No. 9. King of Arms, a procession and performance by Rashaad Newsome, will pass through the Design District from 6:30pm to 7:30pm.
King of Arms Krew (Miami Chapter) Mass Processional Performance will include members of the Miami Bike Life Crew, who will perform ambitious stunts on ATVs, dirt bikes, and sport bikes; the Florida Memorial marching band, which will play an original score by Newsome; The King of Arms Vogue Knights, Newsome’s New York-based vogue troop; the King of Arms Float; and a troop of locals who share Newsome’s reverence for custom car culture.
GARAGE Magazine No. 9 featured a cover designed by Rem Koolhaas, the architect of the recently inaugurated permanent home of Garage Museum of Contemporary Art in Moscow. The issue also included texts on celebrated artists such as Alexander Calder and Bridget Riley, panel discussions featuring the likes of David Adjaye, Shane Smith and Marc Newson, and an array of dynamic augmentations with the GARAGE App: readers can experience the movement of Calder’s sculptures from the printed page, play Japanese collective Chim Pom’s specially designed arcade game or activate their Super Rat, and enter the sonic world of cyborg artist Neil Harbisson.
The Miami Design District, developed by Craig Robins in partnership with L Real Estate, is a neighborhood dedicated to innovative fashion, design, art, architecture and dining. It features distinctive architectural projects by Sou Fujimoto, Aranda/Lasch, Johnson Marklee and other leading young architects; and public commissions of art and design by John Baldessari, Buckminster Fuller, Zaha Hadid and Marc Newson.
November 7 - December 21, 2015
76 Grand Street
Keith Haring thinks in poems
Keith Haring paints poems
Paintings can be read as poems if they are read as words instead of images
Images that represent words.
The public has a right to art
The public is being ignored by most of contemporary artists
Art is for everybody
I am interested in making art to be experienced and explored by as many individuals as possible with as many different individual ideas about the given piece with no final meaning attached.
The viewer creates the reality, the meaning, the conception of the piece.
I am moving towards a work of art that encompasses music, performance, movement, concept, craft and a resulting record of the event in the form of a painting.
-Journal entry by Keith Haring, 1978
Jeffrey Deitch and Suzanne Geiss are pleased to present Bombs and Dogs, an exhibition of large-scale drawings, tarps and objects that trace the development of Keith Haring’s iconic visual language focusing on works from 1980 - 1984.
Haring’s work achieved a remarkable fusion of the rhythmic all over structure associated with Abstract Expressionism, the iconic figuration associated with Pop Art and the energy of the New York City Streets.
Jeffrey Deitch has been involved with Keith Haring’s work since the Times Square Show in 1980. His 1982 essay, “Why the Dogs are Barking” for the first book on Haring, was reprinted in the catalog for the Whitney Museum retrospective in 1997. Suzanne Geiss managed the Deitch Project’s representation of the Estate of Keith Haring for over 13 years and co-authored with Deitch and Julia Gruen the 2008 monograph published by Rizzoli International.
October 20 - October 31, 2015
76 Grand Street
Jeffrey Deitch presents The Wolfpack Show, a look inside the world of the Angulo Brothers, subjects of the critically acclaimed documentary film by Crystal Moselle, The Wolfpack. The first ever exhibition of original artworks by the Angulo’s: Mukunda Angulo (Prop Master), Govinda Angulo, Narayana Angulo, Bhagavan Angulo, and Eddie Vaughan Reisenbichler, includes works on paper, costumes, props as well as a site-specific film installation made by the brothers. The works are presented alongside a selection of photographs by Dan Martensen from his new book Wolves Like Us: Portraits of the Angulo Brothers (Damiani, 2015). This body of original art and photographs adds yet another chapter to the remarkable story of the Angulo Brothers, offering a wholly new glimpse into the lives of “The Wolfpack.”
The exhibition is accompanied by the launch of the book, Wolves Like Us: Portraits of the Angulo Brothers by Dan Martensen (Damiani, 2015), as well as the release of the DVD of the film The Wolfpack (Magnolia Pictures, 2015).
Premiere of their first original short film "Window Feel"
Photographs by Dan Martensen
Presented by Jeffrey Deitch, Nicole Klagsbrun, and The Cameron Parsons Foundation
September 8 - October 17, 2015
76 Grand Street
Cameron: Cinderella of the Wastelands, an exhibition of works and artifacts from the legendary artist, opened September 8, 2015 in the former Deitch Projects space at 76 Grand Street. Cameron emerged as a key figure in the development of Los Angeles’s mid-century counterculture not only through her own work but also through her relationships with artists such as Kenneth Anger, George Herms, and Wallace Berman.
The exhibition is an expanded version of the show presented at the Museum of Contemporary Art, Los Angeles in 2014, Cameron: Songs for the Witch Woman. Containing newly rediscovered pieces, the exhibition illuminates the esoteric figure of Cameron through her paintings, drawings, writings, and ephemera from the course of her prolific career as an artist and poet.
Born in 1922 as Marjorie Cameron in the small town of Belle Plaine, Iowa, she left home at age 18 to join the US Navy as a cartographer. It was during this time that she adopted her famous mononym and developed the careful attention to line and detail that characterizes her delicate yet potent style.
Cameron found her postwar home in Los Angeles and it was there she began to discover the surrealism and mysticism that came to define her major works. Spurred by her husband Jack Parsons, the famed rocket scientist and occultist, she began to explore various magical practices, especially the Thelemite teachings of Aleister Crowley. Parsons, believing that Cameron was the earthly incarnation of the Thelemite goddess Babalon, was eager to share his beliefs about the supernatural with her, which came to influence her for the rest of her life.
It was during this time that the two collaborated on Songs for the Witch Woman, a volume of poems by Parsons illustrated with watercolors by Cameron. This proved to be a seminal work for Cameron, as she continued the project on her own, producing an entirely new series of ink drawings after Parsons’ death in 1952.
In the 1950s, Cameron fell in with the beat culture of Los Angeles. Wallace Berman, fascinated by her artwork and mystical persona, put her on the cover of the very first issue of Semina, his artistic and literary journal. This relationship eventually led to Berman being arrested by the LA Vice Squad during an exhibition he curated at the Ferus Gallery for displaying "lewd” material – Untitled (Peyote Vision), a 1955 drawing by Cameron portraying a woman in an embrace with an alien figure. Following this controversy, Cameron would never again display her art in a commercial gallery.
During this time Cameron also starred in Kenneth Anger’s 1954 film Inauguration of the Pleasure Dome with Anaïs Nin, and was the subject of a 1955 short lyrical film by Curtis Harrington entitled The Wormwood Star. With her striking looks and powerful presence, she became a muse and mentor for those around her, taking younger artists and poets under her wing.
Cameron: Cinderella of the Wastelands was produced in conjunction with the Cameron Parsons Foundation and Nicole Klagsbrun and ran from September 8 until October 17.
Presented by Thor Equities and curated by Jeffrey Deitch and Joseph J. Sitt
Summer 2015 - present
Coney Art Walls is an outdoor museum of street art featuring the work of 34 celebrated artists including legends such as Lady Pink, Crash, Daze, John Ahearn and Mister Cartoon, leading artists of the new generation including How and Nosm, Pose and D*Face, and major artists not usually associated with street art but known for ambitious public murals, Jessica Diamond, Nina Chanel Abney and Sam Vernon.
March 8 - 11, 2018
We will present a special solo project by the artist JR.
Image: JR, Migrants, Walking New York City, 2015
April - May 2018
18 Wooster Street
76 Grand Street
New York, NY 10013
Monday – Friday
10 AM – 6 PM
Tuesday – Saturday
Noon – 6 PM
The gallery reopens with People in April 2018.
+1 (212) 343-7300
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