Hauser & Wirth Archives

The Thoughtful Work of Roberto Cuoghi in ‘PEPSIS’ Opens at Hauser & Wirth

A(XLVIIPs)t, 2021, silk, acrylic, wood, aluminum structure; 385 x 514 cm/151 5/8 x 202 3/8 in; Photo: Sarah Muehlbauer. Roberto Coughi © Roberto Cough Courtesy the artist and Hauser & Wirth

For his first exhibition with Hauser & Wirth and first New York City solo presentation in nearly a decade, Italian artist Roberto Cuoghi will populate the ground floor of the gallery’s 22nd Street building with an entirely new body of work. One of the most celebrated, yet enigmatic, artists of his generation, Cuoghi is known for an exacting, almost obsessive, research- and process-driven practice that spans the full spectrum of styles and genres. ‘Pepsis’* will debut works from Cuoghi’s ongoing, all-consuming project of the same name—a complex, multi-faceted investigation initiated in early 2020 after a fully immersive stay in New York City. Much of this body of work focuses on a rarely explored aspect of his ever-expanding practice, a medium infrequently associated with Cuoghi but central in contemporary art discourse now: painting.

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Hauser & Wirth presents ‘Charles Gaines.Southern Trees’

Chelsea, Hauser & Wirth

Charles Gaines, Numbers and Trees: Charleston Series 1, Tree #8, Sage Way, 2022; Acrylic sheet, acrylic paint, lacquer, wood, 3 parts Unique; Overall: 241.3 x 337.8 x 14.6 cm/95 x 133 x 5 3/4 inches © Charles Gaines. courtesy the artist and Hauser & Wirth. Photo: Fredrik Nilsen

Hauser & Wirth presents ‘Southern Trees,’ the gallery’s first New York exhibition with distinguished American artist Charles Gaines and his first in the city since 2018. One of the most important conceptual artists working today, the show explores the evolution of Gaines’s complex practice, demonstrating how he has continued to forge new paths within the innovative framework of two of his most acclaimed series, Numbers and Trees and Walnut Tree Orchard. The exhibition’s title, ‘Southern Trees,’ alludes directly to the 150-year-old pecan trees pictured in the new works, and symbolically to the opening lyrics of ‘Strange Fruit,’ Billie Holiday’s haunting protest anthem from the 1930s. Charles Gaines.Southern Trees opening January 26th.

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‘Angel Otero. Swimming Where Time Was’ at Hauser & Wirth in November

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Angel Otero, ‘One Hundred Dreams From Now’, Oil paint and oil paint skins collaged on canvas © Angel Otero courtesy of the gallery.

Beginning 10 November, Angel Otero will present his first major solo exhibition with Hauser & Wirth, ‘Swimming Where Time Was.’ Filling the 5th floor of the gallery’s 22nd street location, this new body of work marks a turning point in the artist’s career, revealing a new sensibility that has emerged over the last few years. These vibrant large-scale canvases merge the figurative and abstract sides of Otero’s innovative technical practice, advancing the artist’s exploration of oil paint as a medium and a conduit for self-reflection and analysis. Using his personal history to make sense of the current moment, these new works intensify the artist’s uncanny ability to convey memory and history through materiality.

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The Exhibition ‘Lucio Fontana: Sculpture’ on view at Hauser & Wirth in November, 2022

Hauser & Wirth, Upper East Side

Lucio Fontana, Milan, 1963 © Ugo Mulas Heirs. All rights reserved. Photo: Ugh Mulas

Hauser & Wirth New York will stage the second part of a trilogy of exhibitions curated by Luca Massimo Barbero, in collaboration with the Fondazione Lucio Fontana. Dedicated to Fontana’s extraordinary experimentation in sculpture, this tailor-made presentation will take place at the gallery’s uptown location on November 3, 2022, the very same building where in 1961 Fontana’s first solo shows in the United States were held concurrently at the Martha Jackson and David Anderson galleries. These exhibitions, critical to introducing Fontana’s work more deeply to American audiences, followed the artist’s inclusion in the relevant 1949 exhibition ‘Twentieth-Century Italian Art,’ curated by James Thrall Sobey and Alfred H. Barr Jr., at the Museum of Modern Art, where his work remains a highlight of the permanent collection.

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Hauser & Wirth to Exhibit Zoe Leonard ~ Excerpts from ‘Al río / To the River’ in September, 2022

Chelsea, Hauser & Wirth, Photography

Zoe Leonard, Installation view, Whitney Biennial, Whitney Museum of American Art, New York, NY, 2014 © Zoe Leonard

Over the past three decades, Zoe Leonard has probed the conditions of image-making and the politics of display, merging photography, sculpture, and installation in her acclaimed conceptual practice. This fall, Hauser & Wirth will present a selection from her expansive photographic project ‘Al río / To the River’ (2016–2022) on the second floor of the gallery’s 22nd Street location.

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Hauser & Wirth to Exhibit Works by Artist Jenny Holzer in September, 2022

Chelsea, Hauser & Wirth

Image: Jenny Holzer, keyhole of history, 2022 (detail), 24k gold and moon gold leaf and oil on linen, 58 x 44 in. / 147.3 x 111.8 cm, Text: US government document © 2022 Jenny Holzer, ARS. Photo: Sveva Costa Sanseverino

Renowned American artist Jenny Holzer has used language as her primary medium since the 1970s, combining poetic, political, and personal texts to reflect our experiences of power, violence, joy, oppression, idealism, sexism, leadership, nonsense, despair, reform, fun, and corruption. This September, Hauser & Wirth New York will present Holzer’s most recent works, including thought-provoking paintings, curse tablets, and a monumental kinetic display packing presidential tweets in the artist’s long-anticipated solo exhibition for New York City.

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Hauser & Wirth to Exhibit ‘Christina Quarles: in 24 Days tha Sun’ll Set at 7pm’ in September, 2022

Chelsea, Hauser & Wirth

Image: Christina Quarles, Caught Up, 2021, Acrylic on canvas, 213.4 x 182.9 x 5.1 cm / 84 x 72 x 2 in © Christina Quarles. Courtesy the artist, Hauser & Wirth, and Pilar Corrias, London. Photo: Fredrik Nilsen

Following the presentation of her work at this year’s Venice Biennale, and ahead of her inclusion in the Biennale de Lyon, Christina Quarles will have her first major solo exhibition of new paintings with Hauser & Wirth in New York in September.

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Lorna Simpson: 1985-92 at Hauser & Wirth in September, 2022

Hauser & Wirth, Upper East Side

Image: Lorna Simpson, Necklines, 1989, 3 silver gelatin prints, 2 engraved plastic plaques, 176.2 x 171.8 x 4.1 cm / 69 3/8 x 67 5/8 x 1 5/8 in © Lorna Simpson. Photo: Adam Reich

Hauser & Wirth New York will begin its fall exhibition season with a survey of foundational works by pioneering multidisciplinary artist Lorna Simpson. Occupying all three floors of the gallery’s 69th Street location, this exhibition traces the impact and enduring influence of Simpson’s earliest output from the 1980s and 90s, with a selection of works on loan from major museums, private collections and the artist’s studio.

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Cindy Sherman. 1977 ~ 1982 to Open at Hauser & Wirth New York, 69th Street

Hauser & Wirth, Photography, Upper East Side

Cindy Sherman, Untitled Film Still, 1978; Gelatin silver print, Edition of 10, 2 AP; 8 x 10in/20.3 x 25.4 cm © Cindy Sherman. courtesy the artist and Hauser & Wirth

With her early work, Cindy Sherman revolutionized the role of the camera in artistic practice and opened the door for generations of artists and critics to rethink photography as a medium. On 4 May 2022, Hauser & Wirth New York will present over one hundred works from Sherman’s most groundbreaking and influential early series – including the complete set of 70 Untitled Film Stills, Rear Screen Projections and Centerfolds – in her first major solo exhibition with the gallery.

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The New Bend to Open at Hauser & Wirth 22nd Street in February, 2022

Hauser & Wirth

‘The Richt to (My) Life, Dawn Williams Boyd, 2017; Mixed media, 91.4 x 121.19/36 x 48 © Dawn Williams Boyd; Courtesy of Fort Gansevoort, New York. Photo: Ron Witherspoon

Curated by Legacy Russell, Executive Director & Chief Curator of The Kitchen, ‘The New Bend’ brings together 12 contemporary artists working in the raced, classed, and gendered traditions of quilting and textile practice – Anthony Akinbola, Eddie R. Aparicio, Dawn Williams Boyd, Diedrick Brackens, Tuesday Smillie, Tomashi Jackson, Genesis Jerez, Basil Kinkaid, Eric Mack, Sojourner Truth Parsons, Qualeasha Wood, and Zadie Xa. Their unique visual vernacular exists in tender dialogue with, and in homage to, the contributions of the Gee’s Bend Alabama quilters – Black American women in collective cooperation and creative economic production – and their enduring legacy as a radical meeting place, a prompt, and as intergenerational inspiration. This exhibition acknowledges the work of Gee’s Bend quilters such as Sarah Benning (b. 1933), Missouri Pettway (1902-1981), Lizzie Major (1922-2011), Sally Bennett Jones (1944-1988), Mary Lee Bendolph (b.1935), and so many more, as central to expanded histories of abstraction and modernism.

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Arshile Gorky. Beyond The Limit at Hauser & Wirth New York

Chelsea, Hauser & Wirth

Image credit: Arshile Gorky, Untitled (Virginia Summer) c. 1946 – 1947
Oil on canvas 128.5 x 159.5 cm / 50 5/8 x 62 3/4 in Photo: Jon Etter; © The Arshile Gorky Foundation / Artists Rights Society Courtesy the Arshile Gorky Foundation and Hauser & Wirth

On 16 November, Hauser & Wirth New York will present a newly discovered, never before exhibited, painting by Arshile Gorky. ‘Untitled (Virginia Summer)’ was uncovered in 2020 during conservation and research for Gorky’s catalogue raisonné. It was discovered directly beneath ‘The Limit,’ attached to the same, original stretcher that Gorky used when the painting first left his studio in 1947. Hidden for over 70 years, ‘Untitled (Virginia Summer)’ is as rich and as vibrant as when it was first created. ‘Beyond The Limit’ will present both paintings to the public together for the first time, along with works on paper directly related to the recently discovered composition, and a new book from Hauser & Wirth Publishers featuring illuminating essays by Parker Field, Managing Director of the Arshile Gorky Foundation, and Pepe Karmel, Associate Professor of Art History at New York University. The exhibition, and accompanying publication, provide fresh insight into the development of Gorky’s practice during the last years of his life, when his abstract imagery and style reached a confident maturity.

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Erna Rosenstein. Once Upon a Time at Hauser & Wirth New York

Hauser & Wirth, Upper East Side

Poświata (Afterglow), 1968; oil on canvas; 58 x 66 cm (22 7/8 x 26 in); Photo Marek Gardulski. Erna Rosenstein © The Estate of Erna Rosenstein/Adam Sandauer; Courtesy Hauser & Wirth and Foksal Gallery Foundation

Beginning 30 September, Hauser & Wirth will debut ‘Erna Rosenstein: Once Upon a Time,’ the first monographic exhibition outside of Poland devoted to Erna Rosenstein (1913 – 2004). One of the key figures of the Polish avant-garde, Rosenstein’s wartime survival, commitment to Surrealism, and lifelong adherence to leftist ideologies course through a remarkable array of paintings, drawings, and assemblage sculptures, as well as poems, diaristic writings, and deceptively whimsical children’s stories. Steeped in an extraordinary history and responding to the Nazi occupation of Poland, personal traumas suffered in the Holocaust, the postwar sociopolitical upheaval of her native country, and passionate engagement in the intellectual circles of her times, Erna Rosenstein’s work defies simple classification. Her six-decades long career was fueled by the formation of prewar artistic, intellectual, and political affiliations, and is expressed through her continued oscillation between autobiographical figuration and biomorphic abstraction. Grappling with themes of memory, trauma, longing, and loss, she used paint, ink, and found materials to suggest a world tinged with allegory, enchantment, and fairy tale.

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Hauser & Wirth + Hunter College in MFA/MA Exhibition, ‘We Were Already Gone’

Chelsea, Hauser & Wirth, Hunter College

Sydney Shavers, Rose Mount Rose, 2021; Acrylic paint, Resin, Raspberries, Blackberries, Sugar, Joint Compound, Flowers, Red Carnations, Red Rose, Food Dye, Canvas, Corn Syrup, Cherries, Pigment, Flax Seeds, Oranges, Queen Anne Candies; 40.6 x 30.4 x 2.54 cm /16 x 12 x 1 in. Photo: Courtesy of the artist, Hunter College and Hauser & Wirth

Hauser & Wirth New York will open its doors to ‘We Were Already Gone’, an exhibition at its West 22nd Street location in the Chelsea Arts District, organized in collaboration with Hunter College. Curated by graduate students in Hunter’s Department of Art & Art History, this exhibition will showcase the work of artists currently enrolled in the school’s MFA Program in Studio Art. ‘We Were Already Gone’ spotlights the diversity and holistic approach that have situated Hunter uniquely among American institutions devoted to higher education in the arts. The show will present an array of works across mediums, with sculpture, painting, and videos that confront the global cultural and political reckoning underway.

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Tetsumi Kudo: Metamorphosis at Hauser & Wirth, 22nd Street

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Bonjour et Bonne Nuit (Good Day and Good Night), Tetsumi Kudo, 1963; Wood, metal, plastic; 134 x 67 x 67 cm/52 3/4 x 26 3/8 x 26 3/8 in © 2021 Artists Rights Society (ARS), New York/ADAGP, Paris; Courtesy Hiroko Kudo, the Estate of Tetsumi Kudo. Photo: Lance Brewer

In a wide-ranging practice spanning four decades, postwar Japanese artist Tetsumi Kudo (1935 – 1990) explored the effects of mass consumerism, the rise of technology, and ecological degradation on post- war society through satirical, critical, elaborately detailed and meticulously constructed environments that continue to exert a powerful influence on artists today. Opening 5 May, ‘Tetsumi Kudo. Metamorphosis,’ the artist’s first exhibition at Hauser & Wirth New York, focuses upon the late artist’s idea of metamorphosis which emphasizes the need for personal and collective spiritual evolution beyond the values of Western Humanism, which he believed caused war, racism, and colonialism, and alienated people from the natural environment.

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Hauser & Wirth Celebrates the Work of Frank Bowling: London/New York

Chelsea, Hauser & Wirth

Enter the Dragon, Frank Bowling, 1984; Acrylic, acrylic gel and polyurethane foam on canvas with marouflage. 223 x 213 cm/87 3/4 x 83 7/8 in; 230 x 219.6 x 10.5 cm/90 1/2 x 86 1/2 x 4 1/8 in (framed). © Frank Bowling. All Rights Reserved. DACS 2021. Photo: Damian Griffiths courtesy of the gallery

Reflecting the scale and scope of a prodigious six-decade career that has unfolded while criss-crossing the Atlantic Ocean, Sir Frank Bowling’s inaugural exhibition with Hauser & Wirth will be presented in both the gallery’s London and New York locations simultaneously, beginning May 2021. With works on view spanning over 50 years of the British icon’s career from 1967 to the present day, ‘Frank Bowling – London / New York’ celebrates the ways in which one artist’s inventive approach to the materiality of paint has expanded the boundaries of abstraction.

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David Smith: Follow My Path to go On View at Hauser & Wirth New York, 69th Street

Hauser & Wirth, Upper East Side

Study for ‘The Hero’ 1951; Watercolor and ink on paper; 46.4 x 57.8 cm/18 1/4 x 22 3/4 in.; Chazen Museum of Art, University of Wisconsin-Madison, Terese and Alvin S. Lane Collection; Courtesy the Estate of David Smith and Hauser & Wirth. © 2021 The Estate of David Smith/Licensed by VAGA at Artists Rights Society (ARS), NY

New York… In a 1952 lecture at the Detroit Institute of Arts, David Smith (1906 – 1965) described the inspiration behind one of his recent sculptures, saying ‘My wish is that you travel by perception the path which I traveled in creating it. That same wish goes for the rest of my work.’ Taking its title from his remarks, ‘David Smith: Follow My Path’ will go on view at Hauser & Wirth New York beginning 27 April.

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Roni Horn. Recent Work to open at Hauser & Wirth New York

Chelsea, Hauser & Wirth

Ron Horn; Detail from:LOG (March 22,2019–May 14, 2020), 2019 -2020©RoniHornCourtesy the artist and Hauser & Wirth

Roni Horn has spent the past four decades questioning accepted notions of identity and meaning, thwarting closure and opening up new possibilities of perception through her expansive body of work across mediums. Beginning 18 February, ‘Roni Horn. Recent Work’ will present the artist’s latest achievements in the realm of drawing, a medium she has described as ‘a kind of breathing activity on a daily level.’

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Jack Whitten. I Am The Object at Hauser & Wirth ~ November 5

Hauser & Wirth

Jack Whitten, My Argiroula: For Argiro Galeraki 1981-1995. Mixed Media and Acrylic on Wood, Irregular. 44.5 x 41.9cm/17 1/2 x 16 1/2 in. © Jack Whitten Estate. Photo: Dan Baradica

Beginning 5 November 2020, Hauser & Wirth New York will present rarely seen works made by American artist Jack Whitten (1939 – 2018). The exhibition focuses on his practice from 1991 through 2000, a period of intense experimentation during which, deeply affected by tumultuous world events, he strove to incorporate them into his work. Blurring the boundaries between sculpture and painting, and between the studio and the world, the multidimensional works on view combine geometric abstraction and found objects to mine spiritual and metaphysical thematic veins.

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George Condo. Internal Riot at Hauser & Wirth New York

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Internal Riot, 2020; Acrylic, pigment stick and metallic paint one linen; 208.3 x 203.2 cm/82 x 80 in. © George Condo Courtesy the artist and Hauser & Wirth. Photo: Thomas Barratt

Hauser & Wirth will open its doors to ‘Internal Riot,’ an exhibition of new paintings and works on paper by American artist George Condo. Made during the quarantine period, these works reflect the unsettling experience of physical distance and the absence of human contact during this prolonged time of so- cial isolation. The pandemic has forced Condo to take his portraiture practice to a new level, with invented cha- racters captured in an abstract web that reveals the humanity inherent in their fractured psychological states.

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Hauser & Wirth Opened its New Selldorf Architects Designed Building in Chelsea

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Hauser & Wirth, 542-548 West 22nd Street, NYC. Image courtesy Selldorf Architects

Now, with New York City in Phase 3, Hauser & Wirth has opened the doors to its new building located at 542 West 22nd Street in Chelsea. The 36,000 square-foot, Selldorf Architects designed building includes a bookshop, crafted cafe and bar, and large flexible-configuration gallery spaces with site-specific artist interventions in such areas as stairways and elevators.

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Visit the New Exhibition, ‘Louis Bourgeois. Drawings 1947-2007’ in the Online Viewing Room at Hauser & Wirth NYC

Hauser & Wirth, Louise Bourgeois, Online Exhibition Viewing

Louise Bourgeois in her home on West 20th Street, New York, 2000. Photo: © Jean-Francois Jaussaud; © The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), New York

We appreciate museums and galleries offering free content online, along with new virtual gallery exhibitions. Hauser & Wirth New York will launch the online exhibition, Louise Bourgeois. Drawings 1947-2007, on March 25, 2020.

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Rita Ackermann. Mama ’19 at Hauser & Wirth Chelsea

Chelsea, Hauser & Wirth

Rita Ackermann, Mama, Morty Smoking, 2019; Oil, pigment, acrylic, china marker, and graphite on canvas; 223.5 x 198.1 cm/88 x 78 in © Rita Ackermann. Photo: Thomas Barratt. Image courtesy Hauser & Wirth

Beginning 20 February, Hauser & Wirth will present the latest body of work by Hungarian born, New York-based artist Rita Ackermann ~ a suite of new paintings in which figures and motifs rise to the surface of canvases, only to dissolve and reappear elsewhere again. Continue reading “Rita Ackermann. Mama ’19 at Hauser & Wirth Chelsea” →

Jack Whitten. Transitional Space. A Drawing Survey ~ at Hauser & Wirth

Hauser & Wirth, Upper East Side

Jack Whitten, Space Flower #9, 2006, Acrylic, pastel, powdered mylar on rice paper. 18.4 x 21 cm/7 1/4 x 8 1/4 in. Photo: Genevieve Hanson. Image courtesy the Jackknifes Whitten Estate and Hauser & Wirth

Hauser & Wirth will open its doors to the first major survey of Jack Whitten’s works on paper, spanning the artist’s six decade career. Jack Whitten (1939 – 2018) made it his mission to disrupt the discipline of art history through experiments with material, process, and technique. He effectively constructed a bridge between gestural abstraction and process art, constantly working toward a nuanced language of painting that employs deeply personal expression. Whitten was also a prolific and powerful draughtsman. The unique body of works on view at Hauser & Wirth testifies to the immensity of his commitment to drawing as a means to make manifest his ideas and advance his methods.

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