Gallery

Revel in the Winter Season With These 6 Snowy Works From the Gallery Network


Love it or hate it, snow is a classic hallmark of winter. Whether a smattering of fluffy flakes or a full-on blizzard, snow has long been a favorite motif for artists; either for its symbolism, evoking themes of solitude and silence, or for its compositional qualities, offering a wintry scrim through which to view the world. Where paintings like N.C. Wyeth’s Winter at Valley Forge (1934–36) engage with a specific event, portraying General George Washington’s brave encampment in frigid hues, other works take a more contemporary, humorous approach to snowy scenes.

As we approach the midpoint of winter, we’ve gathered six artworks from the Midnight Publishing Group Gallery Network that highlight the artistic diversity of snow. And, as always, you too can browse and discover season-inspired art on your own through the Midnight Publishing Group Gallery Network, which has thousands of artists and galleries that can easily be accessed with just one click.

Manabu Ikeda, Snowy Night (2020)

Manabu Ikeda, Snowy Night (2020). Courtesy of Tandem Press, Madison.

Manabu Ikeda, Snowy Night (2020). Courtesy of Tandem Press, Madison.

Weaving together themes of nature and the manmade world in his work, Japanese artist Manabu Ikeda (b. 1973) is able to create extremely detailed drawings and prints of everyday vignettes that take on the air of the sublime. His monochromatic works on paper—such as this intaglio print of a hushed suburban street—play with the relationship between the micro and the macro, which invite viewers to spend prolonged periods looking, and to immerse themselves in his artistic world.

Rafael Desoto, Noir Pulp Magazine, Dead Man in the Snow (1945)

Rafael Desoto, Noir Pulp Magazine, Dead Man in the Snow (1945). Courtesy of Robert Funk Fine Art, Miami.

Rafael Desoto, Noir Pulp Magazine, Dead Man in the Snow (1945). Courtesy of Robert Funk Fine Art, Miami.

Originally from Puerto Rico, Rafael Desoto (1904–92) initially worked at an advertising company before starting to draw interior story illustrations for pulp magazine Street & Smith’s in 1930. Soon, he was working regularly as a freelance pulp cover artist and was published widely. The gouache on board Noir Pulp Magazine, Dead Man in the Snow (1945) epitomizes his and the genre’s frank and narrative style—and renders the usually lighthearted depiction of snow decidedly macabre.

David Yarrow, LA Baby (2022)

David Yarrow, LA Baby (2022). Courtesy of Maddox Gallery, London, Gstaad, West Hollywood.

David Yarrow, LA Baby (2022). Courtesy of Maddox Gallery, London, Gstaad, and West Hollywood.

Scottish photographer David Yarrow (b. 1966) first rose to prominence with his iconic image of footballer Diego Maradona holding the 1986 FIFA World Cup, which he took when he was only 20 years old. Yarrow has continued to work as a highly respected sports photographer—including covering the 1988 Winter Olympics—as well as expanding his practice to include photographing the natural world. His nature images are recognized for their unique perspectives and compositional nuance.

Aaron Cobbett, Sean with Skates (2004)

Aaron Cobbett, Sean with Skates (2004). Courtesy of Clamp, New York.

Aaron Cobbett, Sean with Skates (2004). Courtesy of Clamp, New York.

Brooklyn-based artist Aaron Cobbett started his career in the 1980s as a window dresser at New York’s famed Bergdorf Goodman department store. Simultaneously participating in the vibrant East Village drag scene, this confluence of experiences—also within the context of the AIDS crisis—informed and shaped Cobbett’s artistic practice. Working across textile, video, installation, and photography, his color-saturated, high-concept portraits have become a cornerstone of New York queer visual culture.

Ryan Gander, Upside down Breuer chair after a couple of inches of snowfall (2017)

Ryan Gander, Up side down Breuer chair after a couple of inches of snowfall (2017). Courtesy of Esther Schipper, Berlin, Paris, Seoul.

Ryan Gander, Upside down Breuer chair after a couple of inches of snowfall (2017). Courtesy of Esther Schipper, Berlin, Paris, and Seoul.

Exploring themes around his longstanding disability, which requires the use of a wheelchair, British artist Ryan Gander (b. 1976) creates artistic interpretations of the challenges he faces in his personal life. His ongoing research into the myriad ways he must navigate the world is reflected in the wide range of mediums he employs and approaches he takes—such as labyrinth-like installation pieces that viewers must gingerly traverse. Conceptual at its core, Gander’s work often evokes a degree of playfulness and levity through his choice of medium and composition, which is juxtaposed by more solemn abstract themes.

Michael Fratrich, Quintessential Vermont (n.d.)

Michael Fratrich, Quintessential Vermont (n.d.). Courtesy of Tilting at Windmills Gallery, Manchester Center.

Michael Fratrich, Quintessential Vermont (n.d.). Courtesy of Tilting at Windmills Gallery, Manchester Center.

The practice of self-taught artist Michael Fratrich (b. 1983) centers on depicting rural and vintage American landscapes and scenes. His signature style evokes traditional folk and colonial painting styles, and his work engages with an “underlying American spirit.” Largely inspired by the rural countryside of Vermont, where he currently lives and works, the snowy scene in the cozy Quintessential Vermont embodies the picturesque beauty of fresh fallen snow.

Explore and discover more artists and artworks with Midnight Publishing Group Gallery Network.

Follow Midnight Publishing Group News on Facebook:

The Truth About Anna and Larry’s Relationship Status, Jens Hoffmann and His Imaginary Friends Start a Gallery, and More Juicy Art World Gossip


YOU CAN GAGO YOUR OWN WEYANT

If I had a dollar for every rumor I’ve heard about Anna Weyant and Larry Gagosian that isn’t true, well, let’s just say drinks on me next time.

In the year-and-a-halfish that their relationship has been semi-public, there’ve been rumors that they broke up and got back together ad infinitum—rumors that, if I were to put them into writing, would surely result in me getting sued and never being able to afford a round of drinks again—plus, of course, endless fluff from a circus of characters trying to take credit for the power-couple’s meet-cute. 

Most recently, the buzz has been that the two broke up. I’ve heard this from a multitude of sources. One such source told me the breakup happened the day after Weyant’s first show at Gagosian opened uptown last November—“She got her bag, then she got out!” that source told me. A since-scrapped Page Six report had gathered different intel, concluding that the breakup had happened at some point in December. Apparently the rumored split has been quite the conversation topic du jour among the upper echelons: Mary Boone was overheard dishing about the rumored split, I heard about at least one prominent dealer with plans to ask Weyant out on a date, and apparently it even got a mention at a recent internal meeting among Jack Shainman’s staff—the professional impetus for which remains unclear. The takeaway, however, is certain: people sure love to pretend like they have insider knowledge about the art world’s most talked-about couple. 

I hate to burst anyone’s bubble, but you’re, um, all incorrect. According to sources extremely close to the couple, Gagoyant is still holding firm in the new year. In fact, the two even rang in 2023 together at Gagosian’s beach house in the 1%-er enclave of Saint Barts, where he’s holidayed before.

A representative speaking on behalf of the gallery declined to comment on their boss’s current relationship status, shockingly, and Weyant didn’t immediately respond to a request for comment. So, I can really only confirm it up to the minute that my sources close to them last spoke to me. As it stands now, Weyant remains listed on the Gagosian roster, and the winds haven’t changed direction in New York City, which I imagine they would once that partnership terminates. Until then, the art world’s buzziest merger remains status quo, do not be alarmed. 

JENS HOFFMANN’S SILENT PARTNERS

Hoffmann+Maler+Wallenberg. Courtesy Jens Hoffmann.

It’s been a while since we heard from curator Jens Hoffmann. The curator has been pretty low-key since he was removed from his role as a curator of the Jewish Museum in 2017 following an investigation over allegations of sexual harassment leveled against him by former colleagues. As it turns out, though, Hoffmann has still been fairly active in the art world, penning an essay on Anna Weyant (I mentioned her again! Drink!) and helping start up a gallery in Bogota, Columbia. Most compelling to me, however is his new appointment-only gallery in Nice, France, called Hoffmann+Maler+Wallenberg. Why’s that? Well, because his other two partners in the gallery don’t exist. 

“Well, really they’re my spiritual co-pilots,” Hoffmann told me over the phone of his fictitious  co-founders, Gustaf Maler (Like the composer? “Nope”) and Esther Wallenberg

“It was a bit of a joke. It’s like, say, Hauser & Wirth or Sprüth Magers. When there’s two names involved with the gallery, people like the sound of that,” he explained further. “There’s more weight to it.” So, presumably, to add that much more oomph to his gallery name he added not one but two cosmetic surnames. Adopting a fake persona as a business strategy isn’t such a distant idea to Hoffmann either, as his partner Emily Sundblad is a director of Reena Spaulings, the famous pseudonymous artist-run-gallery. “It’s in a similar vein to that, yeah,” Hoffmann said. 

In the year and a half since the space opened in France, the gallery has opened an office in Greenwich Village, and there are apparently plans to open up shop in Stockholm and Palm Springs. Thus, if the “grow or go” valuation of success means anything, Hoffmann’s deceptive little plan seems to be working. He explained, “It’s in its early phases so I’m waiting to see where it goes. I’m just happy to set this up and figure out a program that makes sense. We’re in a beginning phase, an experimental phase.”

WE HEAR…

Opening night of Tchotchke’s space in Brooklyn. Courtesy of the gallery.

That he formerly digital Tchotchke Gallery opened its first ever physical space in East Williamsburg at 311 Graham Avenue this week… That when Sam Orlofsky was still at Gagosian, apparently he had a special mandate that no female assistant of his could be above a size six… That Jessica Silverman has picked up representation of painter Chelsea Ryoko Wong… That Ruttkowski 68, which has spaces in Paris and Dusseldorf, has opened its third location in New York City in Cortland Alley… That a painting by up-and-coming artist Sally J. Han was acquired by the Institute of Contemporary Art Miami… That Lena Dunham mentioned in her Perfectly Imperfect essay that Lisa Yuskavage is quite the SoulCycle maven… that, speaking of art world nepo-babies, Max Werner has left his father Michael Werner’s eponymous gallery to work with TOTAH… that the Whitney has acquired one of Hugh Hayden’s fabulous basketball-hoop sculptures, Fee-Fi-Fo-Fum (2021)… That Lehmann Maupin has added Ken Tan as the director of their Singapore space…

 

SPOTTED

Thomas Houseago, Henry Taylor, Albert Oehlen, and Brad Pitt took a boys trip to MoCA Los Angeles *** Speaking of mensches, Jay McInerney rang in the New Year at the Mercer Kitchen with his old pal Chef Jean-Georges Vongerichten *** Christine Brache, Charlie Kaufman, Gideon Jacobs, and Natasha Stagg read poems from the late Silver Jews frontman and former Met Breuer security guard David Berman’s book of poetry “Actual Air” at a tribute performance organized by Caveh Zahedi *** Ellie Rines hosted a dinner party at Anna Delvey‘s apartment, and Al Freeman Jr.Scott LorinskyAlissa BennetChrissie Miller, and Jamian Juliano-Villani all stopped by for pizza and gossip (fun fact: Delvey has not watched the Netflix show about her life, but has been enjoying the series about Bernie Madoff!) *** Kembra Pfahler seems to be a new face of Batsheva *** Apparently Marc Spiegler received an inquiry that was meant for Mark Spiegler, a porn entrepreneur behind “Spiegler Girls” ***

WET PAINT QUESTIONNAIRE

It’s been a while since I’ve seen you folks. To ring in a New Year of Wet Paint, I ask you: Who in the art world is the most addicted to TikTok? Email your response to [email protected]

Follow Midnight Publishing Group News on Facebook:



Kickstart the New Year With 5 Fascinating Artists From the Midnight Publishing Group Gallery Network to Check Out This Month


Every month, we at the Midnight Publishing Group Gallery Network comb through our expansive platform and select five artists that catch our eye, and we think are ones to watch. With the New Year upon us, and more amazing art around now than ever before, this month’s group of artists is particularly exciting. All currently have solo shows on view, from Naples to New York, and employ everything from avant-garde digital technology to vintage and historic styles and motifs in their practice.

These five artists are sure to impress as well as inspire you to explore the thousands of art and artists to be found through Midnight Publishing Group’s Gallery Network.

Leunora Salihu at Galerie Thomas Schulte, Berlin

Leunora Salihu, Turm (2022). Courtesy of Galerie Thomas Schulte, Berlin.

Leunora Salihu, Turm (2022). Courtesy of Galerie Thomas Schulte, Berlin.

Originally from Kosovo, Leunora Salihu’s (b. 1977) sculptural work uses diverse combinations of materials, including metal, wood, and ceramic. Drawing inspiration from industrial and architectural design, as well as from organic forms, Salihu has developed her own distinct compositional lexicon that can be recognized by the apparent functionality of her pieces. Her current solo exhibition at Galerie Thomas Schulte, Berlin, focuses on recent work that expands the boundaries of her investigations into form and space. Turm (2022), for example, resembles a massive speaker tower but is actually comprised largely of glazed ceramic. The exhibition also features Salihu’s works on paper, which illustrate the experimental, design-oriented nature of her practice.

Tursic & Mille at Alfonso Artiaco, Naples

Tursic & Mille, Le déséspoir du peintre (Saxifrage des ombrages) (2022). Courtesy of Alfonso Artiaco, Naples.

Tursic & Mille, Le déséspoir du peintre (Saxifrage des ombrages) (2022). Courtesy of Alfonso Artiaco, Naples.

The artist duo Tursic & Mille, comprised of Ida Tursic (b. 1974) and Wilfried Mille (b. 1974), began their artistic partnership in the early 2000s, engaging purposefully with painting in a period when the medium’s popularity was waning. Originally from Serbia and France respectively, the artists draw inspiration from both historic and contemporary visual media, from Old Masters to 20th-century pop culture. Their current show, “Tursic & Mille: Disastri,” on view at Alfonso Artiaco, Naples, centers on the idea of catastrophe theory in mathematics, which refers to the phenomenon where a minor change to the input of an equation causes a major change in the solution. Using humor, satire, and fanciful juxtapositions in their work, the exhibition invites viewers to immerse themselves in the unique and sometimes uncanny artistic worlds the duo creates.

Lori Grinker at Clamp, New York

Lori Grinker, Untitled (Mike Tyson on the balcony...) (1986). Courtesy of Clamp, New York.

Lori Grinker, Untitled (Mike Tyson on the balcony…) (1986). Courtesy of Clamp, New York.

Hailing from Freeport, New York, Lori Grinker (b. 1957) became interested in photography as a teenager and went on to study photography at the Parsons School of Design, where she was tutored by professors such as Lisette Model and Bernice Abbot. While enrolled, Grinker had the opportunity to photograph young boxers, including the then 13-year-old Mike Tyson, and her images were published in Inside Sports magazine. Grinker’s solo exhibition of photographs “Mike Tyson,” shown by Clamp gallery in New York, corresponds with the publication of the monograph of the same name by Powerhouse Books. The exhibition and book trace Grinker’s ongoing photographic relationship with Tyson, from those early images of the fighter as a child in the early 1980s to ones showing him traveling the world as he became a global household name.

Carolyn Oberst at Stellarhighway, New York

Carolyn Oberst, Still Life with Japanese Screen (1996). Courtesy of Stellarhighway, New York.

Carolyn Oberst, Still Life with Japanese Screen (1996). Courtesy of Stellarhighway, New York.

Currently based in New York City, Carolyn Oberst’s interdisciplinary practice spans painting, drawing, wood relief, video animation, and more. She takes as a starting point the immensely personal yet widely relatable environment around her as well as themes of intuition, dreams, and memory. Presented by Stellarhighway in New York, Obserst’s solo exhibition “Where Parting Is No More” features a selection of works from a series made between 1989 and 1998 that involve vintage framed mirrors from old dressers. Refurbishing these dresser-back frames and replacing the mirrors with canvas, the object/paintings become a conduit for Oberst’s internal world, which is conveyed through her vibrant, imaginative painting.

Holger Bär at Galerie Deschler, Berlin

Holger Bär, Central Park (2022). Courtesy of Galerie Deschler, Berlin.

Holger Bär, Central Park (2022). Courtesy of Galerie Deschler, Berlin.

German artist Holger Bär (b. 1962) has a practice that is decidedly contemporary but with a pervasive air of the historic. Frequently using imagery and compositions associated with the Impressionists, Bär’s work evokes the pointillist style of Georges Seurat. But this is achieved through the use of modern computers and technology, namely self-developed algorithms and a photographic printer that utilizes eight (rather than the typical four) colors. The images are an analytical interpretation of the pointillist, Impressionistic style, wherein one’s eye perceives a realist composition when the work is viewed from a distance, but up close the individual points of color are distinct from one another. Bär’s current show with Galerie Deschler, Berlin, “11.500.000 Punkte,” features a range of recent works that highlight the artistic and conceptual artistic connection between the artist and Impressionism.

Explore and find more new artists to watch with Midnight Publishing Group Gallery Network.

Follow Midnight Publishing Group News on Facebook:

Top Tennis Player Fined Over Gallery Sponsorship, Art Basel’s Last-Ditch Effort to Keep Dealers From Fleeing + More Art-World Gossip


Every week, Midnight Publishing Group News brings you Wet Paint, a gossip column of original scoops by our crack team of reporters. This week, we welcome Julie Baumgardner into the mix… 

ART WORLD TO USTA: WHERE’S THE LOVE? 

Usually fashion lays claim to tennis as its sport, but there’s news out of the U.S. Open that crashes into the art world. American singles player Reilly Opelka recently was fined by the United States Tennis Association for sporting a pink tote bag from Belgium’s Tim Van Laere Gallery.

No, the problem wasn’t that tote bags are contributing big time to the climate crisis. It was that the branded bag was “unapproved” (under USTA rules, players cannot wear any gear on the court with logos that exceed four square inches). Opelka—the highest ranking American men’s player in the U.S. Open, who has been deemed the “next great hope” for U.S. men’s tennis—was summarily slapped with a $10,000 fine.

It didn’t take long for the situation to catapult this little pink tote into a blurry confluence of art project, practical object, cult status symbol… and, as Venus Williams joked on Instagram, a $10,000 asset for which she got in at the “seed round.” (In reality, Reilly gave her one of the now-cult bags as a gift.)

Opelka is the only professional tennis player with a gallery as a sponsor—and his tote marked the first time an art organization has been visible on the court.

The partnership derived from the two men’s shared passion for art and tennis. While Opelka is a dedicated collector, Van Laere played tennis professionally for two years after playing in college (“at a lower level,” the dealer clarifies). The only other art-collecting men’s tennis player to come to mind is, of course, John McEnroe. And the comparisons between the two Americans have already started, with McEnroe himself calling Opelka “a dangerous” player.

Under the terms of their arrangement, Van Laere sports a gallery patch on his shirt sleeve and uses the branded tote to carry necessary equipment (like shoes for third, fourth, and fifth sets, we’re told).

The gallery pays Opelka in exchange—Van Laere declined to state how much, but assured us it’s not at the level of a sportswear brand. Opelka and Van Laere “prefer to call it a partnership not a sponsorship,” the gallerist says, seeing it as an opportunity to elevate the arts through tennis. “It’s not about money, it’s about being creative in our collaboration and finding more opportunities to mix both worlds,” Van Laere explains.

Both men were scandalized by the pricey slap on the wrist. “Reilly was just in Toronto for the Open final. He brought it [the tote] in the French Open, everyone thought it was cool,” Van Laere recounts. “He didn’t have a problem. Only in the U.S. Open did he get fined.” (Opelka, for his part, groused on Twitter: “U.S. open ticket sales must be strugglin this year.”)

The art-tennis crew may have gotten the last laugh. Van Laere rallied some of the artists Opelka collects, who also happen to be tennis players themselves—Rinus Van de Velde and Friedrich Kunath—to toss in a bit of performance-protest.

Kunath, who traveled from L.A. to watch his friend play, turned the bags inside out and scribbled in marker, “UNAPPROVED.” Opelka debuted the modified version in his match against Lloyd Harris in the Round of 16. Sadly, Opelka is now out of the Open, but the pink bag will live on (and it’s probably already tripled in value).

BASEL CRAWLS BACK FROM THE BRINK

A visitor arrives at the 2019 edition of Art Basel, the last in-person version of the fair. (Photo by Fabrice Coffrini/AFP via Getty Images.)

A visitor arrives at the 2019 edition of Art Basel, the last in-person version of the fair. (Photo by Fabrice Coffrini/AFP via Getty Images.)

While the flurry of fair activity descends upon New York as the Armory Show settles into its new home at the Jacob Javits Center and Independent sets up shop at Cipriani South Street, the buzz around town isn’t just about the revival of these fairs and how weird it is to see people from the top of the nose up. Instead, Basel is the word on everyone’s lips—and speculation about who’s going and who’s not has become a guessing game with deeper implications. Last weekend, a reliable tipster urgently told Wet Paint, “a mega-gallery is pulling out of Basel, expect the news to drop on Monday.”

Around the same time, a group of galleries—led by Lisson—sent a letter to Basel organizers asking that the show not go on. (The gallery did not immediately respond to a request for comment.)

We spent all weekend furiously texting the majors to get ahead of the news. A representative for Gagosian said, “We are packing and shipping works as we speak, so it would seem we are going.” A sales director for Hauser & Wirth responded, “We’re packed and have our hotel rooms booked, so yes I am definitely going.” A representative from Pace flat-out denied any rumor, and while David Zwirner’s official channels have yet to comment, an employee said, “I’m looking at a shipping list so if we aren’t going, that would be weird?”

We went further afield. With the news that Lévy GorvyAmalia Dayan, and Salon 94 are forming a conglomerate and pulling out of all fairs but those in Asia (all the better to reach newer, younger collectors), it would seem rather obvious that one gallery (or all three!) wouldn’t be attending. Last we checked, Europe isn’t Asia—but LGDR also doesn’t formally debut until next year. Salon’s Jeanne Greenberg, who apologized for being occupied with Rosh Hashanah dinner, said, “we’ve shipped the works, so we better be there!” while a rep for Lévy Gorvy assured us that their original Basel plans have not changed. Denials also came in from more than half a dozen other dealers.

In the end, Basel may have managed, by the skin of its teeth, to keep dealers in line with the announcement of a $1.6 million “Solidarity Fund” designed to help participants offset some of their potential losses after the fact (but only, of course, if they don’t pull out).

In a conversation with Wet Paint, Art Basel’s global director Marc Spiegler confirmed that more than a handful of galleries had the intention of calling it quits. But “every single gallery,” he said proudly, “is now confirmed. We met fears with facts and we stepped up in an uncertain moment to calm the market. That came from being in dialogue with our galleries, and the ones who were planning to cancel or had reservations about attending are now enthusiastic and on board.”

With only two weeks ’til the show goes up—and many artworks already in transit—the window for any gallery on the fence to play Humpty Dumpty is closing fast.

SCENE SPOTTING

A screen shot of Cynthia Talmadge's work on Platform.

A screen shot of Cynthia Talmadge’s work on Platform.

***When word got out that work by in-demand artist Cynthia Talmadge, who has an impossibly long wait list at 56 Henry, had sold out within 20 minutes of going live on Platform, the David Zwirner-backed e-commerce initiative, it perplexed some buyers who logged onto the site the minute the batch went live, only to find them unavailable. Mystery solved: Wet Paint has learned that Zwirner provides participating galleries with VIP pre-sale codes so that preferred buyers can get in early. One dealer likened the arrangement to “an art fair where you pre-sell works” —which sure is all fine and dandy, except that Zwirner himself told the New York Times back in May, “We’re not sitting there and saying, ‘You get to buy it and you don’t.’ It’s first come, first served.” The gallery did not respond to a request for comment by press time.

*** Speaking of Platform, the art world’s hottest bachelor appears to be gallery scion (and Platform honcho) Lucas Zwirner—who was apparently dodging suitors at former Wet Paint scribe Nate Freeman’s recent wedding, with one reveler calling it “the groomsmen effect.” Another insider revealed that Lucas has been spotted multiple times a week at his family-backed restaurant Il Buco with “a different brunette” (the exception being recent dinner companion/ex Sienna Miller, who is blonde).

*** The gallery [On Approval], which has space in San Francisco‘s Minnesota Street Project gallery hub, is—appropriately for Silicon Valley—pivoting to an app. Founder Andrew McClintock, who also runs Ever Gold [Projects], has developed an online platform for “communal ownership” of contemporary art. Currently the app is in beta, and we hear they’re being particularly picky about which collectors they’re letting test out the concept.

*** In June, Wet Paint discovered that Mendes Wood is slated to open an upstate gallery in Germantown—turns out, they’re not going alone. They’re partnering with frequent collaborators Blum & Poe on a shared space a few doors down from the famed tavern Gaskins.

BLIND ITEMS

A sculpture by the artist Hugo Farmer at the Glastonbury Festival in the U.K. (Photo by Barry Lewis/In Pictures via Getty Images)

A sculpture by the artist Hugo Farmer at the Glastonbury Festival in the U.K. (Photo by Barry Lewis/In Pictures via Getty Images)

*** Which untouchable Minimalist master (who would’ve rejected that moniker) had a torrid affair with the country’s now-top art critic just back when they were getting their start? *** Which power dealer had a Rashid Johnson installed in their child’s New York University freshman dorm—which, according to a classmate, the spawn didn’t even like? *** Which 57th Street dealer has earned the nickname “Son of Sam” due in part to his father’s name, and also to his reputation for being rather terrifying to deal with? ***

PARTING SHOT

Follow Midnight Publishing Group News on Facebook:



British Art Duo Gilbert and George Are Drinking Champagne in the Studio and Signing Posters for Their Next Gallery Show


The English art collaborators Gilbert and George, known for their graphic photo works and for wearing dapper suits, have been on a more than 50-year “visionary and moral journey,” as they describe their creative practice. That journey has most recently led them back to their own doorstep, London, where they’ve been steadfastly working through the lockdowns.

For their latest body of work, going on view in the exhibition “New Normal Pictures” at Lehmann Maupin in New York on September 9, the pair combines seemingly prosaic scenes of London life with jolts of day-glo color.

We spoke with the duo about where they’ve been finding inspiration lately and how they’ve managed to stay busy during this period of upheaval (hint: it involves champagne).

 

What are the most indispensable items in your studio and why?

Our brains, our souls, and our sex.

Is there a picture you can send of your work in progress? 

WORK IN PROGRESS, 2020. The artists, Manuel Irsara the architect, Yu Yigang, and the team at the future Gilbert and George Centre. Photo: Tom Oldham.

What is the studio task on your agenda tomorrow that you are most looking forward to?

Signing thousands of posters and catalogues in preparation for our Lehmann Maupin New York exhibition of “New Normal Pictures.”

What kind of atmosphere do you prefer when you work? Do you listen to music or podcasts, or do you prefer silence? Why?

The Cosmic Void is our ideal studio. Music is against our religion.

What trait do you most admire in a work of art? What trait do you most despise?

We admire works of art that have something to say for themselves with great visual/human power. We despise willfully obscure art that looks down its nose at the lovely viewers.

What snack food could your studio not function without?

No snacks—only champagne.

Who are your favorite artists, curators, or other thinkers to follow on social media right now?

As always, Darwin, Alan Turing, and Charles Dickens.

Gilbert and George, BATTLE ROAD (2020). © Gilbert & George. Courtesy the artists and Lehmann Maupin, New York and Hong Kong, Seoul, and London.

When you feel stuck in the studio, what do you do to get un-stuck?

We are never stuck. Rather, we are always bursting with more pictures than we will ever be able to create.

What is the last exhibition you saw (virtual or otherwise) that made an impression on you?

A display of art at the studio of that great, yet-to-emerge artist Oliver Hemsley.

If you had to put together a mood board, what would be on it right now?

Expectations, hope, desire, and determinations.

Follow Midnight Publishing Group News on Facebook: