• Andy Warhol
    Read 'Warhol and Dance' (2010)


    ‘I never wanted to be a painter…I wanted to be a tap-dancer.’ Andy Warhol, 1966
    Dance can enliven us now more than ever, and here, we look back at Andy Warhol’s rare and graceful 1950s line drawings of dancers which Neil Printz, editor of the Andy Warhol Catalogue Raisonné, called his ‘Warm-up drawings’. To complement Warhol’s recently opened retrospective at Tate Modern, we are pleased to share our exhibition catalogue 
    Warhol and Dance (2010), which you can access in full including an essay by dance critic Anna Kisselgoff.
    The lively line drawings refer to personalities who took part in the amazingly diverse growth of American dance in the 1950s. Ranging from references to ballet to modern dance, as well as tap dance and ethnic forms, these drawings reveal Warhol’s fascination with performance and the brilliance of the portraits he made throughout his career.
    While Tate Modern is currently closed to the public, their 
    exhibition guide is available online and it is the subject of BBC 4's upcoming series, Museums in Quarantine. Galerie Thaddaeus Ropac has worked closely with the artist and the Warhol Foundation since the 1980s, exhibiting his renowned Campbell's Soup Boxes and Heads After Picasso from the mid-1980s, as well as his more intimate drawings such as the Dance (1952–54) drawings.



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  • Adrian Ghenie
    Recent Releases

    Adrian Ghenie, ‘the world’s most exciting painter under the age of 50’ according to Jackie Wullschlager, Chief Art Critic for the Financial Times, was recently the subject of a  landmark exhibition at the Hermitage museum, I have turned my only face. We are pleased to announce the launch of the much-anticipated catalogue co-published by the Hermitage and the gallery, as well as a comprehensive monograph spanning his painting practice since 2014 published by Hatje Cantz, and a literary essay by French writer Yannick Haenel from Actes Sud. 

    On this occasion we have made Ghenie’s interview by Dimitri Ozerkov from the Hermitage catalogue available to read in full, as well as excerpts from the gallery’s recent publications on the artist. 

    In her article on the role of nature paintings in times of crisis, Jackie Wullschläger highlights the visionary landscapes by Adrian Ghenie, the ‘Romanian maestro of dystopian scenography’ (article available here).

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    Adrian Ghenie: I have turned my only face

    Co-published with The State Hermitage Museum, St. Petersburg, Russia
    Introduction by Mikhail Piotrovsky, texts by Dimitri Ozerkov, Anastasiia Veialko, conversation between Adrian Ghenie and Dimitri Ozerkov

    Take a virtual tour of the Hermitage’s Dutch collection which inspired the artist.

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    Adrian Ghenie: Paintings 2014 to 2019

    Published by Hatje Cantz
    Edited by Juerg Judin

    A comprehensive monograph tracing the development of the artist’s practice from 2014 and featuring new scholarship by art historians Pamela Kort and Michael Peppiatt, with a text by Juerg Judin.  

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    Adrian Ghenie: Déchaîner la peinture

    Published by Actes Sud | Beaux-Arts
    Essay by Yannick Haenel

    An inspired and feverish essay on Adrian Ghenie’ (The Art Newspaper) by French writer Yannick Haenel which reflects on painting in an age of image saturation and flux.

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    Explore our Adrian Ghenie publications

    Read In Praise of Shadows, Conversation Between Adrian Ghenie and Dimitri Ozerkov

    As a boy Adrian Ghenie came across a catalogue of 17th and 18th century Dutch paintings from the Hermitage Museum, which had a profound effect on him, forming the basis for his encyclopaedic knowledge of art history. In his solo exhibition at the Hermitage, the artist’s new works reference the paintings of the Old Masters in an artistic homage to the museum’s collection.

    The balance of the canvas is like the twisting branches of trees: they grow from all sides, here and there they meet at right angles, but they never intertwine and never get tangled. – Dimitri Ozerkov


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    Exhibition views, 'I Have Turned My Only Face', The State Hermitage Museum, St. Petersburg, Russia, 2019


    Read a poem by Ghérasim Luca in light of Adrian Ghenie’s Jungles in Paris paintings

    The title Jungles in Paris is drawn from Henri Rousseau’s exhibition at Tate Modern in 2005–06, which inspired Ghenie’s series of works exploring the juxtaposition of urban Paris with the wild, untethered jungle. Alongside his paintings, the publication includes Ghenie’s collages and charcoals that reveal his approach to composition and movement. It opens with Self-Shadowing Prey (c. 1989), a visually forceful poem by Romanian-born, Paris-based writer Ghérasim Luca (1913–1994) which resonates with Ghenie’s sensibility and iconography.


    Adrian Ghenie: Jungles in Paris

    Galerie Thaddaeus Ropac, Paris Marais, 2018
    Poem by Ghérasim Luca

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    Exhibition views, Jungles in Paris, Galerie Thaddaeus Ropac, Paris Marais, 2018


    Read a passage from curator Luca Massimo Barbero’s essay on The Battle Between Carnival and Feast

    Adrian Ghenie experiments with colour in ten paintings produced specifically for his exhibition at the Palazzo Cini in Venice. Here, Ghenie’s abstract figural paintings are presented alongside a text by art historian Luca Massimo Barbero which envisions Ghenie’s work as a shifting, unstable battleground in which sparring ideas and images confront the tradition of European painting.

    The chronicle of the new portraits breaks in like a battle. The sudden lightning, the liquefying construction, the portrait like an impossible, yet true mask. Painting as the drama of a feast. – Luca Massimo Barbero 




























    Adrian Ghenie: The Battle Between Carnival and Feast

    Palazzo Cini, Venice, 2019
    Text by Luca Massimo Barbero

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    Exhibition views, The Battle Between Carnival and Feast, Palazzo Cini, Venice, coinciding with the 58th Venice Biennale, 2019



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  • Jean-Michel Basquiat
    [PAST | PRESENT] Jean-Michel Basquiat

    Thaddaeus Ropac shares his early memories of the legendary artist Jean-Michel Basquiat’s second exhibition at the gallery:

    The winter of 1986 had been long and severe in New York City and I still remember the day I visited Basquiat in his studio. We met to discuss the exhibition we were planning for  that July in Salzburg. We spoke at length about Salzburg’s history of music, which he didn’t know. As a result of our conversation, he created the fantastic work Saxophone, in which he presented his personal idea of music. The highlight of this exhibition ended up being the work Rubber, which depicts a central figure emerging out of the fires of hell.


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    Exhibition poster


    Exhibition catalogue 

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  • Andy Warhol
    Andy Warhol Retrospective at Tate Modern
    March 12, 2020 - September 6, 2020
    Tate Modern
    Bankside, London SE1 9TG

    Andy Warhol (1928–87) was one of the most recognisable artists of the late 20th century, yet his life and work continue to fascinate and be interpreted anew. A shy, and gay man from a religious, migrant, low-income household, he forged his own distinct path to emerge as the epitome of the pop art movement. This major new exhibition at Tate Modern – the first at the gallery for almost 20 years – offers visitors a rare personal insight into how Warhol and his work marked a period of cultural transformation. Drawing upon recent scholarship, it provides a new lens through which to view this American icon. 

    Featuring over 100 works from across his remarkable career, the show sheds light on how Warhol’s experiences shaped his unique take on 20th century culture, positioning him within the shifting creative and political landscape in which he worked. While he is best known for his iconic paintings of Coca-Cola bottles and Marilyn Monroe that held up a mirror to American culture, this exhibition emphasises recurring themes around desire, identity and belief that emerge from his biography. It shows how this innovative artist reimagined what art could be in an age of immense social, political and technological change. 

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  • Donald Judd Foundation
    Donald Judd's Retrospective at MoMA
    March 1, 2020 - July 11, 2020
    The Museum of Modern Art, 11 West 53 Street, New York

    The Museum of Modern Art’s exhibition Judd, on view in the Steven and Alexandra Cohen Center for Special Exhibitions in the David and Peggy Rockefeller Building from March 1 through July 11, 2020, is the first major US retrospective dedicated to the work of Donald Judd (1928–1994) in over three decades. Presented solely at MoMA, the exhibition explores the remarkable vision of an artist who revolutionized the history of sculpture, highlighting the full scope of Judd’s career through 70 works in sculpture, painting, drawing, and prints, from public and private collections in the US and abroad. Judd is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, with Yasmil Raymond, former Associate Curator; Tamar Margalit, Curatorial Assistant; and Erica Cooke, Research Fellow, Department of Painting and Sculpture, MoMA.

    Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative, and metaphorical content. He turned to three dimensions as well as industrial working methods and materials in order to investigate “real space,” by his definition.

    “Half a century after Judd established himself as a leading figure of his time, there remains a great deal to discover,” said Temkin. “MoMA’s presentation covers the full arc of his career, aiming to reveal its largely unexpected variety and complexity.”

    “We commend the leadership of MoMA, Ann Temkin, and her team for their in-depth research and their substantial commitment toward this significant exhibition. Don’s work remains as vital today as it was when he created it. We appreciate MoMA providing the opportunity for a new generation to engage with his work in New York,” said Rainer Judd, President, Judd Foundation.

    Judd will be the first full-scale introduction to the artist’s career for many viewers (including a generation born since his last American retrospective in 1988). It will be organized in chronological order to demonstrate an artistic vision that developed in both methodical and utterly unpredictable ways.

    The exhibition begins with a wide selection of paintings, objects, drawings, and prints from the early 1960s, bringing the viewer along on the step-by-step journey that led from paintings to works that were fully three-dimensional. In the mid-1960s, Judd created a fundamental 2 vocabulary of works in three dimensions, including hollow boxes, stacks, and progressions made with metals and plastics by commercial fabricators. These are represented with the inclusion of their early—or even first—manifestations as well as significant ideas that were carried out in a few pieces and then laid aside. The 1970s gallery presents important changes to the work that in part reflect that Judd was re-centering his practice in Marfa, Texas, and working on site-specific pieces elsewhere. His experimentation extended to new levels of scale and types of structure, as well as to the introduction of plywood as a key material. The exhibition’s final gallery presents the aspect of Judd’s career least familiar to American viewers: the works from his last decade, mostly fabricated in Europe, whose chromatic and material exuberance emphatically contradicts the “Minimalist” label that Judd had always rejected.

    Judd’s activity extended far beyond the realm of making works of art. He was a prolific art critic and essayist, deeply committed to democratic and environmental causes, and active in the fields of architecture and design. A “reading room” outside the exhibition entrance will feature Judd-designed furniture. Visitors will be invited to use the furniture and browse the exhibition catalogue, several key books on Judd’s work, and the artist’s own writings. 


    Image: Donald Judd. Untitled. 1969. Clear anodized aluminum and blue Plexiglas; four units, each 48 × 60 × 60″ (121.9 × 152.4 × 152.4 cm), with 12″ (30.5 cm) intervals. Overall: 48 × 276 × 60″ (121.9 × 701 × 152.4 cm). Saint Louis Art Museum. Funds given by the Shoenberg Foundation, Inc. © 2020 Judd Foundation / Artists Rights Society (ARS), New York.

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  • Donald Judd Foundation
    Donald Judd | Prints: 1992
    March 1, 2020 - July 11, 2020
    Judd Foundation,
    101 Spring Street, New York

    Judd Foundation is presenting Prints: 1992, an exhibition of a set of an edition of prints by Donald Judd on the ground floor of 101 Spring Street in New York. The exhibition is the first presentation of these prints in New York.

    In the spring of 1991, Judd travelled to South Korea for a solo exhibition of his works in three-dimensions at Inkong Gallery in Seoul. The gallery invited Judd to make a set of prints for a forthcoming exhibition, for which Judd selected a local paper to make this edition. The paper, known as hanji, is made from the inner bark of a mulberry plant that is native to Korea’s rocky mountainsides. The prints have previously been exhibited in The Haags Gemeentemuseum, Hague, Netherlands in 1993; the Itami City Museum of Art, Itami, Japan in 2001; and at the Chinati Foundation, Marfa, Texas in 2013.

    This edition of twenty woodcut prints, comprised of ten pairs, is one of the largest series of prints made by Judd. Each pair has one impression with a printed frame of colour and one where the same colour is reversed and printed as the interior space of the frame. The dividing vertical and horizontal lines are specific to each pair, creating proportions of 1:2, 1:3, 1:4, and 1:5. The grain of the mahogany block is a prominent element of the large blocks of colour. Whereas in his earlier prints Judd regularly printed in one or two colours, by the mid-1980s he began using multiple colours in his woodcuts. He made a similar shift towards the use of numerous colours in his three-dimensional work in the early 1980s with the development of pieces in painted aluminium. This set of prints reflects Judd’s most extensive use of colour in his print practice, with ten colours used across the set: cadmium red, cadmium yellow, cadmium orange, ultramarine blue, cerulean blue, cobalt blue, permanent green, viridian green, black, and alizarin crimson.

    Judd made his first prints in 1951 while studying at the Art Students League in New York. Working first with lithographs, woodcuts became his dominant print medium as early as 1953. Judd also worked with aquatint, etching and screen print techniques, often using multiple techniques to create prints with similar formal qualities. He used the parallelogram, for example, in his three-dimensional works, woodcuts, etchings, and aquatints. Judd’s prints, like his works in three-dimensions, explore symmetry, proportion, seriality, and colour combinations. As he wrote in his 1985 essay, “Symmetry,” the distinction between symmetry and asymmetry arose in his work when the lines of his painting and prints which had been organic, and then curved, later became straight. “This change divided a painting into two parts, the large broad rectangle and the narrow lines,” creating “the problem of where to place them.” Over time, the question of line and symmetry became central to Judd’s print practice.

    In the 1960s and 1970s, Judd’s prints concentrated on monochromatic series. In 1986, Judd developed a set of four woodcuts with a rectangular field of colour printed in brown, blue, red, and green – the first set to contain multiple colours. Each sheet measured 60 x 80 cm, a 3:4 ratio that he worked with consistently from then on. As Marietta Josephus Jitta editor of the catalogue raisonné, Donald Judd: Prints and Works in Editions, wrote in the essay “On Series” in that volume, “The series has something of a declaration. It is simple and almost challenging like the red and blue parallelogram of twenty years earlier. In his graphical work, the series is continually referred to as the basis for new research on the flat surface.” Many of Judd’s later prints, including untitled, 1992-93, on view in this exhibition, built upon the formal innovation of the central rectangle of colour first used in 1986.


    In March, Judd Foundation will publish Donald Judd Spaces, the first visual survey of the spaces which comprise Judd Foundation in New York and Texas. It will also expand access to its 101 Spring Street location, introducing guided visits on Sundays and enabling more visitors to directly engage with Judd’s legacy through his formerly private living and working spaces in downtown New York.

    For more information about the publication, click here.
    For more information about the expanded access, click here.

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  • Gilbert & George
    The Great Exhibition
    February 22, 2020 - May 10, 2020
    Kunsthalle Zürich
    Limmatstrasse 270
    Zürich, Switzerland

    Luma Westbau and Kunsthalle Zürich are showing an extensive retrospective of 50 years of artistic collaboration between Gilbert & George. THE GREAT EXHIBITION (1971-2016) allows unique insight into their visually powerful, boundless – and sometimes provocative – artistic universe.

    The exhibition has been created in close collaboration with Gilbert & George and they will be present at the opening in Zürich on the 21 February. For the artists this marks a return to Switzerland 25 years after their solo exhibition at the Kunsthalle Zürich in 1992, curated by Bernhard Mendes Bürgi. 

    More info here.

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  • Daniel Richter
    Radical Figures Painting in the New Millennium
    February 6, 2020 - May 10, 2020
    Whitechapel Gallery
    77-82 Whitechapel High St
    E1 7QX London

    Since painting was pronounced dead in the 1980s, a new generation of artists has been revitalising the expressive potential of figuration. Charging their vibrant canvases with a social and political undertow, they echo the words of Philip Guston: ‘I got sick and tired of all that Purity. I wanted to tell stories’.

    The paintings of Daniel Richter (b. 1962, Germany) draw from current events – the migrant crisis or Taliban mythology – as do Michael Armitage’s (b. 1984, Kenya) narratives of politics and violence in East Africa, equivocally conveyed in the lush, exoticised style of Gauguin. The rollicking surfaces of Cecily Brown’s (b. 1969, UK) canvases congeal into figures, whose sources range from pornography to art history, before dissolving back into painterly marks.

    Nicole Eisenman’s (b. 1965, France) protagonists occupy a brightly lit universe that is both dream and nightmare, while Dana Schutz’s (b. 1976, USA) contorted figures give form to unconscious drives. Tala Madani’s (b. 1981, Iran) primal fantasies of abject men and children shift from comedy to debasement, from paint to shit. Sanya Kantarovsky (b. 1982, Russia) and Ryan Mosley (b. 1980, UK) look to art history, literature and children’s stories in their darkly humorous and carnivalesque scenes.

    Artists also critique from within or expand on the styles and subjects of canonical male painters. In Christina Quarles’s (b. 1985, USA) canvases, groups of polymorphous nudes are intimately entwined, merging with graphically patterned surfaces. Tschabalala Self (b. 1990, USA) pieces together paint, fabric and print for a cast of characters inspired by the streets of Harlem. Exuberant and explicit, each artist revels in the expressive potential of paint.

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  • Antony Gormley
    New York Clearing
    February 4, 2020 - March 27, 2020
    PIER 3

    As part of the international art project, CONNECT, BTS, introduced by BTS, pioneering global superstars from Korea, New York’s Brooklyn Bridge Park Pier 3 will be the site of the creation of a vast ‘drawing in space’ by internationally acclaimed British artist Antony Gormley, which will be on show free to the public from 5 February – 27 March 2020.

    New York Clearing (2020) is conceived as a single line made up of more than 11 miles of square aluminium tubing that loops and coils without beginning or end, turning itself into an environment for the viewer that counters the grid of modernism and the city with swooping lines of energy. It will be situated on a landmark site at Pier 3, in Brooklyn Bridge Park, overlooking the East River.

    Speaking about New York Clearing, Antony Gormley said: “This is the first time that I have attempted to make Clearing without architectural support. I am enormously excited about the opportunity of making this energy field in conversation with Manhattan across the waters of the East River. It can be seen as an evocation of human connectivity, a materialisation of the energy of the people that view it and the people that made it.”

    “We’re honoured to host Antony Gormley’s New York Clearing here at Brooklyn Bridge Park,” said Eric Landau, Brooklyn Bridge Park President. “We have a long history of incredible art installations in the Park, and can’t think of a better place than Pier 3 for this amazing piece.” CONNECT, BTS is an international art project taking place in five cities on four continents, introduced by BTS, open free to the public in Berlin, Buenos Aires, London, New York and Seoul, and developed by a group of curators under the artistic direction of independent Korean curator, Daehyung Lee.

    CONNECT, BTS draws motifs from parts of BTS' philosophy that centers around diversity, love and care for the periphery as well as communicating and fostering connections that transcend barriers. Other artists featured in the project include: Jakob Kudsk Steensen (Serpentine Galleries, London), performances by 17 international artists including Jelili Atiku, boychild with Josh Johnson and Total Freedom, Cevdet Erek, Marcelo Evelin, Bill Fontana, Maria Hassabi, Mette Ingvartsen with Will Guthrie, Baba Murah and Candomblé Berlin, Antonija Livingstone and Nadia Lauro with Mich Cota, Kennis Hawkins and Stephen Thompson (Gropius Bau, Berlin); Tomás Saraceno (CCK, Buenos Aires); Ann Veronica Janssens and Yiyun Kang (Dongdaemun Design Plaza, Seoul).

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  • Emilio Vedova Foundation
    Film screening Emilio Vedova. Dalla parte del na...
    January 25, 2020 - January 25, 2020
    Paris Pantin

    To celebrate the last days of the exhibition Georg BaselitzTime, join us for the French premiere of Emilio Vedova. Dalla parte del naufragio (2019), a documentary film which highlights the great friendship that united Georg Baselitz and Venitian painter Emilio Vedova.

    The documentary on the life and work of Emilio Vedova is directed by Tomaso Pessina with the participation of award-winning Italian actor Toni Servillio reading Vedova’s diaries. The film also features interviews with leading figures from the art world, such as Georg Baselitz, Renzo Piano, Carla Schulz-Hoffmann, Germano Celant, Karole Vail, and contains some powerful and unpublished archive material from the Fondazione Vedova.
    Screening will start at 4pm. Film in original version with English subtitles.

    Duration: 68 min. 

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