Richard Calvocoressi

The Summer 2022 issue of Gagosian Quarterly features Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022) on its two different covers. Inside the issue, Murakami and RTFKT Studios discuss the future of digital art and Gursky speaks with writer Max Dax alongside a presentation of the artist’s latest photographs. Elsewhere, Fiona Alison Duncan profiles six book editors changing the standards of publishing; Julian Rose delves into the architecture of show more Donald Judd; Aria Darcella honors Annie Flanders, the founder of Details magazine; and much more. show less

Encompassing more than twenty-five paintings that Francis Bacon made in London and Paris during the last two decades of his life, this book serves as a companion to the 2015 exhibition at Gagosian Gallery, New York, and is the first in-depth exploration of the innovations of the artist’s late work. In his late paintings, Francis Bacon refined themes that had long obsessed him. He quoted reflexively from his oeuvre, reworking subjects to strip them to the bare essentials. This stunning new show more book features over 150 color illustrations of the artist’s work and related materials, including reproductions of ephemera from Bacon’s Hugh Lane studio. show less

Gift from Nadia VALLA Mamaroneck December 2022

Miller has an fascinating view and an "unflinching eye". This stance she keeps during her whole photographic career, which encompass three decades. As she says 'there were lots of things, touching, poignant or queer I wanted to photograph'. Lee Miller is first of all an artist photographer and second a documentary photographer. Despite this, I am most impressed by the pictures she made during the second worldwar. First the effect of the Blitz on London and its citizens. In 1942 she applied show more and was accepted by the US army as war correspondent. She documented in Britain the war work of women. And in 1944 she flew to Normandy to cover the Allied advance through France and Germany. She focussed first of all on the human stories. In 1945 she photographed the Nazi war crimes and she kept on taking pictures of war devastations till the beginning of 1946. She had few illusions of the liberation: 'the pattern of liberation is not decorative', she wrote,' ... There is the beautiful overall colour of freedom but there is ruin and destruction.' In 1949 she and Roland Penrose started a artist home in Farley Farm in East Sussex. Miller began to work as a portraitist. At the start of her career, she was trained as an artist in the surrealist way of thinking. Cinema was very important for her sensibility. She saw in cinema a flash of poetry and this she caught in her work. In the introduction Richard Calvocoressi comments the fact that Miller's critics detect a loss of intensy in her photographs of the 1950s and 1960s. He disagrees on that. Some postwar portraits belong to her highest achievements. But it is true that she was burnt out by the war and was finished with her assignments with Vogue. He mentions her last photo serie 'Working Guests' in Vogue of 1953. Her she pictures her artist friends at work at Farly Farm, while she is seen sleeping on the drawing-room sofa. She liberated herself again to do what she liked. show less