Bruce Nauman, Mapping the Studio I, (Fat Chance John Cage), 2001

The multiscreen projection Mapping the Studio I (Fat Chance John Cage) displays Nauman’s exploration of issues related to artmaking and the role of the artist. Over the course of the summer of 2000, he set up an infrared camera in multiple positions in his studio to track the nocturnal activities of mice, moths, and other creatures. The footage, which is roughly six hours per projector, offers a view on the mundanities of daily studio activity, as replete with languor as with moments of visionary insight. Each projection is accompanied by its own stereo soundtrack, which consists mostly of ambient noises: trees rustling in a gale, a heavy rainstorm, the occasional barking of a dog, and a train passing in the distance.

​Gagosian Gallery remembers Walter DeMaria, who would be celebrating his 80th birthday today, October 1st.


Image: Walter De Maria, Lightning Field, 1977. A permanent earth sculpture consisting of 400 stainless steel poles spaced 220 feet apart in a rectangular grid array (16 poles wide by 25 poles long). The average pole height is twenty feet seven inches. Solid steel pointed tips on the poles form an even plane covering an area of one mile by one kilometer. Located in western New Mexico. Commissioned by the Dia Art Foundation, New York. Photo: John Cliett.


Throwback Thursday to our 2012 exhibition of Andy Warhol’s “Shadows” (1978–79), organized with the Dia Art Foundation. 

Warhol  is best known for appropriations of images from popular culture—advertisements, mass media photographs, and celebrity portraits—that challenged the conventional definitions and subjects of art. Created in the last decade of Warhol’s life, “Shadows” comprises 102 silkscreened and hand-painted canvases featuring distorted photographs of shadows generated in the artist’s studio. The forms, set against brightly colored matte grounds, at once suggest and mock the brushwork of the Abstract Expressionists. Moreover, the monumental scale of the paintings contradicts the simplicity of their subject matter, while the repetitive forms and silkscreen process undermine the notion of a unique artwork. 

It marked the first time that all 102 canvases had been shown at once and extended nearly 450 linear feet around the outer perimeter of the museum’s curved galleries, emphasizing the cinematic quality of the work.


Dominique Gonzalez-Foerster: chronotopes & dioramas

September 23, 2009 - June 27, 2010

“Commissioned by Dia, Dominique Gonzalez-Foerster’s latest project offers an annex to the world-renowned research library at the Hispanic Society of America. Gonzalez-Foerster expands and updates that historic collection with a range of twentieth-century literature by some forty authors, whose texts will be installed in a trio of dioramas by reference to their place of origin in one of three distinct geographical regions: the desert, the tropics, and the North Atlantic.”

15 untitled works in concrete, 1980-1984

The fifteen concrete works by Donald Judd that run along the border of Chinati’s property were the first works to be installed at the museum and were cast and assembled on the site over a four-year period, from 1980 through 1984. The individual units that comprise each work have the same measurements of 2.5 x 2.5 x 5 meters, and are made from concrete slabs that are each 25 centimeters thick. Funding for the project was provided by the Dia Art Foundation.