Hauser & Wirth
News

Selected Press

Frieze

Cassie Packard

1 May 2024

Hand-in-Hand: How Commercial Galleries Are Embracing Performance Art

'Russell Salmon, director of public programs at Hauser & Wirth, likewise points out that performance is in the gallery’s DNA, with artists like Kaprow and Paul McCarthy. Hauser & Wirth’s West 18th Street outpost in New York, which opened last year, features an amphitheater for public programs including performance.'
POSSIBILITIES OF MATTER: Creative Workshop with Poncili Creación, Hauser & Wirth Los Angeles. © 2023 Sarah M Golonka

Artnet News

Eileen Kinsella

30 April 2024

Frieze Forecast: the Venice Effect Hits NYC, Spotlight on Latin American Women, and More

'Clark’s work in particular seems to be having a moment...His palette is at once dissonant and harmonious and his broad, broom-size brushstrokes convey remarkable visual eloquence.'
Nicole Eisenman, Emerged, Not Me (2023). © Nicole Eisenman. Image courtesy the artist and Hauser & Wirth. Photo by Thomas Barratt.

The Financial Times

Melanie Gerlis

27 April 2024

Art galleries turn to fresh forms of collaboration as market splinters

'Hauser & Wirth’s management sees Collective Impact as 'an entrepreneurial way to support a smaller structure and put the artist in mind first,' says gallery president Marc Payot. The idea, he says, came up during the pandemic, 'when the gap between the larger galleries and the rest of the ecosystem got bigger.'
‘Good Morning’ (2023) by Uman © Courtesy the artist/Hauser & Wirth/Nicola Vassell Gallery. Photo: Sarah Muehlbauer

Artsy

Maxwell Rabb

22 April 2024

5 Ways Galleries Are Making the Art World Greener

‘One single artist studio or gallery can’t shift the landscape, but collective action amplifies our efforts, builds a movement, and contributes to climate resilience.’
Portrait of Cliodhna Murphy. Courtesy of Hauser & Wirth.

The New York Times

Ted Loos

19 April 2024

Roni Horn, a Restless Artist With 4 Shows and More Identities

'I think that the beauty in [my new works] is a manifestation or an artifact of this concept that I’ve developed.'
A show at Hauser & Wirth’s gallery in SoHo, Manhattan, features six of Horn’s luminous cast-glass pieces. Her glass works, which can weigh up to five tons, have become a signature. © Roni Horn and Hauser & Wirth; Photo: Ron Amstutz.

Time Magazine

Kiki Smith

17 April 2024

Jenny Holzer: Time's 100 Most Influential People of 2024

‘Jenny has allowed her art to grow by embracing collaboration and new technologies, but her singularity as an artist has always persevered and her work continues to be radical.’
Portrait of Jenny Holzer. © 2011 Jenny Holzer, member Artists Rights Society (ARS), NY. Photo: Nanda Lanfranco.

Wallpaper*

Osman Can Yerebakan

17 April 2024

Berlinde De Bruyckere’s angels without faces touch down in Venice church

'There is a sense of resurrection, an element of mortality that is already a part of the environment.'
‘Berlinde De Bruyckere. City of Refuge III’, Abbazia di San Giorgio Maggiore, Venice, 20 April – 24 November 2024. Collateral Event of the 60th International Art Exhibition – La Biennale di Venezia. © Berlinde De Bruyckere. Courtesy the artist and Hauser & Wirth. Photo: Mirjam Devriendt.

The New York Times

Andrew Maerkle

15 April 2024

Match Made in Venice: Tadao Ando and Zeng Fanzhi

‘[Tadao Ando's] design achieves a synthesis of Eastern and Western philosophies of painting, all presented through architecture. It inspired me as I worked on the paintings for the exhibition.’
Tadao Ando’s exhibition design for “Zeng Fanzhi: Near and Far/Now and Then” in Venice uses light and shadow to accentuate the interaction between the artworks and the site, the Scuola Grande della Misericordia. Photo: Stefan Altenburger.

Mousse Magazine

Paulo Miyada

15 April 2024

The Languages I Speak Carry Accents: Anna Maria Maiolino and Paulo Miyada in conversation

‘In art, however, I found shelter, solace, healing, a fertile territory where I could rebuild my sense of home.’
Anna Maria Maiolino, Contínuos II (Continuous II), from Terra Modelada (Modeled Earth) series, 1994–2010, “Anna Maria Maiolino” at Fundació Antoni Tápies, Barcelona, 2010. Photo: Lorenzo Duaso

Financial Times

Claire Wrathall

4 April 2024

Mark Bradford’s art of glass

'Bradford cares 'deeply about the project and what happens to it.' But a far deeper impression has been left by 'the people I’ve come to know.'
Mark Bradford working on his Borsa edition for Process Collettivo © Keith Lubow. Courtesy of the artist and Hauser & Wirth.

The Brooklyn Rail

Pepe Karmel

1 April 2024

In conversation: Pat Steir with Pepe Karmel

‘I don’t have to have one style. I don’t have one hairdo in my whole life. I don’t have one jacket. Why should I have one style to identify myself? My groups of paintings are like bodies of work. They can last for a year or ten years. But they’re all research for me.’
Pat Steir in the studio.

The Art Newspaper

Gabriella Angeleti

28 March 2024

Glenn Ligon: 'The idea of coal dust being elevated into the space of art was something that interested me'

‘Baldwin talks about how the place of the 'disesteemed' is where you learn the most about how a society functions. The idea of coal dust, a waste product, elevated into the space of art was something that interested me.’
Glenn Ligon with part of the Stranger series, which spotlights an essay by the writer James Baldwin © Glenn Ligon; courtesy the artist and Hauser & Wirth

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