Selected Press

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

Contemporary Art Review LA

Jessica Simmons-Reid

28 March 2024

Pat Steir at Hauser & Wirth

‘Steir’s paintings appear to revel solely in the pigment’s optical and physical properties as a haptic material. And because color is primarily a matter of light, her specific focus on the color blue makes light itself an integral ingredient in the work’s visual dynamism. As such, these paintings also nod to the ineffable subjectivity of perception.’
Pat Steir, Painted Rain (installation view) (2024). Hauser & Wirth, West Hollywood, 2024. Image courtesy of the artist and Hauser & Wirth. Photo: Jeff McLane.


Annabel Osberg

25 March 2024

Critic's Picks: 'Implicit Explicit'

‘The show is rife with tensions between old and new, banality and wonder; and puts a thematic emphasis on materiality, feminism, and environmental destruction… exhibitions like this underscore how materials and techniques traditionally associated with functional or folk art can amplify meaning and symbolism.’
Sabrina Gschwandtner, Guy-Blaché Serpentine Dance Square, 2021, 35 mm black-and-white polyester film, polyester thread, LEDs, 10 1/2 × 10 1/2". Photo: Ian Byers-Gamber.

T: The New York Times Style Magazine

Kate Guadagnino

22 March 2024

Is 2,000 Bags Too Many?

‘I’m drawn to anything you put something in and close. For me, they’re all containers, and they’re all stories.’
Pipilotti Rist. Photo: Joël Hunn für NZZ.


Vojin Saša Vukadinović

22 March 2024

Critic's Picks: Gerhard Richter

'In the exhibition, however, the scenes can speak for themselves. The coolly understated photographs reveal Richter’s quiet, private appreciation of the environment.'
Gerhard Richter, Schnee (Snow), 1999, oil on canvas, 22 × 20 1/8". © Gerhard Richter 2023. Museum Frieder Burda, Baden-Baden.


Maximilíano Durón

22 March 2024

Hauser & Wirth to Inaugurate Basel Space with Vilhelm Hammershøi Exhibition

‘Opening this space in the cultural heart of Basel will allow for intimate encounters with art of an extraordinary calibre...’
Vilhelm Hammershøi, Interior in London, Brunswick Square, 1912. Photo: Annik Wetter.

South China Morning Post

Ashlyn Chak

19 March 2024

Odd one out like James Baldwin: black artist Glenn Ligon on writer’s essay about alienation that inspires him, and his first Greater China solo show

Glenn Ligon in front of one of his works. Photo: Glenn Ligon/Hauser & Wirth

Galerie Magazine

Hilarie M. Sheets

15 March 2024

Step Inside Artist Firelei Báez’s Brooklyn Studio

'The strongest ones are when I slowly pay attention to what the paint is giving and then articulate it as it should be...'
Firelei Báez in the studio. Photo: Amilcar Navarro.

BOMB Magazine

Ellen Tani

15 March 2024

Charles Gaines

'I had an understanding of art, and with that I wanted to introduce critical thinking into studio practice, not as something ancillary but central.'
Submerged Text: Signifiers of Race #4, 1991, ink on paper and silkscreen on acrylic, two parts, each 37.25 × 31.25 × 1.5 inches (framed). Photo by Keith Lubow. Images courtesy of the artist and Hauser & Wirth unless otherwise noted. Works © Charles Gaines.


Annabel Keenan

12 March 2024

The Star of Hauser & Wirth’s Most Recent New York Exhibition Is a Half-Century-Long Love Story

‘While documenting their own artistic growth, the Hauser & Wirth shows also speak to personal stories and the enduring accessibility of prints.’
Takesada Matsutani and his wife Kate Van Houten in his studio in Paris, photographed on 5 July 2023 by Laura Stevens for Ursula Magazine

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