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Selected Press

Whitewall

Katy Donoghue

12 January

Inside the Cover Story with Artist Jeffrey Gibson

‘These spirits are meant to remind us of hard-fought moments when people demanded equity.’
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Jeffrey Gibson Studio in his New York studio, 2025 © Jeffrey Gibson Studio Courtesy the artist and Hauser & Wirth Photo: Emiliano Granado

Financial Times

Lily Le Brun

10 January

The little-known story of Giacometti’s rural retreat

‘Scheidegger himself put it this way: 'Giacometti was not a legend to me. My encounters with him, and the resulting photographs were of a more intimate, personal sort.'
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Alberto Giacometti at his work table in Stampa, 1964 © Succession Alberto Giacometti / 2025, ProLitteris, Zurich Photograph: Ernst Scheidegger © 2025 Stiftung Ernst Scheidegger-Archiv, Zürich

The Daily Show

Desi Lydic

9 January

Annie Leibovitz 'Women' Interview

‘It really feels like the camera’s not there, like she’s looking at you. That’s really what you want to achieve in a portrait.’
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Annie Leibovitz, New York City, 2017 © Annie Leibovitz Courtesy the artist and Hauser & Wirth Photo: Annie Leibovitz

BOMB Magazine

Folasade Ologundudu

7 January

Interview: Rashid Johnson

‘I wanted to be in conversation with the artists I saw and to be part of that community. It goes back to your first question: How do you become part of something? I fell in love with the idea of being a part of something, and that something just happened to be art.’
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Still from Rashid Johnson, Sanguine, 2024, 35mm film transferred to video, 5 minutes, 52 seconds. © Rashid Johnson.

Artforum

Rachel Wetzler

1 January

Ambera Wellmann Review: Company, Hauser & Wirth

'Knotting together tenderness and monstrosity, the artist renders figures that caress and consume one another as their bodies merge and dissolve.'
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Ambera Wellmann, Death Masks Eternity, 2025, oil on linen, 9' 2 1⁄4" × 18.'

New York Magazine

Jerry Saltz

25 December 2025

Jery Saltz on The Crazed Cataclysms of Nicole Eisenman

‘[Nicole Eisenman's] most recent work feels like a cataclysmic staging of an artist alone in her studio while systems collapse and the country cracks up. Her art is both a private vision and an evocation of a public disaster.’
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Photo: Courtesy 52 Walker, New York

The New York Times

Martha Schwendener

18 December 2025

Art on the Wall That Echoes Protests From the Streets

'Ultimately, Eisenman’s exhibition serves as a necessary exercise in soul searching. What is the role of the artist in dark times? What is the role of the critic, collector or average art viewer?'
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An installation view of Nicole Eisenman’s exhibit, STY. Via 52 Walker, New York

ARTnews

George Nelson

16 December 2025

Somerset’s Unlikely Contemporary Art Scene is a Welcome Departure from the UK’s London-Centric Thinking

'Somerset has a rich history of writers, musicians, designers, and artists who have been drawn to the area for generations. It’s encouraging to see more artist-led initiatives, workshops, and creative events developing across Somerset...This reflects the gallery’s ambition from the outset to increase access to great art outside of traditional city centres.'
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Experimental painting workshop with Uman, Hauser & Wirth Somerset, 2025. Courtesy the artist and Hauser & Wirth. Photo: Clare Walsh

W Magazine

Jay Cheshes

15 December 2025

Alexander Calder Takes Flight—Again

‘Calder is a very, very singular artist...He started out as an engineer, then devoted himself to exploring balance, playing with space and with lightness. He holds a unique place in the history of art.’
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Calder Gardens, in Philadelphia, which opened in September. Photograph by Tom Powel. Artwork by Alexander Calder © 2025 Calder

Observer

Dan Duray

12 December 2025

How Uman Channeled a Turbulent Year Into Calm Abstraction

‘I want people to feel joy. I love to paint. I love to make people feel the work, but there’s no message. It’s not necessary to prove myself or to prove anything.’
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Uman in the studio. Photo by Katharina Poblotzki

Harper's Bazaar

Derek C. Blasberg

10 December 2025

Amy Sherald on 'American Sublime' and Why Integrity Still Matters

'I felt good about it when I did it, but then my DMs and my emails lit up with people who were telling me how proud they were of me...That felt really good. It was affirming to me that I had made that decision.'
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Portrait of Amy Sherald. Photo: Kelvin Bulluck

W Magazine

Maxine Wally

9 December 2025

Rashid Johnson’s Muse? An Entire Historical Canon

‘I’m never starting with a blank canvas. I feel so satiated by all of the things that I’ve had the privilege of consuming. So the canvas is already full—I’m just tasked with organizing it.’
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Portrait of Rashid Johnson. Photo: Brand X

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