Selected Press

The Guardian

Tim Jonze

20 May 2024

‘I burned out – and started mowing lawns’: a reality-bending chat with Harmony Korine

'The last thing people want is the thing I want the most.'
Harmony Korine, 2023. © Harmony Korine. Photo: Rachel Korine

The New York Times

Nancy Princenthal

16 May 2024

Jenny Holzer Shines New Light in Dark Places

‘As Holzer departs ever further from signatory writing and mark-making, her work remains unmistakable. That steadiness of purpose throws into relief the thoroughgoing transformation of her context.’
Holzer’s “Inflammatory Essays” from 1979-82, are printed on neon-colored sheets and paper a gallery wall. The poetry is handwritten in black by Lee Quiñones. © Jenny Holzer/Artist Rights Society (ARS), New York.


Cassie Packard

16 May 2024

‘Time’s Passage, Indexed in Rubber’: On Eva Hesse’s ‘Five Sculptures’

‘[The exhibition's] thoughtful organization, built on intimate knowledge of the works’ histories of creation and display, emphasizes the way a shape, material or concept would often rematerialize in Hesse’s oeuvre in a slightly different form – refusing, in a sense, to end.’
Eva Hesse, ‘Five Sculptures’, 2024, exhibition view. Courtesy: © The Estate of Eva Hesse and Hauser & Wirth; photograph: Matt Grubb

T: The New York Times Style Magazine

Adam Bradley

16 May 2024

Charles Gaines, By the Numbers

When I thought of taking on the process of using systems rather than my imagination in order to make work, that became the leitmotif of my entire life’s production. It’s not a freewheeling tabula rasa subjectivity where I can only work from my impulse and my intuition. It offers a much more rigid framework than that.
Charles Gaines, 2022 ©️ Charles Gaines. Photo: Fredrik Nilsen

W Magazine

Michael Slenske

9 May 2024

Jennifer Rochlin Tells Her Life Story, One Wonky Pot at a Time

'I love the rawness, the different shapes, the paintings.… Each piece is unique—even the inside of the vessels is painted,' says Hauser & Wirth cofounder and copresident Manuela Wirth, who fell in love with Rochlin and her pots on a visit to her studio.'
Jennifer Rochlin Studio, Altadena, CA. © Jennifer Rochlin. Courtesy the artist and Hauser & Wirth. Photo: Keith Lubow

Time Out

Eddy Frankel

9 May 2024

Harmony Korine: ‘Aggressive Dr1fter Part II’

'It’s nothing like most art these days. And what a goddamn relief, because it’s awesome: a break from the homogenous, dominant norm.'
Harmony Korine, 'STILTS ZOON X2.' ©Harmony Korine. Courtesy the artist and Hauser & Wirth. Photo: Keith Lubow

Artnet News

Whitney Mallett

2 May 2024

Rita Ackermann’s Elusive Quest for Truth (or At Least Cinema Vérité)

‘An artist makes a work, but then the making doesn’t stop when the artwork is finished by the artist. Once it’s exhibited, it’s really in the making still with the viewers’ vision, and what the viewers add to it. And that’s the real mystery about the greatness of art.’
The artist Rita Ackermann. Photo: Daniel Turner. Courtesy of Hauser & Wirth.


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


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.

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