2022

Frieze

The Power of Printed Matter: An Interview with Michaela Unterdörfer

by Vanessa Peterson and Michaela Unterdörfer | 1 November 2022

‘By commissioning original, insightful and scholarly writing for our publications, we aim to provide accessible, lasting records of artists’ works, ideas and exhibitions. This fits with the gallery’s emphasis on education, which has been a backbone of its activities from the outset.’

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Installation view, ‘An Incomplete History of Printed Matter’s Art Book Fairs,’ Hauser & Wirth New York, 22nd Street, until 29 October 2022. Photo: Sarah Muehlbauer

Frieze

Camille Henrot on Self Help, Gossip and Pre-lingual Communication

by Estelle Hoy and Camille Henrot | 19 October 2022

‘Estelle Hoy speaks to the artist about the inspiration behind her solo exhibition at Oslo’s Munch Museum.’

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Camille Henrot, Big Kiss, 2019 © Camille Henrot. Courtesy the artist and Hauser & Wirth

Frieze

Richard Jackson’s Gleeful Machismo

by Camila McHugh | 19 October 2022

‘At Hauser & Wirth, Zürich, a survey of the artist’s work from the past 30 years likens painting to shooting practice.’

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Installation view, ‘RICHARD JACKSON WORKS,’ Hauser & Wirth Zurich, Limmatstrasse, until 23 December 2022 © Richard Jackson. Courtesy the artist and Hauser & Wirth. Photo: Stefan Altenburger Photography Zürich

Wallpaper*

Amy Sherald’s vivid, triumphant portraits reframe Black personhood in Western art

by Elisha Tawe | 13 October 2022

‘Sherald’s visually stunning works pop in bold primary colours. Within them rests hints at the possibility of a paradigm shift and the tools for the transformation of consciousness.’

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Installation view, ‘Amy Sherald. The World We Make,’ Hauser & Wirth London, 2022 © Amy Sherald. Photo: Alex Delfanne

designboom

Hauser & Wirth Brings Richard Jackson’s ‘Painting machines’ and Neon Works to Zurich

by Lea Zeitoun | 13 October 2022

‘It is my idea to try to expand painting, not just in size but to see how far it could be extended or pushed.’

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Richard Jackson, Art Fair Party, 2014 © Richard Jackson, Courtesy the artist and Hauser & Wirth. Photo: Fredrik Nilse n

The New York Times Style Magazine

Zoe Leonard Goes With the Flow

by Rose Courteau | 11 October 2022

‘I think maybe the most important thing for an artist is to have time to try a lot of ideas and make mistakes. That kind of freedom leads you to an idea that has precise contours.’

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Zoe Leonard, ‘Al río / To the River’ (detail), 2016 – 2022 © Zoe Leonard. Courtesy the artist , Galerie Gisela Capitain , and Hauser & Wirth

The Telegraph

Is Michelle Obama’s portraitist about to become art’s new household name?

by Cal Revely-Calder | 10 October 2022

‘Everything works here; everything glows. Within minutes of entering Sherald’s show, life will have caught your eye.’

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Amy Sherald, For love, and for country, 2022 © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde

The Guardian

‘Everything I do is saying Black lives matter’: how artist Amy Sherald defined an era

by Gloria Oladipo | 10 October 2022

‘But, in addition to the everyday people featured in her work, The World We Make also alludes to historic images, reinserting Black people into iconic moments in the western canon where our impact is understated.’

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Amy Sherald, To tell her story you must walk in her shoes, 2022 © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde
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