New York Times

After the Storm, Philip Guston For Real

by Roberta Smith | 9 September 2021

‘The 18 paintings here are so rich and demanding, so challenging yet absorbing, that the prospect of a full-dress Guston restrospective can seem almost daunting. They are fully operational, uniting the political, painterly, psychological and societal into indissoluble visual entities that few painters achieve.’

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Installation view, ‘Philip Guston. 1969-1979’, Hauser & Wirth New York, 2021 Photo: Genevieve Hanson

W Magazine

Avery Singer Pushes the Limits of Painting

by Siddhartha Mitter | 7 September 2021

‘I was struck by the very individual language of painting that she had from the beginning, and how she combined high craftsmanship with the visual thinking that comes from the Internet’—German Curator Beatrix Ruf on Avery Singer, quoted in W Magazine

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Avery Singer, Edgelord, 2021. Acrylic on canvas stretched over wood panel. 254.6 x 305.4 x 5.4 cm / 100 1/4 x 120 1/4 x 2 1/8 inches. © Avery Singer. Courtesy the artist, Hauser & Wirth, and Kraupa-Tuskany Zeidler, Berlin. Photo: Lance Brewer

Brooklyn Rail

Avery Singer with Jason Rosenfeld

by Jason Rosenfeld | 1 September 2021

‘If you're making art as a contemporary artist, you should just be trying to make something that hasn't been thought of before, that has a real stake in authorship, in originality, and offers a unique conception of the world.’

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Avery Singer, China Chalet, 2021. Acrylic on canvas stretched over wood panel. 254.6 x 305.4 x 5.4 cm / 100 1/4 x 120 1/4 x 2/18 inches. © Avery Singer. Courtesy the artist, Hauser & Wirth, and Kraupa-Tuskany Zeidler, Berlin. Photo: Lance Brewer

The Art Newspaper

A brush with… Glenn Ligon

by Ben Luke | 9 August 2021

‘Ligon joins us as he prepares to show the epic conclusion to his series Stranger, which he started in 1997, featuring excerpts from James Baldwin’s 1953 essay, Stranger in the Village, in which the American writer uses his experiences in a remote Swiss village to reflect on the nature of Blackness and the embeddedness of white supremacy, among much else.’

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Glenn Ligon Photo: Paul Mpagi Sepuya Courtesy the artist and Hauser & Wirth

The Nation

Luchita Hurtado’s Spiritual Modernism

by Max Pearl | 4 August 2021

‘The book does not attempt to reinsert her into a preexisting canon of modern art history, as it explores her veneration of nature, and humanity’s entanglement with it, in her paintings. Rather, it suggests a parallel vision of what postwar painting could have looked like had her spiritual aesthetic been recognized earlier.’

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Luchita Hurtado, Untitled, c. 1950-1951, Crayon and ink on paper, 58.5 x 73.7 cm / 23 x 29 inches © The Estate of Luchita Hurtado Photo: Genevieve Hanson

In Henry Taylor’s Paintings, the Past Bleeds into the Present

by David Carrier | 31 July 2021

‘By working from old photographs and employing his diluted browns and greens, Taylor adapts this technique: his paintings show the past as it bleeds through into the present, inflecting our current experience.’

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Henry Taylor, WE WAS WATCHING HIM, BUT THEY REALLY WAS WATCHING US, 2018, Acrylic on canvas, 167.6 x 317.5 x 3.8 cm / 66 x 125 x 1 1/2 inches © Henry Taylor Photo: Ken Adlard

Financial Times

‘It’s a Trojan horse for art’ – Hauser & Wirth hits Menorca

by Jan Dalley | 30 June 2021

‘We knew it would be an amazing place for people to visit and for artists to come and work – setting is so important.’

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Photo by Anna Huix for the Financial Times


Hunter MFA Grads Mull the Fluid Nature of Time

by Billy Anania | 27 June 2021

‘We Were Already Gone, which was briefly on display at Hauser & Wirth’s 22nd Street location, represents the fleeting nature of these final projects in the year of COVID, bringing together 26 candidates across the disciplines of painting, drawing, sculpture, and video. An expansive online platform showcases each artist’s contributions along with brief biographies and mission statements.’

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Installation view, ‘We Were Already Gone,’ Hauser & Wirth New York, 22nd Street, 2021 © Hauser & Wirth Courtesy Hauser & Wirth Photo: Thomas Barratt
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