2022

The Brooklyn Rail

ArtSeen: Pat Steir: Blue River and Rainbow Waterfalls

by Amanda Millet-Sorsa | 15 December 2022

‘Pat Steir has transformed Hauser & Wirth’s immense ground floor gallery in Chelsea into an arena for transcendence. We are lifted away by the gravitational pull of her monumental canvases, each awash with mesmerizing color and the movement of paint.’

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Installation view, ‘Pat Steir. Blue River and Rainbow Waterfalls,’ Hauser & Wirth New York, 22nd Street © Pat Steir. Photo: Thomas Barratt

Hyperallergic

Pat Steir Accepts Time’s Passage With Grace

by John Yau | 15 December 2022

‘Years of working with paint have paid off; Steir knows how to get the effect she wants. She can take the paint from watery to melting butter to something as slow and dense as syrup. The craquelure surface evokes erosion, while the rivulets are dissipating roots reaching down. The brushstrokes convey a sense of history as ongoing layers with different sets of roots; they also suggest fraying and unraveling flags.’

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Pat Steir, Rainbow Waterfall #5, 2022, Oil on canvas © Pat Steir. Photo: Elisabeth Bernstein

Bookforum

Artful Volumes: The season’s outstanding art books

by David O'Neill | 7 December 2022

‘No standard monograph could quite hold Whitten’s artistic imagining, so JACK WHITTEN: COSMIC SOUL (Hauser & Wirth Publishers, $45), by Richard Shiff, reimagines the art book as something that feels improvisatory and free, letting Whitten’s six decades of art roam aside commentary that keeps up rather than corrals.’

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Jack Whitten, Juju Bundle #4, 2014 © The Estate of Jack Whitten, Courtesy the artist and Hauser & Wirth

The Brooklyn Rail

Maria Lassnig: The Biography

by Karen Chernick | 17 November 2022

‘Yet the overarching detail—and motto of this artist’s life, as well as the biography representing it—is succinctly summed up by Lassnig’s own words printed on the fore edge of the book. ‘My sole purpose in life, and only wish, is to be a good painter,’ Lassnig wrote. ‘Gaining self-confidence through painting was the focus of my entire life.’ Lettner’s detailed retelling of Lassnig’s life story successfully captures this quest.’

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Cover of ‘Maria Lassnig: The Biography’

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

WSJ. Magazine

The Artist Who Warned Us About Meme Culture

by Kelly Crow | 29 October 2022

‘Jenny’s works are vibrantly alive in a way that still feels radical.’

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Jenny Holzer on the cover of WSJ. Magazine's 2022 Innovators Issue. Courtesy WSJ. Magazine. Photo: Annemarieke Van Drimmelen

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
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