Vanity Fair

Amy Sherald On Making Breonna Taylor’s Portrait

by Miles Pope | 24 August 2020

‘She calls this portrait a contribution to the ‘moment and to activism – producing this image keeps Breonna alive forever.’’

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Amy Sherald. Photo: Joseph Hyde

The New York Times

A Swiss Dada Pioneer Finally Gets Her Spotlight

by Ted Loos | 9 July 2020

‘Taeuber-Arp (1889-1943), a pathbreaking artist, is the only woman on a Swiss bank note, and she has been featured previously in major museum exhibitions. But her name is hardly bandied about – certainly not with the frequency of her husband’s, Jean (Hans) Arp – and some influential people in the art world are collectively looking to change that.’

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Sophie Taeuber-Arp with Dada-Head, Zurich, 1920, © Stiftung Arp e.V., Berlin/Rolandswerth Courtesy Stiftung Arp e.V., Berlin/Rolandswerth and Hauser & Wirth. Photo: Nic Aluf

Financial Times

Annie Leibovitz: ‘I’m frustrated about the word ‘celebrity’’

by Jan Dalley | 19 June 2020

‘This has been a great time for renewal, but also a time for reckoning. For all of us right now.’

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Annie Leibovitz, Self Portrait © Annie Leibovitz. Courtesy the artist and Hauser & Wirth

The Washington Post

Mark Bradford’s art sees all the broken places that led to this moment of protest

by Sebastian Smee | 9 June 2020

‘Bradford’s art, in particular, doesn’t need you to need it. It is rich in connotations. But it also has a secret quality. It’s an alternative, in this sense, to hashtags, social media feeds and daily news reports. It has the same resistance to analysis and interpretation that a mature person has.’

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Black Venus, 2005, Mixed media on canvas, 315 x 462.3 cm / 124 x 182 in © Mark Bradford, Courtesy the artist and Hauser & Wirth. Photo: Bruce White


Lucio Fontana

by Jan Tumlir | 1 May 2020

‘One of the greatest rewards of this exhibition came with the perception of what might be termed its site specificity – that is, the fact that it was mounted in Los Angeles, launching pad of the Light and Space movement. Fontana’s expanded field practice clearly anticipated that work and, later, perhaps, responded to it as well. Most provocatively, however, it can be seen to occupy a very volatile nexus between the old-country Futurist paeans to military carnage and the tidied-up aerospace fascinations of such local heroes as Robert Irwin and James Turrell.’

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Installation view, ‘Lucio Fontana. Walking the Space: Spatial Environments, 1948 – 1968,’ Hauser & Wirth Los Angeles, 2020 © Fondazione Lucio Fontana by SIAE 2020. Courtesy Fondazione Lucio Fontana, Milano. Photo: Fredrik Nilsen


West Side Story: Hauser & Wirth’s new Chelsea outpost is big, clever and inclusive

by Jessica Klingelfuss | 23 April 2020

‘We have often described Hauser & Wirth’s spaces as ‘energy centres’ where visitors can stay for a while to see exhibitions, explore books, have a coffee, participate in public programmes, and so forth. It’s a way of life for us, for our team, and for our artists. And we, of course, hope it is a way of life for those who visit.’

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Portrait of Iwan Wirth, Manuela Wirth, Marc Payot. Photo: Brigitte LaCombe

LA Weekly

Nicolas Party’s Postmodern Palace

by Shana Nys Dambrot | 4 March 2020

‘Party’s belief in the power of art to transcend era and context to evolve into timeless works of shared humanity is everywhere evident.’

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Nicolas Party, Portrait with Roses, 2019 © Nicolas Party. Photo: Jeff McClane


Isa Genzken stages a flight of fantasy at Hauser & Wirth

by Harriet Lloyd-Smith | 18 February 2020

‘Both Isa Genzken and her work are difficult to pin down. She’s reserved, enigmatic and reluctant to give interviews, but according to Hauser & Wirth Partner Florian Berktold, wields an ‘incredible sense of humour.’’

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Installation view, 'Isa Genzken. Window', Hauser & Wirth, London, 2020. © Isa Genzken / Licensed by Artists Rights Society (ARS), New York. Courtesy the artist and Galerie Buchholz Cologne / Berlin / New York. Photo: Alex Delfanne
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