Ursula is the digital art magazine of Hauser & Wirth, featuring essays, profiles, films, interviews, original portfolios, and photography by some of the most thought-provoking writers and artists in the world.


Nicolas Party: Pastel

Filmmaker Pablo Tapia-Plá takes a closer look at the artist’s use of a single material, inside his New York studio and La Maison du Pastel in Paris


The Double

As part of our ongoing Antiphony series of newly commissioned poetry, a double sonnet in response to Gerhard Richter’s painting titled ‘I.G.’ (1993), one of only ten paintings he made of fellow German artist Isa Genzken.

Options for How to Be

‘[The ‘Film Stills’ are] about how photography is complicit in the malleability of identity, which of course now in the age of social media we know.’—Eva Respini

Leon Golub’s Unwavering Gaze

Art serves as a reflection of its time, uniquely able to channel the affective dimensions of the complex modes of relation among individuals and institutions—intimately and internationally—that animate our world. Politically motivated artists put this fact of art to good use, demanding that viewers enter into dialogue with the injustices and inequalities taken to task in their work.

Leon Golub is one such artist. The staunchly political subject matter of his work has found enduring resonance throughout the latter half of the twentieth century and into the twenty-first, with recent attention to local police violence and authoritarian abuses abroad underscoring its ongoing relevance. Golub’s work, along with that of his wife, artist Nancy Spero, is now on view at Tate Modern, London, as part of a special presentation highlighting the donation of new works by Jon Bird, an artist and one of the foremost scholars of Golub’s art-making. Tate Publishing has also just released ‘A Brief History of Protest Art,’ a new book by Aindrea Emelife that offers a history of protest art from Picasso’s ‘Guernica’ to today. Excerpted below is Emelife’s text on Golub’s ‘White Squad V’ (1984).

The Heart Has Its Own Intelligence: Legacies of the Gee’s Bend Quilters

A roundtable discussion on the occasion of the exhibition ‘The New Bend’


Residue, Traces, Ghosts

For ‘Remembering Tomorrow,’ his first exhibition with Hauser & Wirth, in Los Angeles, Simmons speaks about growing up a latch-key child, nurtured by afternoon television cartoon shows, learning early on the degree to which American popular culture and structural racism are inextricably intertwined. In painting, drawing and sculpture over three decades, his work has often stood as an anguished poetic struggle against the contradictions of the culture in which he was raised. ‘There’s no way to actually erase a stereotype,’ he says. ‘It’s always going to have some traces left behind … that fever violence to get rid of it is a futile experience, because you can’t get rid of it.’

Lived Experience

There’s a particular moment, when you are making an exhibition, in which everything is suspended. Much has already been done: lists of works drawn up and altered several times, loan forms completed. Plinths measured and ordered; walls painted fresh. Press release sent. You feel you have puzzled long enough over the scale model on your office floor.

Pictures of Sculptures

On the occasion of ‘Fausto Melotti. Theatre’ at Hauser & Wirth London, exhibition curator Saim Demircan spoke about Melotti’s work with Eva Fabbris, who co-curated with Cristiano Raimondi an exhibition on the artist at Villa Paloma, Nouveau Musée National de Monaco, in 2015–16. The two discuss the importance of reproductions for Melotti, particularly in the pages of the influential architecture, design, and art magazine ‘Domus’ and in the photographs of Ugo Mulas. Mirroring the four-decade scope of the exhibition, their conversation tracks several important moments in the trajectory of Melotti’s career—the mid-1930s, the years immediately following World War II, the early ’60s, and the early ’70s—focusing on the unique position Melotti’s art occupied between art and design, self-contained sculpture and immersive environment.
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