Its Gagosian to see more of Cy Twombly(pictures above) and his eight sculptures I read the book like his sculptures very much indeed
"A show at any of Gagosian's influential galleries—three in New York, two in London, one in L.A., and one in Rome—is the flashing neon announcement that an artist has made it. (When he poached painter-of-the-moment John Currin, Gagosian reportedly added another digit to Currin’s prices.) In his elegant Madison Ave. space, he’s shown the latest works of Cy Twombly, and a superb exhibit of Picasso’s sculptures. In 2000, Gagosian branched out and inaugurated a vast, cathedral-like warehouse space in Chelsea with a massive steel installation by Richard Serra, followed by a stern Anselm Kiefer show of steel bookcases filled with lead books and sunflowers and grit-studded canvases. His 2000 Damien Hirst exhibit is legendary as one of the most extravagantly produced shows in recent history, with a three-story-high anatomical model and an ob-gyn examination chair sunken in a fish tank. And the museum-quality show of De Kooning paintings was a stunner, proving Gagosian one of the very few galleries capable of competing with museums." NYTimes
Barbara Gladstone is the obvious gallery owner for art investors or gossip columnists to follow: over 25 years of practice have tuned her professional instincts to perfect pitch. Artists represented by Gladstone are among the most dependably popular—and profitable—in recent contemporary art. Among the most successful are Iranian photographer and filmmaker Shirin Neshat, young British photographer and installation artist Sarah Lucas, and sculptor and filmmaker Matthew Barney whose series of Cremaster films was co-produced by Gladstone herself. The shows, naturally, are must-see events, and Gladstone's spectacularly cavernous gallery space is one of the largest and most imposing in Chelsea's high-rent district. The lofty rooms exemplify the local industrial aesthetic: cracked cement floors surrounded by blindingly white walls, large loft-like rooms subdivided into smaller but still ample spaces, and so on. It's all strategically designed for optimum display of installations that are physically—or at the very least, conceptually—larger than life.
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