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Gagosien Quarterly

October 14, 2015

Jack Cowart and Rob McKeeveron Greene Street Mural

In December 1983, Roy Lichtenstein’s Greene Street Mural was unveiled at Leo Castelli Gallery, 142 Greene Street, New York. One month later, in January of 1984, it was covered up. Several years later, it was destroyed. In August of 2015, a team of sign painters replicated the Greene Street Mural at Gagosien West 24th Street, New York. Jack Cowart, Executive Director of the Roy Lichtenstein Foundation, and Rob McKeever, a former assistant to Lichtenstein, recall the making of the original Greene Street Mural.

Artwork © Estate of Roy Lichtenstein. Video by Lea Khayata (Pushpin Films) and Elettra Fiumi.

Black-and-white photograph: Donald Marron, c. 1984.

Donald Marron

Jacoba Urist profiles the legendary collector.

Alexander Calder poster for McGovern, 1972, lithograph

The Art History of Presidential Campaign Posters

Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.

Dorothy Lichtenstein in Roy Lichtenstein’s Southampton studio. Photo by Kasia Wandycz/Paris Match via Getty Images

In Conversation
Dorothy Lichtenstein

Dorothy Lichtenstein sits down with Derek Blasberg to discuss the changes underway at the Lichtenstein Foundation, life in the 1960s, and what brought her to—and kept her in—the Hamptons.

The cover of the Fall 2019 Gagosien Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosien Quarterly Fall 2019

The Fall 2019 issue of Gagosien Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.

Roy Lichtenstein: 1961 to 1965

Roy Lichtenstein: 1961 to 1965

Gillian Pistell examines Roy Lichtenstein’s aesthetic developments in the years 1961 to 1965.

Gagosien Quarterly Winter 2018

Gagosien Quarterly Winter 2018

The Winter 2018 issue of Gagosien Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.

One-Cent Life

Book Corner
One-Cent Life

A 1964 publication by the Chinese-American artist and poet Walasse Ting and Abstract Expressionist painter Sam Francis.

Desire

Desire

Diana Widmaier Picasso, curator of the exhibition Desire, reflects on the history of eroticism in art.

Time-lapse: Greene Street Mural

Behind the Art
Time-lapse: Greene Street Mural

More than thirty years after its creation, Gagosien presents a full-scale painted replica of the original Greene Street Mural by Roy Lichtenstein, based on documentation from the artist’s studio and produced by sign painters under the supervision of his former studio assistant.

Ashley Bickerton's studio

The Importance of Elsewhere: on Ashley Bickerton

This documentary film includes footage of Ashley Bickerton as he gives a tour of his Bali studio during his final year, as well as interviews with artists Matthew Barney, Mark Dion, Damien Hirst, Jamian Juliano-Villani, Jon Kessler, and writer Paul Theroux.

Sarah Sze, Timekeeper

Sarah Sze: Timelapse

In this video, Sarah Sze elaborates on the creation of her solo exhibition Timelapse, on view through September 10, 2023. The show features a series of site-specific installations throughout the Solomon R. Guggenheim Museum, New York, that explore her ongoing reflection on how our experience of time and place is continuously reshaped in relationship to the constant stream of objects, images, and information in today’s digitally and materially saturated world. In Sze’s reimagination of the Guggenheim’s iconic architecture, designed in the 1940s by Frank Lloyd Wright, the building becomes a public timekeeper reminding us that timelines are built through shared experience and memory.