On the occasion of our exhibition Freya Douglas-Morris: This star I give to you (October 18-November 18, 2023), we are pleased to share an edited transcript of a conversation between Freya Douglas-Morris and publisher and writer Matt Price, which took place at Freya’s studio in London Fields, East London, in August 2023. The full transcript can be found in Douglas-Morris’s publication This star I give to you, published by Hurtwood Press in association with Alexander Berggruen.
On the occasion of Alexander Berggruen’s exhibition Hulda Guzmán: They come from water (May 24-July 5, 2023), we are delighted to share a new editorial feature by artist and critic Andrew Woolbright. As Woolbright considers the “politics of water” at play in Guzmán’s paintings, he finds expressions of love, trust, and hope.
On the occasion of our exhibition Katja Farin, Maria Farrar, Esme Hodsoll, Alyina Zaidi (March 1-April 5, 2023), we spoke with the artists about their work.
On the occasion of Alexander Berggruen’s exhibition Sholto Blissett: Rubicon (January 25-February 22, 2023), we are delighted to share a new editorial feature by Flora Blissett, Sholto’s sister. Flora explores Sholto’s work through an intimate lens, revealing how his interests appear in his paintings and exploring the work’s underlying metaphorical suggestions.
On the occasion of our exhibition Madeleine Bialke, M. Florine Démosthène, Sahara Longe, Nadia Waheed (December 6, 2022-January 11, 2023), we spoke with Bialke, Démosthène, and Waheed about their work.
On the occasion of Alexander Berggruen’s exhibition Gabriel Mills: Butterfly March (October 19-November 19, 2022), we are delighted to share a new editorial feature by Paul D’Agostino, PhD, an artist, writer, curator, and translator. D’Agostino delves into the range of painterly approaches Mills employs to achieve transcendence through his artistic agency of metaphorical metamorphoses.
We’re pleased to share text by Yuri Yuan in which she offers insight into the narrative, influences, and symbolism in her works included in her solo show Yuri Yuan: Dark Dreams (September 7-October 12, 2022).
On the occasion of our exhibition Freya Douglas-Morris, Tom Howse, Talia Levitt (July 20-August 31, 2022), we spoke with the artists about their work.
On the occasion of Alexander Berggruen’s two-part exhibition The Natural World, we are delighted to share a new editorial feature in which Kirsten Cave connects the works in both exhibitions and discusses the emergent themes. Driven by statements from the artists about their work, Cave acknowledges the historical condition of climate change and explores how “attitudes and approaches to The Natural World range from studies of subject matter, line, color, and form, to meditations on symbolism, history, and projection.”
On the occasion of our exhibition Sholto Blissett, Emma Fineman, Madeline Peckenpaugh (December 10, 2021-January 22, 2022), we spoke with the artists about their work.
We are pleased to share with you a new essay, “Anna Kunz: With Rays,” written by Nell Andrew. Following the artist’s gesture and her inspirations from modernism, Andrew dives into the life Kunz imbues into her paintings via color.
Narration of the catalogue essay “You Cannot Stand in the Middle of This” by Chris Rurik for the exhibition Emma Webster: Green Iscariot is available on Apple Podcasts and YouTube.
Essay and narration by Chris Rurik. Sound by Jonathan Apgar.
Angie Jennings explores the limits and structures of our visible spectrums in relation to identity and the unknown through her emanant drawings on black paper and her sculptures. On the occasion of our exhibition Angie Jennings: Guides from the night fields (July 21–August 31, 2021), we spoke with the artist about her work.
Yuri Yuan’s paintings capture fleeting illuminations of loneliness, rendered in enigmatic abstracted elements and environments of disconnect. On the occasion of our exhibition Yuri Yuan: River Flows in You (July 21–August 31, 2021), we spoke with New York-based artist Yuri Yuan about her work.
On the occasion of our exhibition Elana Bowsher, Vicente Matte, Gabriel Mills (June 2–July 14, 2021), we spoke with the artists about their work.
We are pleased to share with you a new essay, “Brittney Leeanne Williams: Black Women at/in the Bend,” written by New York-based curator, producer, and multidisciplinary artist Niama Safia Sandy. Through historical, societal, and spiritual lenses, Sandy explores Williams’s portrayal of the Black female experience and the portals Williams’s paintings open for Black women.
This essay was published on the occasion of Brittney Leeanne Williams: The Arch Is a Portal Is a Belly Is a Back (March 5-April 14, 2021) at Alexander Berggruen, NY.
We are pleased to share with you a new essay, “Danny Fox: Feedback Loop of Visual Reference,” written by Kirsten Cave. This essay explores Fox’s collaboration with photographer Kingsley Ifill, the basis for the paintings included in Danny Fox: The Sweet and Burning Hills (Alexander Berggruen, New York, January 12-February 26, 2021).
From the first group of related photographs and drawings in the 19th century to early pornographic postcards to contemporary pop culture, Fox’s new body of work exists in conversation with the rich history of photography’s influence on drawing and painting.
Alexander Berggruen conducted Small-Format Interviews with each of the artists in our exhibition Quarters: Anne Buckwalter, Dustin Hodges, JJ Manford, Brittney Leeanne Williams (March 18-May 27, 2020).
On Saturday, May 2, at 5 pm Eastern, Alexander Berggruen hosted a Live Virtual Panel with the artists in our past exhibition, Quarters: Anne Buckwalter, Dustin Hodges, JJ Manford, Brittney Leeanne Williams, moderated by art writer and curator Osman Can Yerebakan.
In speaking about the present painting, Emily Mae Smith noted: “I see the cherry as a symbol of feminine sexuality, here performing a cartoon of masculine gender. The Studio is meant to conjure all of our historical feelings of who artists are.”