You consume with your eyes. And eyes are voracious. The stomach has a size. It will only fit so much. But the eyes?…You think eventually you will get enough. But satisfaction and familiarity don’t come. You just keep wanting and waiting. Wanting and waiting, needing more. A meal that does not end. — Roni Horn
Located at the gallery’s two New York locations and online, more than 100 artists are participating in the project, including Rita Ackermann, Kelly Akashi, IdaApplebroog, Genesis Belanger, Lynda Benglis, Katherine Bernhardt, Huma Bhabha, Carol Bove, Katherine Bradford, Sam Falls, Charles Gaines, Maureen Gallace, Joanne Greenbaum, Mona Hatoum, Mary Heilmann, Camille Henrot, Jenny Holzer, Roni Horn, Shara Hughes, Rashid Johnson, Joan Jonas, Sanya Kantarovsky, June Leaf, Simone Leigh, Zoe Leonard, Glenn Ligon, Sam McKinniss, Marilyn Minter, Sarah Morris, Angel Otero, Adam Pendleton, Elizabeth Peyton, Jack Pierson, R.H. Quaytman, Deborah Roberts, Ugo Rondinone, MikaRottenberg, Tschabalala Self, Amy Sherald, Cindy Sherman, Amy Sillman, Laurie Simmons, Taryn Simon, Lorna Simpson, Avery Singer, Sarah Sze, Kara Walker, Mary Weatherford, and the estate of Anne Truitt.
Roni Horn and LACMA director Michael Govan—in conjunction with the museum’s View FromHere program—will discuss how “recently acquired artworks…function historically in an encyclopedic collection, and how they provide us with a window into the challenges and joys of art making.”*
To r.s.v.p. for the online conversation, see link below.
Origin stories are essential to Ursula Hauser. Growing up in St. Gallen, Switzerland, she co-founded and directed her family’s appliance business in the city. Although she initially felt a stronger connection to modern architecture than contemporary art, she started buying works by Swiss artists in the 1960s.
“They came and went in our house. And it’s still that way with our artists. We would meet on weekends or were invited to birthdays. To me, support means acquiring something an artist has made. In the mid-1980s, I set up my own showrooms in the abandoned Rohner Textile factory in Flawil: Galerie Arte Nuova. Actually it wasn’t a gallery; I just wanted to give local artists a platform.” — Ursula Hauser*
Hauser—who co-founded Hauser & Wirth in 1992 in Zürich with her future son-in-law Iwan Wirth and daughter Manuela—has remained personal friends with many of the artists whose work she collects, always availing herself of the opportunity to spend time with them in their studios, talking through their process. The new publication THE INNER MIRROR: CONVERSATIONS WITH URSULA HAUSER, ART COLLECTOR—a beautifully illustrated book-length interview between Hauser, Laura Bechter, and Michaela Unterdörfer—is the story of this exchange.
“In the big American studios… you make contact, introduce yourself, or maybe you’ve bought a work, so there’s already a connection. And then you take a very tentative approach, proceed step-by-step, depending on whether the chemistry is there. As a rule, you’ve already met at an exhibition, in a gallery, or in a museum. And finally you peer into all the corners.”*
Whether discovering SoHo in the 1990s with Iwan Wirth, celebrating Parkett’s tenth anniversary with Bice Curiger and Jacqueline Burckhardt, trading cars with Jason Rhoades in Los Angeles, or discovering drawings by Ida Applebroog in the artist’s cabinet drawers, THE INNERMIRROR is a private view into the life and work of this key art world figure. For Hauser, the book’s title refers to something women were seldom afforded the luxury of revealing, something Hauser found through art.
“Women who support a family and have to survive—it doesn’t occur to anyone that they might have personal feelings. You simply have to fight, it’s a struggle, and you have no choice but to make something good, something better out of it… Louise Bourgeois’ work is like a mirror of humanity. For people of my generation, it was impossible to let on that you were vulnerable. You would never reveal the reflections on your inner mirror. That was a sign of weakness and then you would have been lost. And that’s exactly what Louise’s work shows. Her art creates a space where that can be expressed.”*
The works in the Ursula Hauser Collection stay with her—she’s held on to drawings and models by Paul McCarthy for years—and Hauser collaborates with the Kunstmuseum St. Gallen on exhibitions of the collection. This summer in southwest England, the show UNCONSCIOUSLANDSCAPE—WORKS FROM THE URSULA HAUSER COLLECTION—curated by Manuela Wirth and Laura Bechter—brings together sixty-five works by the women who have drawn Hauser’s eye over the last four decades.