@hauserwirth

’s ‘Torso-Amphore / Torse-amphore’ (Torso-Amphora) is featured in our virtual Frieze Masters presentation @FriezeArtFair. Conceived in 1962, Arp’s ‘Torso-Amphore / Torse-amphore’ (Torso-Amphora) embodies the rhythmic energy and elegance that came to be expected of the artist’s oeuvre. During this period—the golden age of his career—he continued to produce unblemished surfaces and smooth curvilinear forms. Explore ‘A New Reality’ at the link in our bio, featuring a selection of highlights from Frieze London and Frieze Masters. 1) Hans Arp, Torso-Amphore / Torse-amphore’ (Torso-Amphora), 1962 © Stiftung Arp e.V., Berlin/Rolandswerth / 2019 ProLitteris, Zürich, ARS, New York, and DACS, London 2) Installation view, ‘Arp: Master of 20th Century Sculpture’, Hauser & Wirth Hong Kong, 2019 © Stiftung Arp e.V., Berlin/Rolandswerth / 2019 ProLitteris, Zürich, ARS, New York, and DACS, London

For the month of October, we're participating in @TheBigDraw—the world's largest drawing festival connecting people of all ages with museums, outdoor spaces, artists, designers and illustrators. This year’s theme for the festival is: ‘A Climate of Change’, with a focus on trees. Artist often incorporates trees into his work, engaging formulas and systems. We invite you to respond to the tree in a new way and challenge yourself to represent a tree in an alternative format. Share your artwork using and tag @hauserwirth @TheBigDraw for a chance to be featured! Charles Gaines, Numbers and Trees: Central Park Series III: Tree , Suzy, 2016. Photo: Fredrik Nilsen

Congratulations to on being awarded a knighthood today in the Queen’s Birthday Honors list. During Bowling’s six-decade long career, the artist has relentlessly pursued a practice which boldly expands the possibilities and properties of paint. At 86 years of age, his irrepressible work ethic finds him continuing to push painting to its limits, working in the studio almost every day. ‘Trained in the English art school tradition, my identity as a British artist has always been crucial to me and I have viewed London as my home since arriving in 1953 from what was then British Guiana,’ says Bowling. ‘To be recognized for my contribution to British painting and art history with a knighthood makes me extremely proud.’ Bowling has gained international recognition over the course of his career through over 100 solo museum exhibitions. The full force of his continual evolution as an artist was shown in recent years through the major retrospective exhibitions, ‘Mappa Mundi’ curated by Okwui Enwezor which toured from Haus der Kunst, Munich, in 2017, and ‘Frank Bowling’ at Tate Britain in 2019. Learn more at the link in our bio. 1) Potrait of Frank Bowling. Photo: Sacha Bowling 2) Frank Bowling, Mirror, 1964-66. Tate Collection. Presented by the artist, Rachel Scott and their four children; Benjamin and Sacha Bowling, Marcia and Iona Scott, 2013 3) Frank Bowling, Potarospray, 1980 4) Frank Bowling, Watermelon Bight, 2020 Artwork © Frank Bowling. All Rights Reserved, DACS 2020.

moved to New York City in 1976 to 'have a dialogue with art in the flesh'. In turn, she credits the city and her peers for her artistic growth since. Swipe to hear the artist speak about working in New York and see the pictured work by Minter in our exhibition through 22 October. Learn more at the link in bio. Marilyn Minter, Justice Now, 2020. Courtesy of Marilyn Minter studio and Salon 94, New York

’s (@a.n.j.smith) painting ‘False Steward’ is featured in our Frieze London presentation @FriezeArtFair. Smith’s intricately rendered paintings explore issues of identity, eroticism, mortality, and anxiety. Within her remarkably detailed works, wildly feral landscapes, ambiguous figures, textiles, and rare and exotic flora and fauna are used, to investigate the possibility of a contemporary sublime. Explore ‘A New Reality’ at the link in our bio, featuring a selection of highlights from Frieze London and Frieze Masters. 1) Anj Smith, False Steward (Frieze London), 2019-20 © Anj Smith 2) Anj Smith, False Steward (Studio), 2019-20 © Anj Smith

’s legendary career spanned a half century, from 1930 to 1980. His paintings—particularly the liberated and instinctual forms of his late work—continue to exert a powerful influence on younger generations of contemporary painters. For an in-depth overview of his career, follow the link in our bio. Philip Guston in his Woodstock Studio 1970. Photo: Frank Lloyd @the_guston_foundation

Join us live on Zoom for a virtual walkthrough of the exhibition ‘Seeing Touch’ at Hauser & Wirth St. Moritz on Friday 9 October, 5 pm CET / 4 pm BST / 11 am EST / 8 am PST. Exhibition curator Giorgia von Albertini (@giorgiavalbertini) and Duchamp and Manzoni specialist Marco Senaldi will be talking about the works and themes central to the presentation. Shedding light on a group of intergenerational artists from the gallery’s program and beyond, ‘Seeing Touch’ features a selection of works which can be understood through a wide range of bodily approaches that often supersede the visual. The presentation takes inspiration from Helen Molesworth’s seminal essay ‘Duchamp: By Hand, Even’ (2005), which explores the haptic qualities of Duchamp’s hand-made works versus his readymades. Register at the link in our bio. Installation views, ‘Seeing Touch’, Hauser & Wirth St. Moritz, 2020

We are thrilled to announce representation of . ‘For more than 60 years I have worked in my studio every day to see what I can do to push painting to its limits; to spill, pour, drip, slide and throw paint over canvas and see the extraordinary and surprising things that emerge... Now, after decades of labor, I am humbled to find a home in Hauser & Wirth.’—Frank Bowling Bowling has been hailed as one of the foremost British artists of his generation. Ambitious in scale and scope, his dynamic engagement with the materiality of his chosen medium, and its evolution in the broad sweep of art history, has resulted in paintings of unparalleled originality and power. Our first collaboration with Bowling will be an exhibition at our London gallery space in May 2021. Learn more at the link in our bio.

’s painting ‘Untitled’ is featured in our virtual Frieze Masters presentation @FriezeArtFair. Painted in 1964, Clark’s ‘Untitled’ conveys an experimentation with abstract form, color and materiality that, over the course of his decades-long practice, yielded an oeuvre of remarkable originality, expanding the language of . Explore ‘A New Reality’ at the link in our bio, featuring a selection of highlights from Frieze London and Frieze Masters. Ed Clark, Untitled, 1964 © The Estate of Ed Clark

New work by Martin Creed (@martin_creed) features in our @ifpda presentation which launches today, 7 October. Explore this work, along with recent editions by Rashid Johnson (@rashidjohnson) and George Condo (@artistgeorgecondo), at the link in bio. Martin Creed, Work No. 3396, 2020 © Martin Creed. All Rights Reserved, DACS 2020. Published by H. M. Queen Sonja Art Foundation, Norway, Cristea Roberts Gallery, London, and Hauser & Wirth

’s (@rashidjohnson) solo exhibition ‘Waves’ is now open at Hauser & Wirth London. The exhibition brings together new paintings and ceramic tile mosaics evolving from Johnson’s recurring themes of anxiety and escapism. Among these new works is a collection of sculptural paintings in which the canvas is replaced by a mosaic of fractured ceramic glazed by Johnson in his studio, as well as wood, brass, oyster shell, spray paint and mirrored tiles. Johnson also updates the visual language of his long-established Anxious Men in new works as part of his Anxious Red Paintings series, which began as drawings made during and in reaction to the global lockdown, leading Johnson to produce expansive oil paintings. Learn more and plan your visit at the link in bio. Installation views, ‘Rashid Johnson. Waves’, Hauser & Wirth London, 2020 © Rashid Johnson

You can now experience our exhibition , with many of the artworks featured in our online presentation also on view to the public at our two New York gallery spaces at 542 West 22nd Street and 69th Street through 22 October. This exhibition is the first project presented at the gallery’s new 36,000 square foot space at 542 West 22nd Street. Designed by @SelldorfArchitects, it is our first purpose-built, ground-up building. Learn more at the link in bio.