On a wind-whipped afternoon in late November, Main Street in Southampton, New York looked like a ghostly still life of a slumbering summer town. No cars, no people, a shuttered fudge shop – an off-season amplified by a resurgent pandemic. Inside the state’s newest branch of Hauser & Wirth, however, artists and gallerists mounted an alternative mood through a show of paintings. With social distancing mandates in place and buzzy openings relegated to memory, the work itself – albeit viewed silently and alone – offered a much-needed shot of life.
With more than a dozen outposts across Europe, Asia and the United States – and annual sales in the hundreds of millions of dollars – Hauser & Wirth had signed the lease last June, taking over a two-storey, 450 square metre former clothing boutique. But it had never previously planned to open here. It was a move born of emergency.
The film-maker Garrett Bradley Courtesy the artist and Lisson Gallery
Garrett Bradley, a filmmaker who has quickly captured the hearts and minds of the art and film worlds in just the past couple of years, has joined the roster at Lisson gallery. Bradley’s feature-length documentary Time (2020) a subtle, soulful portrait of Sibil Richardson (known as “Fox Rich”), a woman whose family was for two decades ensnared in America’s racist and dehumanizing justice system is shortlisted for an Oscar and won the Best Director award at Sundance last year, the first such award for a Black woman.
Bradley, who is 35, has also earned a quick foothold in the art world. Her multi-channel, cinematic installation,