Gagosian is pleased to announce the publication of Brice Marden: Catalogue Raisonné of Paintings, 1961–2023. Developed in collaboration with the Estate of Brice Marden and edited by Tiffany Bell, the catalogue is the most comprehensive record of his oeuvre to date, reproducing nearly five hundred paintings on canvas and on marble made over the course of his six-decade career, between 1961 and 2023. Marden was closely involved in the project from 2019 until his passing in August 2023, providing invaluable input and access to his archives that was continued by the Estate.
Available at the Gagosian Shop, the catalogue raisonné will be the gallery’s 700th book, marking forty years of its publishing program.
The catalogue release coincides with Gagosian’s exhibition I Am Plane Image, a major survey of paintings by Marden at 522 West 21st Street, New York, which is on view from September 15 to December 12, 2026.
Distributed by Yale University Press, the catalogue raisonné is organized in chronological order, from Marden’s earliest abstract paintings made during his graduate studies at Yale University, to the final canvas shown at Gagosian, New York, in 2023 in his last exhibition of new work. For each painting, the entry includes a color reproduction (with very few exceptions), caption details, inscriptions, provenance, solo exhibitions, group exhibitions, literature, alternate titles, and studio location. Explanatory notes disclose, whenever possible, Marden’s own thoughts about each painting, as discovered in unpublished notes or interviews from his archive. In several cases, paintings are organized according to groups of related works as defined by the artist, with brief introductory texts by Bell.
The catalogue documents nearly ninety previously unpublished paintings and seventy that have never been part of an exhibition, including studies for an unrealized project dating from the early-to-mid-1980s to create stained-glass windows for the Basel Cathedral in Switzerland. These works illustrate an important shift in the artist’s strategy from monochromatic panels to the gestural compositions that would become his most recognizable creations from mid-career onward. Fittingly, the catalogue raisonné closes with never-before-seen studies for stained-glass windows to be installed posthumously in a deconsecrated church in Tivoli, New York—where the artist primarily lived and worked for the last two decades of his life—which will become a community and cultural center.
The book features an introduction by Larry Gagosian, an essay and note to the reader by Bell, and an illustrated chronology of Marden’s life and career developed by Bell and Anna Gray. Two texts by the artist from early and late in his career reveal, through lines of Marden’s key concerns as a painter: Marden’s thesis statement, prepared in partial fulfillment of the Master of Fine Arts degree he obtained from Yale in 1963, is published here for the first time. It is complemented by a transcript of the 2012 talk that he gave at Tate Modern, London, inaugurating its American Artist Lecture Series.
Gagosian’s extensive in-house publishing program includes catalogues raisonnés, monographs, exhibition catalogues, and limited-edition artist’s books. The gallery’s first publication was Rauschenberg: The White and Black Paintings, 1949–1952 (1986); its first of eleven books on Marden was Brice Marden: The Grove Group (1991). Forty years later, its output rivals that of traditional arts trade publishers, averaging between twenty-five and thirty books a year. Recent and forthcoming subjects include Jean-Michel Basquiat, Marcel Duchamp, Helen Frankenthaler, Jasper Johns, Roy Lichtenstein, Takashi Murakami, Cady Noland, Pablo Picasso, Richard Prince, Nathaniel Mary Quinn, Ed Ruscha, Jenny Saville, Cy Twombly, Andy Warhol, Tom Wesselmann, and Jonas Wood. The gallery also produces Gagosian Quarterly, a celebrated print and online magazine.
Image courtesy of Gagosian
