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David Zwirner  Find out about upcoming exhibitions and events:

After completing a degree in architecture at Cornell University, Gordon Matta-Clark returned to his home city of New York. There he employed the term “anarchitecture,” combining “anarchy” and “architecture,” to describe the site-specific works he initially realized in the South Bronx. On view at the @jeudepaumeparis, Gordon Matta-Clark: Anarchitect closes today, September 23 and features more than one hundred works, as well as film projections and rarely seen materials from the artist’s archive. @robertasmithnyt praised Anarchitect as "beautifully staged, streamlined version of the artist’s career [that] still conveys a full picture of his radical sensibility." ...
Pictured: Gordon Matta-Clark, Conical Intersect, 1975. © 2018 The Estate of Gordon Matta-Clark / ADAGP, Paris. Courtesy The Estate of Gordon Matta-Clark.

We’re getting ready for the #FirstDayofFall with a photograph from William Eggleston’s series The Democratic Forest, one of the artist’s most ambitious projects and a prime example of his uniquely recognizable aesthetic. Comprising a careful selection of works from over ten thousand negatives he took in the mid-1980s, these photographs of rural back roads, industrial and residential environs, architectural details, restaurant interiors, and parking lots, among other locales, eluded the conventions of both reportage and the black-and-white art photography practiced by many of the artist’s peers at the time, and instead shaped their own definition of what a photographic image could be—intuitive and charged with imaginative possibilities. Collectively, the project echoes Eggleston’s predilection for the “democratic” vision of the camera, able to render equally what is in front of the lens. A selection of photographs from this series were on view at David Zwirner New York in 2016. ...
Pictured: William Eggleston, Untitled, c. 1983-1986. #WilliamEggleston #Eggleston #photography #DavidZwirner

Opening tonight with a public reception from 6 to 8 PM @juddfoundation, Donald Judd: Paintings 1960–1961 presents nine works by the artist curated by Flavin Judd, Artistic Director of Judd Foundation. Judd began as a painter before transitioning to work in three dimensions in 1962, and these untitled works—four from 1960 and five from 1961—reflect his experiments with a variety of techniques and possibilities for creating non-illusionistic space in two dimensions. Donald Judd: Paintings 1960–1961 marks the first presentation of these works in New York.
Pictured: Donald Judd, Untitled, 1961. Donald Judd Art © Judd Foundation/Artists Rights Society (ARS), New York. Photo: Silvia Ros @flavinjudd #DonaldJudd #JuddFoundation #davidzwirner

For its next Viewing Room, David Zwirner is pleased to present a collection of exquisite corpse drawings connected with the exhibition A Selection of Works from Galerie 1900-2000, currently on view at 34 East 69th Street. Defined in André Breton and Paul Éluard’s Abridged Dictionary of Surrealism as a "game of folded paper that consists in having a sentence or a drawing composed by several persons, each ignorant of the preceding collaboration," exquisite corpse is one of many unique strategies and techniques Surrealists developed around chance and unpredictability. ...
Pictured: Yves and Jeannette Tanguy, Georges and Germaine Hugnet, and Oscar Domínguez, Cadavre Exquis (Exquisite Corpse), 1935. Image courtesy of Galerie 1900-2000.

Earlier this week, Art Space at Paradise City in Seoul, Korea opened with the inaugural show Overstated & Understated, featuring Jeff Koons's Gazing Ball (Farnese Hercules), 2013. In keeping with the artist's overall practice, Koons’s Gazing Ball series engages and disrupts a number of fundamental art historical tenets, including notions of originality, iconography, and the gaze; while also echoing the preoccupation with artificial luxury and superficiality that has been a hallmark of his work since the 1980s. The series takes as its point of departure the mirrored gazing ball, a popular yard ornament commonly found in the area around the artist's childhood home in central Pennsylvania.
Pictured: Jeff Koons at Paradise City opening with his Gazing Ball (Farnese Hercules), 2013. #JeffKoons #DavidZwirner @pcitykorea @jeffkoons

Standing 26 feet tall, Isa Genzken’s yellow rose is now permanently installed at Zuccotti Park in the heart of Lower Manhattan. The landscape of New York City, and Lower Manhattan in particular, has long been a source of inspiration and investigation for the artist, who has made multiple bodies of work dedicated to New York. Throughout the four decades of the artist’s career, the subjects of architecture, urban space, and their impact on the social life of cities have been central to Genzken’s multifaceted art practice.
“Meet me at the Rose”––During the unveiling on September 17, Laura Hoptman, Executive Director of the @drawingcenter, imagined Rose III would become a new meeting point for people downtown.
Pictured: Isa Genzken, Rose III, 2016. Photo by Timothy Schenck/Courtesy Galerie Buchholz, Berlin/Cologne/New York. #IsaGenzken #DavidZwirner #meetmeatherose @timothyschenck @galeriebuchholz

This Wednesday, September 19, Oscar Murillo’s first solo show opens at David Zwirner Hong Kong. In recent years, Murillo has traveled extensively throughout the world to research and prepare exhibitions and other projects, making works both in the studio and in unexpected locations. As a result, airplanes, which are able to move more or less freely and without regard to borders, and the contemplative isolation afforded by these long journeys, have become an important site of production for the artist. “Constant transnational movement,” he explains, “has become an integral facet of my practice. Flight becomes not just a means of travel but a sacred ‘other’ space.” The exhibition will present recent paintings and works on paper.

Pictured: Oscar Murillo, The build-up of content and information, 2016-2018. © Oscar Murillo. #OscarMurillo #DavidZwirner #DavidZwirnerHongKong #HQueensHK #HongKong

Just opened this month, the @pulitzerarts in St. Louis presents the first posthumous exhibition of Ruth Asawa’s practice, featuring some sixty sculptural works from throughout her career as well as twenty paintings, drawings, and collages she created at Black Mountain College. This will also be the first major museum exhibition dedicated to Asawa outside California, where the artist lived and worked for more than sixty years after moving to San Francisco in 1949.
“Ruth Asawa was one of the most rigorous and inventive artists of her day," states Pulitzer director Cara Starke. "With this exhibition we hope to shed light on how she came to create sculptures that are, in essence, transparent, voluminous yet light, and unique among the work of her peers." ...
Pictured from left: Installation view, Ruth Asawa: Life’s work, Pulitzer Arts Foundation, St. Louis, 2018. Ruth Asawa, Untitled (“S.453, Hanging Three-Lobed, Three-Layered Continuous Form within a Form), ca. 1957–59. The Estate of Ruth Asawa. Photograph by Dan Bradica. #RuthAsawa #DavidZwirner

For its next Viewing Room, David Zwirner is pleased to present a selection of recent photographs by Wolfgang Tillmans in connection with the gallery’s presentation in September Art Fair at The Bridge.
Tillmans's solo exhibition How likely is it that only I am right in this matter? is currently on view across the West 19th Street galleries.
Pictured: Wolfgang Tillmans, September still life, 2016. #WolfgangTillmans #septemberartfair @wolfgang_tillmans #DavidZwirner

David Zwirner is pleased to announce its collaboration with Fraenkel Gallery in the representation of The Estate of Diane Arbus. Fraenkel Gallery’s long and close association with the Arbus Estate will continue unchanged as it works together with David Zwirner on the presentation of Arbus’s photographs in David Zwirner’s New York, London, and Hong Kong locations. The New York Times first made the announcement.
Inaugurating the collaboration will be the first complete presentation of Diane Arbus’s Untitled series, sixty-five images made at residences for the developmentally disabled between 1969 and 1971, the last years of the artist’s life. These late works are a radical departure from the bold, confrontational images upon which the photographer’s formidable reputation largely stands. They resonate with an emotional purity that sets them apart from all her other achievements. Though Arbus contemplated making a book on the subject, the majority of these images remained unknown until 1995, when Aperture published Diane Arbus: Untitled. The forthcoming exhibition at David Zwirner will include several images that have never before been seen. It opens to the public on November 2, 2018, at 537 West 20th Street, New York. ... Pictured: Stephen Frank, Diane Arbus During a Class at the Rhode Island School of Design, 1970. © Stephen A. Frank. #DianeArbus #FraenkelGallery #DavidZwirner @fraenkelgallery

Josef and Anni Albers: Voyage inside a blind experience, currently on view at @TheGlucksman, has equal interest for seeing and for visually impaired people, exploring the question of whether it is possible to experience abstract artworks without using your eyes. The exhibition presents key works from the artists, including Anni Albers’s influential textile works and Josef Albers’s renowned Homage to the Square paintings, alongside tactile models, braille texts, and playful art encounters led by touch. …
Pictured: Installation view of Josef and Anni Albers: Voyage inside a blind experience. Photo: Jed Niezgoda. #AnniAlbers #JosefAlbers #AlbersFoundation @voyageinsideablindexperience @albers_foundation

Since the early 1990s, Wolfgang Tillmans’s works have epitomized a new kind of subjectivity in photography, pairing intimacy and playfulness with social critique and the persistent questioning of existing values and hierarchies. Opening tomorrow, September 13 from 6 to 8 PM across the 19th Street galleries, How likely is it that only I am right in this matter? will present new and recent work, marking the artist’s third solo show with the gallery. Through his seamless integration of genres, subjects, techniques, and exhibition strategies, Tillmans has expanded conventional ways of approaching photography and his practice continues to address the fundamental question of what it means to create pictures in an increasingly image-saturated world.

Pictured: Wolfgang Tillmans, after party, P 19/20, 2018. #WolfgangTillmans #DavidZwirner @wolfgang_tillmans

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