David Zwirner presents an unexpected dialogue between works of dramatically different scale for Miami Online. From small panels by Josh Smith and Lisa Yuskavage to an expansive triptych by Toba Khedoori and a grand-scale painting by Oscar Murillo; large photographs by Thomas Ruff and Wolfgang Tillmans to vivid small-scale sculptures by Carol Bove and John McCracken, this exclusively online presentation playfully redraws the boundaries of the physical booth and flattens the hierarchy of size.
Debuting in parallel with the 2019 edition of Art Basel Miami Beach, Miami Online encompasses a collection of works from the miniature to the museum scale.
“Khedoori elevates the experience of the commonplace by treating ordinary objects and bits and pieces of nature as if they were precious baubles.”
—Franklin Sirmans, Director of the Pérez Art Museum Miami
Proceeds from the sale of Carol Bove's Never (2019) will be donated to The Kitchen, a multidisciplinary art and performance space in New York City.
“To examine Judd's prints... is to encounter something we rarely associate with this artist: the materiality of process.”
—Jeffrey Weiss, in Donald Judd: Woodcuts, 2008
—Artforum
Above: Wolfgang Tillmans, Greifbar 20, 2015 (detail)
“Smith has continually been able to explore endless potential, and experiment to foster and sustain his work. At once seemingly casual and unpredictable the paintings are underpinned by a pragmatic mind at work and always present.”
—The Brooklyn Rail
—The Brooklyn Rail
“Though Ruff is hardly the only contemporary artist to be interested in how images operate in the digital age, few have examined the subject with such encyclopedic rigor.”
—The New York Times
Ruff’s computer-generated Substrate series, begun in 2001, layers and superimposes images from Manga comics to a degree of pure but perfunctory abstraction.
“Frecon’s images are obviously landscapes, but they also resemble something stranger: actual sculptures completely flattened against the surface, with traces of light and space lingering behind them that go beyond simple illusionism into actual perception.”
—The New York Times
Marcel Dzama and Raymond Pettibon began working together in summer 2015, first swapping series of unfinished drawings to be completed by the other. In a variation of the “exquisite corpse” method, they developed each other’s compositions through improvisational illustration, collage, and writing.
“Bill Traylor’s brilliant but meteoric artistic moment is unprecedented…. The real adventure of finding meaning in Bill Traylor’s art is ours alone.”
—Kerry James Marshall
“There is something solid yet evanescent about his sculptures.… They emanate both simplicity and complexity, and are imbued with the physical qualities of revelation and concealment.”
“The objects made by [Murillo’s] hand float buoyantly within the realm of the liminal, always here and there, inside and out, home and abroad, all at once very familiar, and yet, somehow, entirely untranslatable.”
— BOMB magazine
“It seems that pumpkins do not inspire much respect. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin’s generous unpretentiousness. That and its solid spiritual balance.”
—Yayoi Kusama, in Infinity Net, 2012
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