Miami Online

An installation view featuring works by Thoba Khedoori at Fondation Beyeler, dated 2019
Installation view, Resonating Spaces, Fondation Beyeler, Basel, 2019
Installation view, Resonating Spaces, Fondation Beyeler, Basel, 2019
An installation view featuring works by Thoba Khedoori at Fondation Beyeler, dated 2019
Installation view, Resonating Spaces, Fondation Beyeler, Basel, Switzerland, 2019
Installation view, Resonating Spaces, Fondation Beyeler, Basel, Switzerland, 2019

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.


A graphic title card for artist Toba Khedoori
A detail from a drawing by Toba Khedoori, titled Untitled (overpass), dated 1994
A drawing by Toba Khedoori, titled Untitled (overpass), dated 1994

Toba Khedoori

Untitled (overpass), 1994
Oil and wax on paper

Overall: 137 1/2 x 234 inches (349.3 x 594.4 cm)

 

“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

A graphic title card for artist Carol Bove
A sculpture by Carol Bove, titled 2019-003, dated 2019

Carol Bove

Never, 2019
Stainless steel and urethane paint

12 x 46 1/4 x 10 5/8 inches (30.5 x 117.5 x 27 cm)

 

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.

An installation view featuring artwork by Carol Bove, dated 2019
Installation view, Carol Bove, May You Live in Interesting Times, the 58th International Art Exhibition La Biennale di Venezia, 2019
Installation view, Carol Bove, May You Live in Interesting Times, the 58th International Art Exhibition La Biennale di Venezia, 2019
A graphic title card for artist Donald Judd
An installation images featuring prints by Donald Judd at the Judd Foundation, dated 2015
A rendering of a set of ten prints by Donald Judd, titled Untitled, dated 1988
Top and above: Installation view, Donald Judd: Prints, Judd Foundation, New York, 2015; Donald Judd, Untitled, 1988 © 2019 Judd Foundation
Top and above: Installation view, Donald Judd: Prints, Judd Foundation, New York, 2015; Donald Judd, Untitled, 1988 © 2019 Judd Foundation
A print by Donald Judd, titled Untitled, dated 1988

Donald Judd

Untitled, 1988
Set of ten (10) woodcuts printed in ivory black on Japanese wove paper Okawara
Sheet, each: 23 5/8 x 31 5/8 inches (60 x 80.3 cm)
Framed, each: 26 x 33 7/8 x 1 1/2 inches (66 x 86 x 3.8 cm)
Edition of 25, 10 AP, 4 PP

“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

A graphic title card for artist Wolfgang Tillmans
A detail of a photograph by Wolfgang Tillmans, titled Greifbar, dated 2015
A photograph by Wolfgang Tillmans, titled Greifbar 20, dated 2015

Wolfgang Tillmans

Greifbar 20, 2015
Inkjet print on paper, clips

107 1/2 x 144 1/2 inches (273 x 367 cm)

Edition of 1, 1 AP

Certificate of Authenticity

“[Tillmans’s] pictures show something quite different from a ‘comprehensive order.’ They offer... a fragmentary, open-ended world view given structure through movement and transformation but also by singularity: the unrepeatable power of each picture as a moment of difference.”

Artforum

Above: Wolfgang Tillmans, Greifbar 20, 2015 (detail)

A photograph by Wolfgang Tillmans, titled Adalbert Garden, dated 2014

Wolfgang Tillmans

Adalbert Garden, 2014
Inkjet print on paper, clips

108 x 161 1/2 inches (274.3 x 410.2 cm)

Edition of 1, 1 AP

Certificate of Authenticity

A detail of a photograph by Wolfgang Tillmans, titled Adalbert Garden, dated 2014
A graphic title card for artist Josh Smith
A detail from a painting by Josh Smith, titled Untitled, dated 2019
An installation view featuring paintings by Josh Smith, dated 2019
Installation view, Josh Smith: Emo Jungle, David Zwirner, New York, 2019
Installation view, Josh Smith: Emo Jungle, David Zwirner, New York, 2019
An installation view featuring works by Josh Smith, dated 2019
Installation view, Josh Smith: Emo Jungle, David Zwirner, New York, 2019
Installation view, Josh Smith: Emo Jungle, David Zwirner, New York, 2019
A painting by Josh Smith, titled Untitled, dated 2019

Josh Smith

Untitled, 2019
Oil on linen in artist's frame

11 x 9 x 1 3/8 inches (27.9 x 22.9 x 3.5 cm)

A painting by Josh Smith, titled Untitled, dated 2019

Josh Smith

Untitled, 2019
Oil on linen in artist's frame

10 7/8 x 9 x 1 3/8 inches (27.6 x 22.9 x 3.5 cm)

“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

A painting by Josh Smith, titled Untitled, dated 2019

Josh Smith

Untitled, 2019
Oil on linen in artist's frame

13 x 10 x 1 3/8 inches (33 x 25.4 x 3.5 cm)

 
A graphic title card for artist Lisa Yuskavage
A detail from a painting by Lisa Yuskavage, titled Hot Couple, dated 2019
An installation view featuring paintings by Lisa Yuskavage, dated 2018
Installation View, Babie Brood: Small Paintings 1985–2018, David Zwirner, New York, 2018
Installation View, Babie Brood: Small Paintings 1985–2018, David Zwirner, New York, 2018
An installation view featuring paintings by Lisa Yuskavage, dated 2018
Installation View, Babie Brood: Small Paintings 1985–2018, David Zwirner, New York, 2018
Installation View, Babie Brood: Small Paintings 1985–2018, David Zwirner, New York, 2018
“One is conscious, even in these small [works], of the fluidity of paint and the artist’s remarkable manipulation of light and color.”

The Brooklyn Rail
A painting by Lisa Yuskavage, titled Hot Couple, dated 2019

Lisa Yuskavage

Hot Couple, 2019
Oil on wood panel
8 x 6 inches (20.3 x 15.2 cm)
A graphic title card for artist Thomas Ruff
A detail from a photograph by Thomas Ruff, titled Substrat 13 III, dated 2003
A photograph by Thomas Ruff, titled nudes he07, dated 2012

Thomas Ruff

nudes he07, 2012
Chromogenic print with Diasec
106 1/4 x 72 7/8 x 1 3/4 inches (270 x 185 x 4.5 cm)

Edition of 1, 1 AP

“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.

A photograph by Thomas Ruff, titled Substrat 13 III, dated 2003

Thomas Ruff

Substrat 13 III, 2003
Chromogenic print with Diasec

89 3/8 x 73 1/4 x 2 5/8 inches (227 x 186 x 6.7 cm)

Edition of 3, 1 AP
A graphic title card for artist Suzan Frecon
A detail from a painting by Suzan Frecon, titled rounded area in double vertical, dated 2018
An installation view featuring paintings by Suzan Frecon, dated 2017
Installation view, Suzan Frecon: recent oil paintings, David Zwirner, New York, 2017
Installation view, Suzan Frecon: recent oil paintings, David Zwirner, New York, 2017
An installation view featuring paintings by Suzan Frecon, dated 2017
Installation view, Suzan Frecon: recent oil paintings, David Zwirner, New York, 2017
Installation view, Suzan Frecon: recent oil paintings, David Zwirner, New York, 2017

“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

A painting by Suzan Frecon, titled rounded area in double vertical, dated 2018

Suzan Frecon

rounded area in double vertical, 2018
Oil on wood panel
9 3/4 x 12 1/8 x 1 inches (24.8 x 30.8 x 2.5 cm)
 
A graphic title card for artists Marcel Dzama and Raymond Pettibon
A detail from a painting by Marcel Dzama and Raymond Pettibon, titled No Title (The weight of...), dated 2019
A work on paper by Marcel Dzama and Raymond Pettibon, titled No Title (The weight of...), dated 2019

Marcel Dzama, Raymond Pettibon

No Title (The weight of...), 2019
Ink, charcoal, and graphite on paper

52 x 112 1/2 inches (132.1 x 285.8 cm)

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.

An installation view featuring collaborative works by Marcel Dzama and Raymond Pettibon, dated 2016
Installation view, Marcel Dzama and Raymond Pettibon: Forgetting the Hand, David Zwirner, New York, 2016
Installation view, Marcel Dzama and Raymond Pettibon: Forgetting the Hand, David Zwirner, New York, 2016
A graphic title card for artist Bill Traylor
A detail from a drawing by Bill Traylor, titled Green Man atop Construction, dated 1939–1942
An installation view featuring works by Bill Traylor, dated 2019
Installation view, Bill Traylor, David Zwirner, New York, 2019
Installation view, Bill Traylor, David Zwirner, New York, 2019
An installation view featuring works by Bill Traylor, dated 2019
Installation view, Bill Traylor, David Zwirner, New York, 2019
Installation view, Bill Traylor, David Zwirner, New York, 2019

“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

A drawing by Bill Traylor, titled Green Man atop Construction, dated 1939-1942

Bill Traylor

Green Man atop Construction, 1939–1942
Poster paint and pencil on cardboard
10 3/4 x 8 inches (27.3 x 20.3 cm)
Framed: 17 1/2 x 14 3/4 x 1 1/4 inches (44.5 x 37.5 x 3.2 cm)
A graphic title card for artist John McCracken
An installation view featuring works by John McCracken, dated 2013

“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.”

 

Frieze

A sculpture by John McCracken, titled Untitled, dated 1967

John McCracken

Untitled, 1967
Polyester resin, fiberglass, and plywood
10 x 10 1/2 x 7 3/4 inches (25.4 x 26.7 x 19.7 cm)
 
Installation view featuring works by John McCracken, dated 2013
Installation view, John McCracken David Zwirner, New York, 2013
Installation view, John McCracken David Zwirner, New York, 2013
An installation view featuring works by John McCracken, dated 2013
Installation view, John McCracken David Zwirner, New York, 2013
Installation view, John McCracken David Zwirner, New York, 2013
A graphic title card for artist Oscar Murillo
A detail from a painting by Oscar Murillo, titled manifestation, dated 2018-2019
A painting by Oscar Murillo, titled manifestation, dated 2018-2019

Oscar Murillo

manifestation, 2018-2019
Oil, oil stick, and graphite on canvas, linen, and velvet

112 1/4 x 136 inches (285.1 x 345.4 cm)

 

“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

A title card for artist Yayoi Kusama
A detail from a painting by Yayoi Kusama, titled Red Pumpkin, dated 1996
A painting by Yayoi Kusama, titled Red Pumpkin, dated 1996

Yayoi Kusama

Red Pumpkin, 1996
Acrylic on canvas
5 1/4 x 7 1/8 inches (13.3 x 18 cm)
Framed: 9 5/8 x 11 1/4 x 1 1/2 inches (24.4 x 28.6 x 3.8 cm)
 

“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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