TEFAF New York Spring
David Zwirner is pleased to participate in TEFAF New York with a booth devoted to the concept of seriality in the works of Josef Albers and Giorgio Morandi. This presentation will include a sequence of five red Albers Homage to the Square works, alongside paintings and drawings by Morandi from the 1950s.
Both Albers and Morandi are best known for their decades-long elaborations of a singular motif: from 1950 until his death in 1976, Albers employed his nested square format to experiment with endless chromatic combinations and perceptual effects, while Morandi, in his intimate still lifes (and occasional landscapes), interrogated our perceptual understanding and memory of everyday objects and spaces. This principle of “modified repetition” (in Albers’s words) allowed a near-infinite variety of iterations within an ongoing investigation. As evidenced by this presentation, both Albers’s and Morandi’s works can be seen not as isolated aesthetic statements, but rather as careful daily acts of duration and devotion.
Preview: May 3, 2018
Public Days: May 4–8, 2018
Image: Giorgio Morandi, Natura morta (Still Life), 1959 © 2018 Artists Rights Society (ARS), New York/SIAE, Rome
David Zwirner is pleased to participate in TEFAF New York with a booth devoted to the concept of seriality in the works of Josef Albers and Giorgio Morandi. This presentation will include a sequence of five red Albers Homage to the Square works, alongside paintings and drawings by Morandi from the 1950s.
Both Albers and Morandi are best known for their decades-long elaborations of a singular motif: from 1950 until his death in 1976, Albers employed his nested square format to experiment with endless chromatic combinations and perceptual effects, while Morandi, in his intimate still lifes (and occasional landscapes), interrogated our perceptual understanding and memory of everyday objects and spaces. This principle of “modified repetition” (in Albers’s words) allowed a near-infinite variety of iterations within an ongoing investigation. As evidenced by this presentation, both Albers’s and Morandi’s works can be seen not as isolated aesthetic statements, but rather as careful daily acts of duration and devotion.
Preview: May 3, 2018
Public Days: May 4–8, 2018
Image: Giorgio Morandi, Natura morta (Still Life), 1959 © 2018 Artists Rights Society (ARS), New York/SIAE, Rome