A painting by Giorgio Morandi, titled Natura morta (Still Life), dated 1959.
Fair

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

 

Dates
May 38, 2018
Address
Park Avenue Armory 643 Park Avenue New York
Booth
67

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

 

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