"Formal rigor and funk . . . elegance and stall-kicking anarchism were the polarities of the gallery’s ‘taste.’"
Excerpt from "AD 25," by Robert Storr
December 4, 2018

As David Zwirner’s twenty-fifth anniversary draws to a close this year, in "AD 25," his essay for David Zwirner: 25 Years, noted curator and writer Robert Storr reflects on the gallery’s first decades, from 1993 to the present.

"By [the mid-1990s] the generative nodes of Zwirner’s program were obvious. Formal rigor and funk, conceptual rigor and raw materiality, elegance and stall-kicking anarchism were the polarities of the gallery’s ‘taste.’ There was proof at every turn that mind and body could never be separated in the artists represented and the art chosen any more than could the aesthetic, which had a decided advantage among collectors, and the ‘anti-aesthetic,’ which had the edge among critics, in those Manichean days. In various and altogether individual ways, Luc Tuymans . . ., Rachel Khedoori, Martin Kippenberger, Marcel Dzama, Philip-Lorca diCorcia, Raymond Pettibon, Lisa Yuskavage, and other artists found their places in the matrix established by these intersecting counter terms, as did classics such as Sigmar Polke, John McCracken, Marcel Broodthaers, Francis Picabia, Alice Neel, Gerhard Richter, Raoul De Keyser, and Al Taylor. . . . Moreover, identifying languishing reputations and bringing fading artists or bodies of work back to the limelight have become an increasingly important part of [Zwirner’s] contribution to the scene."

Read the full text in David Zwirner: 25 Years.

Image: Installation view, Isa Genzken: Sky Energy, David Zwirner, New York, 2017


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