Opening on November 8, Zwirner & Wirth will present a selection of paintings by German artist Konrad Klapheck. The exhibition will bring together roughly twenty paintings that span the years 1958-1998, providing an overview of the artist's unique style and pictorial vocabulary, while attesting to his singular contribution to post-war art.  

 

In 1955, while he was still in art school, Klapheck acquired an obsolete typewriter model and reproduced it on canvas in a mysterious, deadpan fashion. This painting captured an everyday archetype of modern culture–a rational machine for transcribing information–in an impeccably precise style.  Schreibmaschine (Typewriter), 1955, is a work that seems to fall somewhere between Surrealism and Pop Art, while nonetheless remaining unclassifiable.  Klapheck had originally set out to paint, as he himself noted, "a picture that was as contrary to Tachisme as possible, which is to say to replace laziness with exactitude." Over the course of the following decades, Klapheck went on to develop an exceptionally focused artistic practice characterized by the depiction of typewriters and other technological objects that include sewing machines, telephones, faucets, and machinery.

 

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Opening on November 9, 2007, David Zwirner is pleased to present an exhibition of new work by German artist Thomas Ruff. This will be the artist’s fifth solo exhibition at the gallery. In 2007, Ruff was the subject of two one-person museum exhibitions at Moderna Museet, Stockholm, Sweden and the Sprengel Museum, Hannover, Germany. His numerous group exhibitions recently include Depth of Field: Modern Photography, The Metropolitan Museum of Art, New York, NY; What does the jellyfish want? Photographs from Man Ray to James Coleman, Museum Ludwig, Cologne, Germany; Fast Forward: Collections for the Dallas Museum of Art, Dallas Museum of Art, Dallas, TX (all 2007); Desacogedor: Escenas fantasmas en la sociedad global, La Bienal Internacional de Arte Contemporáneo de Sevilla, Seville, Spain; Super Vision, Institute of Contemporary Art, Boston, MA; and Ecotopia: The Second ICP Triennial of Photography and Video, International Center of Photography, New York, NY (all 2006). He was the 2006 recipient of the Infinity Award for Art presented by the International Center of Photography, New York, NY.

 

In this exhibition, Ruff continues to explore the distribution and reception of images in the digital age through his jpeg series. Using JPEGs (the standard compression files for Internet images) culled primarily from the World Wide Web, Ruff attempts to create a visual lexicon or encyclopedic compendium of contemporary history, cataloguing locations, events, and natural phenomenon. Enlarged by the artist to gigantic scale, the JPEGs become geometric displays of color; the exaggerated pixel patterns leave the image nearly unrecognizable from close view. Much like Impressionist paintings, these photographs require the viewer to stand at a distance in order to make a visual assessment of the image content. The distinct modes of viewing–close, mid-range, and far–integral to fully processing the works, challenge viewers to examine the way they look at images in the art context and the everyday. Further, instead of straightforwardly titling the works to communicate their historical and geographic reference points, Ruff employs acronyms, calling upon viewers to decode and determine meaning.

 

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Jason Rhoades' untimely death in 2006 at age 41 cut short a career which, through the sheer audacity, scope, and ambition of his prolific artistic output since 1993, promised to make him one of the defining artists of his generation. While often perceived as a maverick–constantly changing styles, materials, and intellectual approaches for each project, it is the very continuity and reoccurrence of Rhoades' most important concepts and concerns throughout his career that is the hallmark of his final exhibition, Black Pussy, conceived by the artist in 2005 and 2006 and completed in Rhoades' studio shortly before his death.

 

The last installment in a trilogy of work that includes Meccatuna (2003) and My Madinah: in pursuit of my ermitage…(2004), Black Pussy remains one of Rhoades’ most mysterious works, and his most ambitious. Sprawling roughly 3,000 square feet, the work presents itself as a large installation, dominated by an empty stage bearing a neon sign which reads "Live in the Black Pussy." The work also features 185 neon pussy word signs, as part of the artist’s ongoing project of creating a cross-cultural compendium of synonyms for female genitalia. Large storage racks are covered with myriad objects, including hundreds of Egyptian Hookah pipes from a seized shipping container, over 350 unique Dream Catchers (a traditional Native American fetish object used to filter dreams), 89 beaver-felt cowboy hats, 72 Chinese Scholar stones, Venetian glass vegetables (and Chinese knock-offs), colorful cloth rugs, a homemade aluminum replica of Jeff Koons' famous stainless steel Rabbit (1986), and more. To one side, a large macramé textile object covers the wall. Beyond the formal juxtapositions created, the individual elements in the massive installation interact symbolically, communicating dichotomous relationships of masculine versus feminine, Eastern versus Western traditions, the handmade versus the massproduced, and the authentic versus the fake.

 

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Jason Rhoades
Installation view of Black Pussy, 2006
Wire metal shelving, 185 neon phrases, dream catchers, beaver-felt cowboy hats, Chinese scholar stones, hookah pipes, camel saddle footstools, glass vegetables, glass vases, Chinese rag rugs, L'Aiglon belts, ceramic donkey carts, Egyptian pyramids, corn cobs, mini-spotlights, and other various materials
Overall dimensions vary with installation (3000 square feet, approximately 278.7 square meters)
Jason Rhoades
Installation view of Black Pussy, 2006
Wire metal shelving, 185 neon phrases, dream catchers, beaver-felt cowboy hats, Chinese scholar stones, hookah pipes, camel saddle footstools, glass vegetables, glass vases, Chinese rag rugs, L'Aiglon belts, ceramic donkey carts, Egyptian pyramids, corn cobs, mini-spotlights, and other various materials
Overall dimensions vary with installation (3000 square feet, approximately 278.7 square meters)
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On January 9, 2008 Zwirner & Wirth will present a selection of important early drawings and three-dimensional pieces by the American artist Al Taylor (1948-1999). This will be the first exhibition of Taylor's work at Zwirner & Wirth since the gallery announced its representation of the artist's estate.

 

Al Taylor: Early Work will examine the development of Taylor's distinctive approach to art-making over the years 1985-1990. While he began his studio practice as a painter, in 1985 Taylor devised a uniquely innovative approach to process and materials that encompassed two-dimensional drawings and three-dimensional assemblages. Taylor ultimately sought to expand the possibilities of vision by creating new ways of experiencing and envisioning space, and these works provide an insight into the artist's thoughts and his investigations of perception across several dimensions.

 

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For more information about available works contact inquiries@davidzwirner.com

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Turning and turning in the widening gyre
The falcon cannot hear the falconer
The Second Coming
–W.B. Yeats (1865-1939)

 

Opening on January 10, 2008, David Zwirner is pleased to present an exhibition of new work by Los Angeles-based artist Diana Thater.

 

For her fifth solo exhibition at the gallery, Diana Thater has created two room-size installations that examine the intangible and dimensionless relationship between humans and the natural world through the ancient art of falconry. Emerging with the birth of civilizations–with origins in the Middle East and Central Asia, hunting with trained birds of prey flourished in the courts of medieval Western Europe and Great Britain, carrying with it enormous cultural and social capital. Divorced from its symbolic articulation of social and political power, the practice survives today among a small yet dedicated population of falconers. Committed to working within local environments, Thater invited fifteen California falconers to a stone amphitheater in the Santa Monica Mountains, where she documented the diverse and personal bonds between the falconers and their individual birds. Filming from above, the crane-operated camera surveys the arena while the avian participants remain grounded. Along with this footage, Thater will project large-scale still images of the sun and moon. Just as expectations of movement are reversed with the flying camera and stationary birds, Thater defies color conventions by tinting the sun blue and the moon gold.

 

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For more information about available works contact inquiries@davidzwirner.com

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Opening on September 8, 2006, David Zwirner is pleased to present an exhibition of new work by John McCracken. The artist was the subject of a solo exhibition at S.M.A.K. in Ghent, Belgium in 2004. His work was prominently represented in major recent group shows including The Los Angeles Art Scene, 1955-1985 at Centre Georges Pompidou in Paris, France (2006), and A Minimal Future? Art as Object 1958-1968 at the Museum of Contemporary Art in Los Angeles, CA. This will be McCracken's third exhibition at the gallery, and will inaugurate David Zwirner's new space at 533 West 19th Street.

 

Since the mid-1960s, John McCracken has been a key figure in the conceptual expansion of abstract art; in particular, Minimalism. Best known for "planks"–monochromatic, rectangular sculptures that lean against the wall–McCracken typically makes each resin or lacquer work by hand rather than using industrial fabricators. Plywood forms are coated with fiberglass and layers of resin and sometimes lacquer, and each work is meticulously handcrafted and taken to a high polish. The resulting forms are nearly translucent, offering the viewers' reflection as a reminder of the heightened physicality of pure abstract form. In addition to the planks, his freestanding monoliths and smaller wall pieces seem to occupy the space between sculpture and painting by suggesting volumetric color as its own conceptual entity.

 

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John McCracken
Silver, 2006
Polyester resin, fiberglass, and plywood
93 x 17 x 3 1/2 inches (236.2 x 43.2 x 8.9 cm)
John McCracken
Gold, 2006
Resin, fiberglass, and plywood
93 x 16 x 3 1/2 inches (236.2 x 40.6 x 8.9 cm)
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Opening on February 14, David Zwirner is pleased to present new work by Belgian artist Luc Tuymans. The artist is currently the focus of a retrospective traveling from Mucsarnok Kunsthalle, Budapest, Hungary (closes February 10) to Haus der Kunst, Munich, Germany (March 2-May 12) and Zacheta National Gallery of Art, Warsaw, Poland (May 30-August 17). Tuymans has recently been the subject of one-person exhibitions at Kabinet für Aktuelle Kunst, Bremerhaven, Germany (2007); MuHKA Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium (2007); Museu Serralves, Porto, Portugal (2006); Musee d’Art Moderne et Contemporain (MAMCO), Geneva, Switzerland (2006); and the Tate Modern, London, England (2004). In 2009, the Wexner Center for the Arts and the San Francisco Museum of Modern Art will mount the artist's first US retrospective, which will travel to the Dallas Museum of Art and the Museum of Contemporary Art, Chicago.

 

A pivotal figure in the field of contemporary painting, Tuymans has explored diverse themes ranging from the colonial history of Belgium, the effects of images from 9/11, to the elusive power of the Jesuit order. In his seventh solo exhibition at the gallery, the artist will focus his exacting gaze on the globally influential, yet distinctly American phenomenon of Disney. Founded in the early 1920s as a small animation studio, The Walt Disney Company has become one of the largest media and entertainment corporations in the world. A conscious purveyor of family values and the virtue of American industry, Disney has vigorously defended its role in the creation of what the artist has termed a "spiritual utopia." With characteristic intensity, Tuymans explores the transformation of entertainment into ideology, while at the same time offers a critique of the hegemonic control of economic and cultural capital and the implicit dangers in a reality based on the production of magic.

 

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For more information about available works contact inquiries@davidzwirner.com

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Luc Tuymans
Transitions B, 2008
Gouache on paper
15.63 x 21.3 inches (39.7 x 54.1 cm)
Luc Tuymans
Epcot, 2007
Oil on canvas
60 3/4 x 87 3/4 inches (154.3 x 222.9 cm)
Luc Tuymans
Inserts #2, 2008
Gouache on paper
9.72 x 13.19 inches (24.7 x 33.5 cm)
Luc Tuymans
Singing Flowers, 2008
Oil on canvas
41 1/2 x 57 3/4 inches (105.4 x 146.7 cm)
Luc Tuymans
Turtle, 2007
Oil on canvas
144 7/8 x 200 3/8 inches (368 x 509 cm)
Luc Tuymans
Wonderland, 2007
Oil on canvas
138.98 x 215.35 inches (353 x 547 cm)
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How to start? A door opens. A cash register opens. A can of sardines is opened. A mouth opens. An unzipped zipper opens up a view. Four bottles of beer are opened, with a bottle opener…

 

That's good but it’s not our story. Let's try again.

 

How to read a tire sidewall? Ratio of height to width (aspect ratio). Width of tire in millimeters. Maximum cold inflation and load limit. Load index and speed symbol. Tire ply composition and materials used.

 

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For more information about available works contact inquiries@davidzwirner.com

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Christopher Williams
Mustafa Kinte (Gambia) Camera: Makina 67 506347 Plaubel Feinmechanik und Optik GmbH Borsigallee 37 60388 Frankfurt am Main, Germany Dirk Schaper Studio, Berlin, July 20th, 2007, 2008
Gelatin silver print
20 x 16 inches (50.8 x 40.6 cm)
Christopher Williams
Mustafa Kinte (Gambia) Camera: Makina 67 506347 Plaubel Feinmechanik und Optik GmbH Borsigallee 37 60388 Frankfurt am Main, Germany Shirt: Van Laak Shirt Kent 64 41061 Mönchengladbach, Germany Dirk Schaper Studio, Berlin, July 20th, 2007, 2008
Gelatin silver print
20 x 16 inches (50.8 x 40.6 cm)
Christopher Williams
Pacific Sea Nettle, Chrysaora Melanaster, Long Beach Aquarium of the Pacific, 100 Aquarium Way, Long Beach, California, September 5, 2007, 2008
Gelatin silver print
24 x 20 inches (61 x 50.8 cm)
Christopher Williams
Untitled (Study in Yellow and Red/Berlin) Dirk Schaper Studio, Berlin, June 21st, 2007 (No. 1), 2008
C-Print
20 x 16 inches (50.8 x 40.6 cm)
Christopher Williams
Cutaway model Nikon EM. Shutter: Electronically governed Seiko metal blade shutter, vertical travel with speeds from 1/1000 to 1 second, with a manual speed of 1/90th. Meter: Center-weighted Silicon Photo Diode, ASA 25-1600, EV 2-18 (with ASA film and 1.8 lens). Aperture Priority automatic exposure. Lens Mount: Nikon F mount, AI coupling (and later) only. Flash: Synchronization at 1/90 via hot shoe. Flash automation with Nikon SB-E or SB-10 flash units. Focusing: K type focusing screen, not user interchangeable, with 3mm diagonal split image rangefinder. Batteries: Two PX-76 or equivalent. Dimensions : 5.3" x 3.38" x 2.13" (135mm x 86mm x 54mm), 16.2 oz (460g). Photography by Douglas M. Parker Studio, Glendale, California, September 9, 2007 - September 13, 2007, 2008
C-Print
20 x 24 inches (50.8 x 61 cm)
Christopher Williams
One of 406 Ceiling Panels (23 3/4 x 23 3/4 inches each) Covered on the back with striped paper (green and white) Each Stripe is 8.7 cm. From “Frost and Defrost: A Work In Situ By Daniel Buren” Otis Art Institute Gallery, 2401 Wilshire Boulevard, Los Angeles, California January 28 – March 4, 1979 Hal Glicksman, Gallery Director; Christopher D’arcangelo, Assistant to Daniel Buren Photography by Douglas M. Parker Studio, Los Angeles, California May 4, 2006, 2006
Chromogenic Print
23 5/8 x 23 1/2 inches (60 x 59.7 cm)
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Opening on March 6, David Zwirner is pleased to present a new exhibition by Marcel Dzama. For the last decade, Canadian-born Dzama has shown extensively throughout North America and Europe. Transforming 519 West 19th Street into an odeum of imagination, Dzama's ambitious fifth solo exhibition at the gallery will include single drawings, composite drawings, costumes, dioramas, and film.

 

Marcel Dzama is best known for his figurative compositions of pen and watercolor on manila-colored paper. Bearing a characteristic palette of muted browns, grays, greens, and reds, Dzama's drawings are populated by an expansive cast of human, animal, and hybrid characters. In this exhibition distinct personalities take center stage, most notably the masked and armed "terrorist. In the sixteen-part drawing Inflated Threat, 2007, this character is obsessively repeated amongst cowboys, archers, and femmes fatales, suggesting the exaggerated climate of fear and shoot-'em-up mentality at the forefront of American politics. Despite the works' formal and psychological complexity, the artist commonly places his fantastic personae against a blank background; avoiding a definite narrative context in the drawings, Dzama consequently invites various interpretations.

 

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For more information about available works, please contact inquiries@davidzwirner.com

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Marcel Dzama
Infidels, 2008
Diorama
33 x 28 x 40 inches (83.8 x 71.1 x 101.6 cm) Display height: 79 1/2 inches (201.9 cm)
Marcel Dzama
La Verdad está Muerta Room Full of Liars, 2007
Diorama
64.5 x 65.75 x 46 inches (163.8 x 167 x 116.8 cm) Height with pedestal: 100 inches
Marcel Dzama
Inflated Threat, 2007
Ink, watercolor, and graphite on paper
Overall: 55 x 42 1/2 inches 139.7 x 108 cm 16-part drawing, each: 13 3/4 x 10 5/8 inches (34.9 x 27 cm)
Marcel Dzama
Untitled, 2007
Sketchbook page -- mixed media on paper
11 x 8 1/2 inches (27.9 x 21.6 cm)
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From March 6 through May 3, 2008, Zwirner & Wirth will re-stage the seminal exhibition of Dan Flavin's fluorescent light sculptures that took place in 1964 at Richard Bellamy's influential (though short-lived) Green Gallery on West 57th Street, New York. This exhibition was groundbreaking not only in terms of its presentation of radically innovative work that used commercially-available, colored fluorescent light, but also because it marked a turning- point in Flavin's career. While the artist had previously exhibited a series of hand-made, painted wood constructions with lighting elements affixed to them (known as the "icons"), he began creating works made with fluorescent light alone in 1963. The Green Gallery show was the first exhibition composed entirely of fluorescent lights, and thus marked the development of the minimalist language of illumination that would characterize Flavin's work until his death in 1996.

 

Zwirner & Wirth's space on East 69th Street bears a resemblance to the Green Gallery in its scale and architecture, and each of the seven works from the exhibition will be brought together in a historically accurate recreation of their original presentation. These include such key pieces as the diagonal of May 25, 1963 (to Robert Rosenblum), 1963 (a version of the artist's first work made with fluorescent light alone, this work is comprised of a single, leaning white light that was installed at the Green Gallery raised off the ground) and a primary picture, 1964 (a rectangular wall piece composed of red, yellow, and blue light). Other works in the exhibition include the artist’s earliest floor piece, titled gold, pink and red, red, 1964 (made of different lengths of yellow, pink, and red fluorescent light that lie side by side) and a serial work comprised of a succession of one, two, and three parallel lamps titled the nominal three (to William of Ockham), 1963. This well known piece will be exhibited as originally presented (its fluorescent lamps were ultimately spaced wider apart from one another and lower to the ground in subsequent installations). Also on view will be a selection of drawings that relate to the Green Gallery exhibition, which show the development of Flavin's ideas about the works on view and their installation.

 

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For more information about available works contact inquiries@davidzwirner.com

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Dan Flavin
the nominal three (to William of Ockham), 1963
Cool white fluorescent light
8 ft high, (244 cm)
Dan Flavin
red and green alternatives (to Sonja), 1964
Green and red fluorescent light
8 ft wide (244 cm)
Dan Flavin
the diagonal of May 25, 1963 (to Robert Rosenblum), 1963
Cool white fluorescent light
8 ft long on the diagonal (244 cm)
Dan Flavin
gold, pink and red, red, 1964
yellow, pink, and red fluorescent light
8 ft. (244 cm) long
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