Opening on May 8, 2006, David Zwirner is pleased to present the first U.S. solo exhibition by Swedish painter Mamma Andersson. Among the artist's current and upcoming exhibitions are Essential Painting at the National Museum of Art in Osaka, Japan; Back to the Figure–Contemporary Painting at Die Kunsthalle der Hypo-Kulturstiftung in Munich, Germany; Zones of Contact: 15th Biennale of Sydney in Sydney, Australia; and The Moderna Exhibition 2006 at the Moderna Museet in Stockholm, Sweden (all 2006). Recent exhibitions include The Carnegie International at the Carnegie Museum of Art, Pittsburgh, PA (2004); The Undiscovered Country at UCLA Hammer Museum in Los Angeles, CA (2004-2005); and MATRIX 213: Some Forgotten Place at UC Berkeley Art Museum and Pacific Film Archive in Berkeley, CA (2004). Andersson represented Scandinavia in the 2003 Venice Biennale and is the recipient of the highly prestigious 2006 Carnegie Art Award for Nordic art, with a corresponding exhibition that will travel extensively in Europe. In 2007, Andersson will have a mid-career exhibition at the Moderna Museet in Stockholm, Sweden.

 

Mamma Andersson's paintings seem to embody a duality that is central to Swedish culture: the interplay of rural and urban aesthetics and the clash of the bourgeois with the everyday. Inspired by theater sets and period interiors, her dreamlike compositions are populated by ghostly figures, shadows, swirling clouds and distant mountains. Andersson's use of windows, reflections, and depictions of paintings within the pictorial space is enhanced by the juxtaposition of thick paint and textured washes, creating a setting for vaguely supernatural occurrences. Seemingly pastoral vistas and calm interiors are sometimes violently interrupted by thick black smoke or blocked-out areas–this, coupled with a palette reminiscent of distressed photographs, imbues Andersson's works with an unpredictability that is equally disturbing and compelling.

 

Read more

Layout 
Mamma Andersson
About a Girl, 2005
Oil and acrylic on panel
Diptych, overall: 48 x 63 inches (122 x 160 cm) Each panel: 24 x 63 inches (61 x 160 cm)
Mamma Andersson
Gone for Good, 2006
Acrylic and oil on panel
48 x 62 7/8 inches (121.9 x 159.7 cm)
Mamma Andersson
Backbiter I, 2006
Acrylic and oil on panel
33 x 48 inches (83.8 x 121.9 cm)
Mamma Andersson
Backbiter II, 2006
Acrylic and oil on panel
33 x 48 inches (83.8 x 121.9 cm)
Mamma Andersson
Backwoods, 2006
Acrylic and oil on canvas
49 x 59 1/8 inches (124.5 x 150.2 cm)
Mamma Andersson
Time Island, 2006
Acrylic and oil on panel
33 x 48 inches (83.8 x 121.9 cm)
Location 

David Zwirner is pleased to inaugurate its new exhibition space at 533 West 19th Street with an exhibition by New York artist Katy Schimert. Previously used as a private viewing room, the space will now host a series of smallscale public exhibitions–showing suites of photographs, drawings, and prints–giving gallery artists an opportunity to present bodies of work in an intimate setting. In The Monster, Schimert debuts fourteen works on paper.

 

Initially begun as studies for an outdoor sculpture project, the fully developed series of watercolors, which comprises The Monster, demonstrates the fluidity and holism of the artist's concerns across media. Schimert uses fragments of personal experience as conceptual impetus and the intersection of the fine and decorative arts as a formal point of departure. Densely layered and vaguely topographical, this new series of drawings explores the transmutation of man into monster. Extending beyond physiological investigations, the works simultaneously function as deeply probing portraits of psychological transformation, pain, anxiety, repression, and loss, recalling Théodore Géricault's early 19th-century paintings of psychiatric patients.

 

Read more

 

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

Layout 
Location 

David Zwirner is pleased to present an exhibition of recent work by three painters: Paul Bloodgood, Leonard Bullock, and Greg Kwiatek. Despite diverse formal approaches, each artist uses landscape as a conceptual point of departure. Resisting direct representation, each simultaneously engages traditions of abstract painting, ultimately affording medium priority over subject.

 

Forging a dialogue with early 20th-century abstraction and 17th-century late Ming landscape painting, Paul Bloodgood explores the expressive capability of line as an embodiment of form. He attempts to capture both the rough topography and the sensorial experience of landscape, defining it as much as an energetic system as a corporeal one. His compositions begin with preparatory collages that combine photographs and drawn spaces to create a new painting vernacular; the sense of cohesion and distance achieved in the final works, through this mediated process, is echoed formally on the canvases in the comprehensive, aerial-like viewpoint and cool, mineral-based palette.

 

Read more

 

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

Layout 
Location 

In an election year, one might examine how politics can be addressed in art. Finding inspiration in the axiom that Francis Alÿs explored in his recent exhibition at David Zwirner, which posited that "sometimes doing something poetic can become political, and sometimes doing something political can become poetic," this exhibition will specifically investigate the ostensibly 'understated' politics that inform a number of artists who have found powerful ways of commenting on social and political concerns as part of a multi-layered artistic practice. 

The works in Quiet Politics are characterized by their ability to address politics in a way that reveals itself poetically–by calling attention to myriad issues (the history of art, identity politics, globalization, consumerism, violence, and social inequality, among others) through seemingly simple aesthetic or conceptual gestures. Such works carry the potential to expand the means of political expression and consciousness. 

 

Read more

 

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

Layout 
Location 

David Zwirner is pleased to celebrate fifteen years with an anniversary exhibition, titled The Gallery. Highlighting the evolution of David Zwirner, the exhibition presents early and recent work by all of the artists represented and is the first to span the entire gallery, uniting 519, 525, and 533 West 19th Street.

 

David Zwirner opened its doors in February 1993 on the ground floor of 43 Greene Street in SoHo. Marked by pioneering exhibitions with Stan Douglas, Jason Rhoades, Toba Khedoori, Rachel Khedoori, and Diana Thater, the early years established David Zwirner as a home for innovative, emerging artists working across media. Over the years, the gallery has helped foster the careers of some of the most influential artists working today, including Luc Tuymans and Neo Rauch, who both had their U.S. debut exhibitions at David Zwirner in 1994 and 2000 respectively. During its time in SoHo, the following artists joined the gallery: Michaël Borremans, Raoul De Keyser, Marcel Dzama, On Kawara, The Estate of Gordon Matta-Clark, John McCracken, Jockum Nordström, Raymond Pettibon, Daniel Richter, Thomas Ruff, Katy Schimert, Yutaka Sone, and Christopher Williams.

 

Read more

 

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

Layout 

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 has been featured prominently in recent major group shows including documenta 12, Kassel, Germany (2007); The Los Angeles Art Scene, 1955-1985, Centre Georges Pompidou, Paris, France (2006); A Minimal Future? Art as Object 1958-1968, The Museum of Contemporary Art, Los Angeles, California (2004); and Singular Forms (Sometimes Repeated): Art From 1951 to the Present, Solomon R. Guggenheim Museum, New York (2004). On the occasion of this solo exhibition–the artist’s fourth at David Zwirner–Radius Books will publish John McCracken: Sketchbook.

 

Since the mid-1960s, John McCracken has been a key figure in the conceptual expansion of abstract art, in particular, Minimalism. While the artist has explored many geometric formats during his career, he is best known for his "planks"–monochromatic, rectangular sculptures that lean against the wall. The sculptures consist of plywood forms coated with fiberglass and layers of polyester resin. Despite the seemingly industrial finish, each work is meticulously crafted and taken to a high polish by hand. The resulting form is strikingly brilliant, offering the viewer's reflection as a reminder of the heightened physicality of pure abstract form. Illusorily transparent, the works seem to emanate light, recalling McCracken's 1960s association with the Southern California "light and space" movement.

 

Read more

 

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

Layout 
John McCracken
Thought, 2008
Polyester resin, fiberglass and plywood
Overall dimensions: 120 x 92 1/2 x 14 inches (304.8 x 235 x 35.6 cm) 6 parts, each: 120 x 5 x 3 1/2 inches (304.8 x 12.7 x 8.9 cm)
John McCracken
Flower, 2008
Polyester resin, fiberglass and plywood
Overall dimensions: 120 x 128 3/4 x 14 inches (304.8 x 327 x 35.6 cm) 8 parts, each: 120 x 5 x 3 1/2 inches (304.8 x 12.7 x 8.9 cm)
John McCracken
Chakra, 2008
Polyester resin, fiberglass, and plywood
Overall dimensions: 120 x 145 x 14 inches (304.8 x 368.3 x 35.6 cm) 9 parts, each: 120 x 5 x 3 1/2 inches (304.8 x 12.7 x 8.9 cm)
John McCracken
Rhythm, 2008
Polyester resin, fiberglass, and plywood in seven (7) parts
96 x 106 1/2 x 13 1/2 inches (243.8 x 270.5 x 34.3 cm)
Location 

David Zwirner is pleased to present an exhibition of new paintings and drawings by Sue Williams. The artist has exhibited widely throughout Asia, Europe, and the United States with one-person exhibitions at the Carpenter Center at Harvard University, Cambridge, Massachusetts (2003); IVAM, Valencia, Spain (2003); Vienna Secession, Vienna, Austria (2002); Palm Beach Institute of Contemporary Art, Palm Beach, Florida (2002); and Centre d'Art Contemporain, Geneva, Switzerland (1997); among others. Her numerous group exhibitions recently include The Third Mind, Palais de Tokyo, Paris, France (2007); Fast Forward: Collections for the Dallas Museum of Art, Dallas Museum of Art, Dallas, Texas (2007); Comic Abstraction: Image Breaking, Image Making, Museum of Modern Art, New York (2007); Into Me/ Out of Me, P.S.1 Contemporary Art Center, Long Island City, New York (2006); and Still Points of the Turning World: SITE Santa Fe's Sixth International Biennial, SITE Santa Fe, Santa Fe, New Mexico (2006). This is the artist's debut solo exhibition at David Zwirner.

 

In this exhibition, Williams fully merges figurative representation and lyrical abstraction, two distinct styles that have defined her artistic production over the last two decades. The artist first garnered attention in the late 1980s with gritty, provocative canvases that combined figure and text to tackle issues of sexual objectification and abuse. Throughout the 1990s, Williams radically shifted her focus, thrusting formalist concerns and painterly technique to the forefront, allowing form and color to supersede explicit content. In recent years, the artist has embraced the new challenge of uniting these disparate approaches to again enable her canvases as clear vehicles of protest. The resulting works evoke Williams' early comic book influences with crisp outlines and blocks of brilliant colors. Against raw canvas and transparent acetate, her glaring palette, which includes forceful red, glowing orange, saccharine pink, and neon green, conveys a sense of immediacy, energetic movement, and the artist's signature wry humor.

 

Read more

 

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

Layout 
Location 

David Zwirner is pleased to present Filmed Film, an exhibition of new work by Berlin-based Michael Riedel. In 2007, the artist was the focus of a one-person exhibition at Kunstraum Innsbruck, Innsbruck, Austria. His work has been exhibited at prominent venues throughout Europe including the Lyon Biennale, Lyon, France (2007), the Moscow Biennale at the Lenin Museum, Moscow, Russia (2005), and the Vienna Secession, Vienna, Austria (2003). In October, he wil have an exhibition at the Städel Museum, Frankfurt, Germany. This is Riedel's second solo exhibition at David Zwirner.

 

In 2000, Riedel began staging simulations in an abandoned building in Frankfurt. With collaborator Dennis Loesch, the artist notably recreated concurrect exhibitions in nearby galleries, gaining him international acclaim. In the book Oskar, which documents these activities from 2000-03, it states: "Based on a false event, the documentation of Michael Riedel and Dennis Loesch's exhibition practice is already questionable. In the exhibition space Oskar-von-Miller Strasse 16, the two have reiterated the languages of public cultural offers, often with no understanding of what is said." Riedel's conceptual simulacra operate on numerous levels: as imitations of existing works of art, facsimilies of architectural structures, and remakes of events and cultural situations. By nature these replicas mark a distance from the world to which they refer. 

 

Read more

 

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

Layout 
Location 

On September 17, 2008, Zwirner & Wirth will present a selection of paintings and works on paper from the last three decades by the American artist Mary Heilmann. Named after one of the artist's signature colorful, abstract canvases (Some Pretty Colors, 2001; illustrated at right), the exhibition will explore the development of Heilmann's distinctive painterly style with works that date from 1989 to 2006.

Drawing inspiration from her own experience, including the Southern California surf culture of her childhood, the San Francisco beatnik era of her teen years, the punk and new wave music scenes of 1970s and early 80s New York, and her formal training as a sculptor and ceramist, Heilmann incorporates a complex amalgam of personal references, cultural influences, and craft traditions in an artistic practice that includes painting, painted ceramics, and constructed furniture.

 

Read more

 

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

Layout 
Location 

Pages

Subscribe to David Zwirner RSS