David Zwirner is pleased to support the Rema Hort Mann Foundation in presenting The Voting Booth Project. The Rema Hort Mann Foundation commissioned five artists to create work using original voting booths from the 2000 presidential election in Florida. The voting machines from West Palm Beach County retain remnants of original voter materials, including the "hanging chads" and "butterfly ballots" now shorthand for the historical events of the confused ballot count. In anticipation of the 2008 election, assume vivid astro focus, Sandford Biggers, Marcel Dzama, Mickalene Thomas, and Fred Tomaselli have created distinct projects that confront issues of power, memory, and political consequence.

 

"The booths are relics of a controversy,” said Foundation Director Quang Bao. “They look like a Get Smart contraption. If you think about each of the artist's five booths carefully–respectively destroyed, encased, wrapped, embattled, and held accountable–you see how the political materials are made so descriptive of and consequential to the present." 

 

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David Zwirner is pleased to present an exhibition by Stan Douglas. In 2007, the Staatsgalerie Stuttgart and Württembergicher Kunstverein in Stuttgart, Germany jointly hosted Douglas' first museum retrospective, surveying the artist's key works over the past two decades, and published a comprehensive catalogue. Douglas has recently been the focus of solo exhibitions at the Vienna Secession, Vienna, Austria (2006); Studio Museum in Harlem, New York (2006); Art Gallery of York University, Toronto, Canada (2006); Morris and Helen Belkin Art Gallery at the University of British Columbia, Vancouver, Canada (2006); and Joslyn Art Museum, Omaha, Nebraska (2005). He co-curated Beyond Cinema: The Art of Projection, Films, Videos, and Installations from 1963 to 2005 at Hamburger Bahnhof in Berlin, Germany in 2006. A monograph of the artist's work from the Friedrich Christian Flick Collection was recently published by Dumont. In February, Stan Douglas: Klatsassin will be on view at Vancouver Art Gallery. This is Douglas' ninth solo exhibition at David Zwirner.

 

The exhibition features a new series of large-scale photographs. Using his native Vancouver as a local example, Douglas explores crowd phenomena in the 20th century. Each of the four photographs takes a public event as its starting point, ranging from a 1912 Free Speech Demonstration to the 1935 Battle of Ballantyne Pier to a 1955 horserace at Hastings Park (pictured above). In the work Abbott & Cordova, 7 August 1971 (2008), Douglas stages a scene from the famous Gastown Riots, which exploded mounting tensions between local hippies and law enforcement. Striving for historical accuracy, the work replicates local businesses, as well as music posters and newspapers from the time. Commissioned by Westbank Projects, the image will be on view later this year as a 44-foot photographic mural in the Atrium of the new Woodward's development, located at Abbott and Cordova in Vancouver's Downtown Eastside.

 

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Stan Douglas
Powell Street Grounds, 28 January 1912, 2008
Digital C-print mounted on Dibond aluminum
59 1/2 x 104 inches (151.1 x 264.2 cm)
Stan Douglas
Les Grands Moulins de Pantin, 2006
Laserchrome print
68.11 x 118.11 in (173 x 300 cm)
Stan Douglas
Hastings Park, 16 July 1955, 2008
Digital C-print mounted on Dibond aluminum
59 1/2 x 88 3/4 inches (151.1 x 225.4 cm)
Stan Douglas
Abbott & Cordova, 7 August 1971, 2008
Digital C-print mounted on dibond aluminum
70 x 114 1/2 inches (177.8 x 290.8 cm)
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David Zwirner is pleased to present an exhibition of new work by Tomma Abts. This will be the artist's debut exhibition at the gallery. Earlier this year, the New Museum in New York hosted the artist's first solo presentation at a U.S. museum; the exhibition is currently on view at the Hammer Museum in Los Angeles (closes November 9th). The 2006 recipient of the Turner Prize, Abts has had one-person exhibitions at Kunsthalle Kiel, Kiel, Germany (2006); Kunsthalle Basel, Basel, Switzerland (2005); and Douglas Hyde Gallery, Dublin, Ireland (2005); among others. Her work has been included in major international exhibitions such as the Berlin Biennial (2006) and the Carnegie International in Pittsburgh (2004), as well as a two-person exhibition with Vincent Fecteau at Van Abbemuseum, Eindhoven, The Netherlands (2004).

 

Abts makes complex paintings whose subject is ultimately the process of their creation. The artist starts each work without a preconceived composition. Guided largely by intuition, she, nevertheless, works within rigid parameters: all canvases are 48 x 38 cm and vertical. Their evolution is evidenced by ridges and uneven texture–the result of methodical overpainting and reworking of the image.

 

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Tomma Abts
Teite, 2008
Oil and acrylic on canvas
19 x 15 inches (48 x 38 cm)
Tomma Abts
Bilte, 2008
Oil and acrylic on canvas
19 x 15 inches (48 x 38 cm)
Tomma Abts
Isko, 2008
Oil and acrylic on canvas
19 x 15 inches (48 x 38 cm)
Tomma Abts
Schwiddo, 2008
Oil and acrylic on canvas
19 x 15 inches (48 x 38 cm)
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On November 5, Zwirner & Wirth (32 East 69th Street) and David Zwirner (519 West 19th Street) will present a two-part exhibition that aims to provide a focused overview of the Minimal and Conceptual artistic practices that emerged in Europe in the 1960s and 70s. The artists on view include Christo, Hanne Darboven, Jan Dibbets, Lucio Fontana, Michael Gitlin, Erwin Heerich, Yves Klein, Gary Kuehn, Piero Manzoni, Mario Merz, Wolfgang Nestler, Giulio Paolini, Michelangelo Pistoletto, Klaus Rinke, Ulrich Rückriem, Sarkis, Franz Erhard Walther, and others.

 

The exhibition will comprise works from the collection of Helga and Walther Lauffs, one of Europe's most important private collections of 20th century post-war art. Between 1968 and 1975, under the guidance of curator Paul Wember (who was known for the visionary program of contemporary art that he developed as Director of the Kaiser Wilhelm Museum and Museum Haus Lange, Krefeld), the Lauffs put together a broad selection of work that represents the nexus of European and American artistic sensibilities of the postwar era. While the collection as a whole encompasses work that ranges in scope (from Assemblage, Pop art, Arte Povera, Minimalism, to Post-Minimalism, Process, and Conceptual art), this exhibition will focus on works that exemplify a specifically European perspective on Minimal and Conceptual movements of the 1960s and 70s, offering a selection of works that have rarely been shown outside of Germany, where they were on long-term loan at the Kaiser Wilhelm Museum, Krefeld.

 

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David Zwirner and Zwirner & Wirth will present the work of American artist Fred Sandback (1943-2003) in two concurrent exhibitions.

 

Sandback's sculptures outline planes and volumes in space. Though he employed metal wire and elastic cord early in his career, the artist soon dispensed with mass and weight by using acrylic yarn to create works that address their physical surroundings, the "pedestrian space," as Sandback called it, of everyday life. By stretching lengths of yarn horizontally, vertically, or diagonally at different scales and in varied configurations, the artist developed a singular body of work that elaborated on the phenomenological experience of space and volume with unwavering consistency and ingenuity.

 

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Fred Sandback
Untitled (Sculptural Study, Two-part Vertical Construction), c. 1986/2008
Black acrylic yarn
Situational: spatial relationships established by the artist; overall dimensions vary with each installation
Fred Sandback
Detail of Untitled (Eighteen-part Leaning Construction), 1988
White and yellow acrylic yarn
Dimensions vary with each installation
Fred Sandback
Untitled (Sculptural Study, Six-part Construction), ca. 1977/2008
Black acrylic yarn
Situational: spatial relationships established by the artist; overall dimensions vary with each installation
Fred Sandback
Untitled, 1975
Pencil and blue crayon on paper
9 x 11 3/4 inches (22.9 x 29.8 cm)
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David Zwirner is pleased to announce a new presentation of On Kawara's on-going epic work, One Million Years.

 

For the first time, the reading of the One Million Years will be recorded live, while visitors can view the process of CD production. Built inside the gallery space at 519 West 19th Street is a free standing recording booth, to house both the readers and a sound technician. CDs will be recorded, edited, and packaged on site. Recordings from the exhibition will be produced in limited edition CD boxed-sets.

 

One Million Years is a monumental 20-volume collection, comprised of One Million Years [Past], created in 1969 and containing the years 998,031 B.C. through 1969 A.D., and One Million Years [Future], created in 1981 and containing the years 1996 A.D. to 1,001,995 A.D. Together these volumes make up 2,000,000 years. The subtitle for One Million Years [Past] is "For all those who have lived and died." The subtitle for One Million Years [Future] is "For the last one." Documenting the passage of chronological time, each leather hardbound volume contains 2,068 photocopied pages. The size of each volume is 12 ¼ x 10 x 3 ¼ inches and weighs 8 lbs. 12 editions of [Past] were produced from 1970 to 1971, and 12 editions of [Future] from 1981 to 1998.

 

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David Zwirner is pleased to present an exhibition of new paintings by Lisa Yuskavage. This is the New York artist's second solo show at the gallery. In October-November 2006, she had concurrent shows at David Zwirner and Zwirner & Wirth, which featured oil paintings, watercolors, and drawings, and was accompanied by a fully illustrated catalogue.

 

On view in the current show are large oil paintings, including PieFace (2008), Travellers (2008), Figure in Interior (2008), Snowman (2008), Reclining Nude (2009), The Smoker (2008), Pond (2007), among others, in addition to small oil paintings, including Figure in Landscape (2008) and Chrissy (2009).

 

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David Zwirner is pleased to present an exhibition of new paintings and films by Belgian artist Michaël Borremans. This is the first time the artist's films will be shown in the United States, and is also the world premier of Taking Turns.

 

Taking Turns is the artist's third solo show at David Zwirner. Previous shows at the gallery include Horse Hunting (2006) and Trickland (2003), which was the artist's first solo exhibition in the United States.

 

For the current show at David Zwirner, Borremans has created five new paintings and is presenting three films: The Feeding, The Storm, and Taking Turns.

 

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Zwirner & Wirth is pleased to present an exhibition of work from the 1990s by Austrian artist Franz West. Considered one of Europe's most influential living artists, West is known for work that has played a critical role in redefining the possibilities of sculpture and the ways that art is experienced.

Since the 1970s, West has experimented with a variety of media and genres. While he is known primarily as a sculptor, his work has incorporated drawing, collage, video, and installation, using papier-mâché, furniture, cardboard, plaster, found imagery, and other diverse materials to create not only a singular aesthetic, but also a conceptually coherent oeuvre that calls artistic and societal conventions into question. By playfully manipulating everyday materials and imagery in novel ways, he creates objects that serve to redefine art as a social experience.

 

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David Zwirner is pleased to present Philip-Lorca diCorcia’s first solo exhibition at the gallery. Titled Thousand, the show consists of an extraordinary installation of 1,000 of the artist's Polaroid photographs.

 

In late 2007, SteidlDangin published Thousand, a book containing actual-size reproductions of diCorcia's 1,000 Polaroids, edited down from a collection of 4,000 spanning close to twenty-five years. In 2008, the Polaroids were installed for the first time at an exhibition of the artist's work held at the Los Angeles County Museum of Art.

 

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Philip-Lorca diCorcia
Detail of Thousand 
1000 Polaroids mounted on aluminum
Total length of photo rail: 4098 3/4 inches / 10410.8 cm Majority of polaroids: 3 5/16 x 4 3/16 inches (8.4 x 10.6 cm) Additional size: 4 3/16 x 3 5/16 inches (10.6 x 8.4 cm)
Philip-Lorca diCorcia
Detail of Thousand​
1000 Polaroids mounted on aluminum
Total length of photo rail: 4098 3/4 inches / 10410.8 cm Majority of polaroids: 3 5/16 x 4 3/16 inches (8.4 x 10.6 cm) Additional size: 4 3/16 x 3 5/16 inches (10.6 x 8.4 cm)
Philip-Lorca diCorcia
Detail of Thousand
1000 Polaroids mounted on aluminum
Total length of photo rail: 4098 3/4 inches / 10410.8 cm Majority of polaroids: 3 5/16 x 4 3/16 inches (8.4 x 10.6 cm) Additional size: 4 3/16 x 3 5/16 inches (10.6 x 8.4 cm)
Philip-Lorca diCorcia
Detail of Thousand
1000 Polaroids mounted on aluminum
Total length of photo rail: 4098 3/4 inches / 10410.8 cm Majority of polaroids: 3 5/16 x 4 3/16 inches (8.4 x 10.6 cm) Additional size: 4 3/16 x 3 5/16 inches (10.6 x 8.4 cm)
Philip-Lorca diCorcia
Detail of Thousand
1000 Polaroids mounted on aluminum
Total length of photo rail: 4098 3/4 inches / 10410.8 cm Majority of polaroids: 3 5/16 x 4 3/16 inches (8.4 x 10.6 cm) Additional size: 4 3/16 x 3 5/16 inches (10.6 x 8.4 cm)
Philip-Lorca diCorcia
Detail of Thousand
Total length of photo rail: 4098 3/4 inches / 10410.8 cm Majority of polaroids: 3 5/16 x 4 3/16 inches (8.4 x 10.6 cm) Additional size: 4 3/16 x 3 5/16 inches (10.6 x 8.4 cm)
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