© 2017 The Josef and Anni Albers Foundation
© 2017 The Josef and Anni Albers Foundation
© 2017 The Josef and Anni Albers Foundation
Zwirner & Wirth is extremely pleased to present an exhibition of photographs and television shows by Andy Warhol. Curated by Anthony d'Offay, Warhol's World features over three hundred unique and previously unseen prints selected from the collection of the Andy Warhol Foundation for the Visual Arts. Taken between 1976 and 1987, these images vividly depict the vibrant social scene surrounding Warhol. Featured individuals include Jean-Michel Basquiat, Mick Jagger, Debbie Harry, Diana Ross, Robert Rauschenberg, Jerry Hall, Bianca Jagger, Grace Jones, Demi Moore, David Hockney, Kenny Scharf, Diana Vreeland, Paloma Piccaso, and Ozzy Ozbourne.
The photographs reveal Warhol’s surprising eye for touching images, such as those of Jean-Michel Basquiat in the company of his mother, enchanting children, as well as key members of the Factory inner circle. A self-portrait of the artist in the arms of Diana Ross proves particularly striking. There are photographs of street people, drag queens, artists and clubbers, accompanied by more intimate photographs such as those of socialite and horticulturalist C. Z. Guest on horseback at her estate on Long Island's North Shore. An image capturing a throng of paparazzi as they lie in wait reflects Warhol's particular fascination with celebrity and fame.
Opening on November 22, 2006, Zwirner & Wirth and David Zwirner will present concurrent exhibitions of sculptures and drawings by the American artist Fred Sandback (1943-2003). Surveying the artist's uniquely focused career, this will be the first large-scale exhibition of Sandback's work organized in the United States since it was presented at Dia Center for the Arts, New York in 1996-1997. Known for sculptures that outline imaginary planes and volumes in space with colored yarn, Sandback's work is informed by a rigorously minimal artistic vocabulary. This two-part exhibition will trace the development of his practice, with works dating from 1967 to 2003.
Though Sandback employed metal and elastic cord in his earliest works, the artist would soon dispense almost entirely with the mass and weight of materials by using acrylic yarn to create sculptures that produce perceptual illusions while also addressing their physical surroundings and the "pedestrian space," as Sandback called it, of everyday life. Throughout the course of his career, yarn would enable the artist to elaborate on the phenomenological experience of space and volumes with unwavering consistency and ingenuity. As Thomas McEvilley notes, "like a patient and conscientious researcher Sandback made his way through the world of art and space by careful and precise steps–yet found a route that was peculiarly his own and has a certain claim to uniqueness in his overall idea of a sculpture with no inside, no relationship between surface and interior."¹ The exhibition will examine the broad scope of formal invention that the artist was able to achieve with this restricted idiom of yarn lines in space. Sandback's sculptural compositions are comprised of lengths of yarn stretched horizontally, vertically, or diagonally in a variety of configurations that include rectangles, triangles, U-shapes, and floor-to-ceiling vertical lines. The works on view range from smaller-sized wood wall reliefs to constructions that encompass entire rooms, thus demonstrating how the artist was able to create this signature vocabulary of forms in different combinations and scales.
Opening on January 10, 2007, David Zwirner is pleased to present the first U.S. viewing of Klatsassin, an exhibition of new work by Canadian artist Stan Douglas. In 2006, Klatsassin premiered at the Vienna Secession in Vienna, Austria. The exhibition at David Zwirner is concurrent with Stan Douglas: Inconsolable Memories at The Studio Museum in Harlem, on view through March 18, 2007, which features a major work: a 16mm film based in part on Tomás Gutiérrez Alea's 1968 film, Memorias del Subdesarrollo (Memories of Underdevelopment). Douglas recently co-curated Beyond Cinema: The Art of Projection, Films, Videos, and Installations from 1963 to 2005 at Hamburger Bahnhof in Berlin, Germany (through February 4, 2007). A monograph of Douglas' work from the Friedrich Christian Flick Collection was recently published by Dumont.
Stan Douglas has exhibited at many major instutitions in the United States and abroad, including DIA Center for the Arts, New York, NY; Hamburger Bahnhof, Berlin, Germany; Solomon R. Guggenheim Museum, New York, NY; Museum of Modern Art, New York, NY; The Art Institute of Chicago, Chicago, IL; Kunsthalle Zürich, Zurich, Switzerland; Tate Modern, London, England; Whitney Museum of American Art, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Moderna Museet, Stockholm, Sweden; and Centre Georges Pompidou, Paris, France, among many others. He has participated in several biennials including Venice, Sao Paolo, Istanbul, Berlin, Sydney, and Liverpool. This will be Douglas' eighth solo exhibition at David Zwirner.
Opening on February 1, 2007, Zwirner & Wirth will present a selection of important sculptures and drawings by Joseph Beuys. The works on view, which date from 1953 to 1984, span the artist's uniquely influential career.
Joseph Beuys (1921-1986) is considered one of the most important German artists of the 20th Century. His innovative experiments with materials and genres radically expanded the possibilities of art-making, thus influencing successive generations of artists. Beuys's practice was multi-faceted, incorporating drawings, installations, performances, and even political activism into a unique body of work which promoted a mutable, new kind of art that encouraged individual and social transformation.
Opening on February 15, 2007, David Zwirner is pleased to present an exhibition of new work by German artist Isa Genzken. This will be the artist's second solo exhibition at the gallery.
All of the works on display at David Zwirner were included in Genzken's recent solo exhibition at the Vienna Secession, Vienna, Austria (2006). Other recent solo exhibitions include Galerie im Taxispalais, Innsbruck, Germany; Kunsthalle zu Kiel, Kiel, Germany; and Camden Arts Center, London, England. In 2006, Genzken participated in numerous prestigious group exhibitions including Hirshhorn Museum and Sculpture Garden, Washington, DC; The Geffen Contemporary at MOCA, Los Angeles, CA; Museu de Serralves, Porto, Portugal; Kunsthalle Baden-Baden, Baden-Baden, Germany; Heidelberger Kunstverein, Heidelberg, Germany; Kunstverein Braunschweig, Braunschweig, Germany; and Kunstmuseum Winterthur, Winterthur, Switzerland. In 2003, she participated in the Venice Biennale and, in 2002, Documenta 11 in Kassel, Germany. In 2007, Genzken will represent Germany at the Venice Biennale from June 10 – November 21, and her work will be exhibited at Skulptur. Projekte in Munster, Munster, Germany in the summer of 2007.
Opening on February 15, 2007, David Zwirner is pleased to present an exhibition of new work by Los Angeles-based artist Toba Khedoori. Khedoori had solo exhibitions at the Whitechapel Art Gallery, London, England (2001) and the Walker Art Center, Minneapolis (1997). She has participated in many prestigious group exhibitions, including International 06, Liverpool Biennial: International Festival of Contemporary Art, Liverpool, England; Lo desacogedor: Escenas fantasmas en la sociedad global, La Bienal Internacional de Arte Contemporáneo de Sevilla, Seville, Spain; The Grand Promenade, National Museum of Contemporary Art, Athens, Greece (all 2006); Drawing from the Modern: 1975 - 2005, Museum of Modern Art, New York, NY (2005); and 26th Biennale di São Paulo, São Paulo, Brazil. Her work was selected for the 1995 Whitney Biennial at The Whitney Museum of American Art, New York, NY. This will be Khedoori's fourth solo exhibition at the gallery.
For this exhibition, the works range in size from approximately 6 ½ x 12 feet to 19 x 12 feet. Half of the works were made by initially priming large sheets of paper with a synthetic wax, which was scraped smooth with a razor blade then painted with oil paint. All of the works involve many preparatory sketches, usually drawn from photographs. Khedoori's sources for this group of works include fireplaces, holes, a wall with windows, logs, and crumpled paper–each isolated on the paper. She uses oil pant to meticulously delineate the forms and the finished works are stapled directly onto the wall.
Opening on February 15, 2007, David Zwirner is pleased to present an exhibition by Belgian artist Francis Alÿs, who lives and works in Mexico City. Recently, Alÿs was the subject of solo exhibitions at Portikus, Frankfurt, Germany, MALBA, Buenos Aires, Argentina (2006); Kunstmuseum Wolfsburg, Wolfsburg, Germany [traveled to Musée des Beaux-Arts, Nantes, France and Museo d'Art Contemporani de Barcelona, Barcelona, Spain, and Museo de San Idelfonso, Mexico City, Mexico] (all 2005-2006); Musée d'Art Contemporain, Avignon, France (2004); Centro nazionale per le arti contemporanee, Rome, Italy [traveled to Kunsthaus Zürich, Zürich, Switzerland and Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain] (all 2003); and Museum of Modern Art, New York, NY (2002). Among the artist's numerous group exhibitions are 14th Biennale of Sydney, Sydney, Australia (2004); 2004 Carnegie International, Carnegie Museum of Art, Pittsburgh, PA; São Paulo Biennale, São Paolo, Brazil (2004); and Shanghai Biennale 2002, Shanghai, China. This will be Alÿs's first solo exhibition at David Zwirner–his first New York gallery show since 1997.
A compulsive wanderer, Francis Alÿs is known for his in-depth projects in a wide range of media including documentary film, painting, photography, performance and video. Many of his works involve intense observation and recording of the social, cultural and economic conditions of particular places, usually conceived during walks through urban areas. For example, The Modern Procession (2002), chronicles the movement of artworks from MoMA to Queens before the remodeling and expansion of their Manhattan galleries. In Cuentos Patrióticos (1997), a flock of sheep circle the main flag pole on the Plaza del Zócalo in Mexico City as a political metaphor. Filmed in the same plaza, Zócalo (1999) records the same flag pole as it becomes an accidental sun clock over the course of a day. Some projects focus more intently on the people who live in Alÿs's subject cities. Beggars (2002-2004), comprises an 80-slide carousel with images of street people asking for money at the entrance to the subway in Mexico City, and When Faith Moves Mountains (2002) documents a large group of people outside the Peruvian capital as they slowly and deliberately "move" a large sand dune a short distance using shovels. In these and his many other projects, which are typically displayed along with working notes, drawings, paintings, photographs and ephemeral material employed in their processes, Alÿs creates powerfully original metaphors for human will.
Opening on March 21, 2007, David Zwirner is pleased to present an exhibition of new photographs by Los Angeles-based artist James Welling. In 2006, Welling was included in group exhibitions at the Centre Georges Pompidou, Paris, France; Museu de Serralves, Porto, Portugal; Museum of Modern Art, New York, NY; the Chelsea Art Museum, New York, NY; and P.S.1, Long Island City, NY. His exhibition Agricultural Works, a project sponsored by Minetta Brook, was recently exhibited at the Hudson River Museum, Yonkers, NY (2006). The exhibition James Welling–Flowers, 2005 is on display at The Horticultural Society of New York at 148 W. 37th Street, 13th Floor, from March 23 through June 22, 2007.
This will be Welling's second solo exhibition at David Zwirner and will include selections from three recent bodies of work: Flowers, Hexachromes, and Authors. For the past 5 years, James Welling has explored the phenomena of color: its material presence as layers of dyes on a sheet of photo paper; its perceptual existence in the eyes of the viewer; and its symbolic place in both personal and historical contexts. This exhibition documents Welling's most recent investigation of color.