Inaugurating their collaboration as co-representatives of The Estate of Diane Arbus, David Zwirner and Fraenkel Gallery are pleased to announce the first complete presentation of Diane Arbus’s Untitled series. The sixty-six images were made at residences for people with developmental disabilities, places Arbus repeatedly returned to for picnics, for dances, and at Halloween between 1969 and 1971, the last years of her life. On view at David Zwirner’s 537 West 20th Street location, the exhibition will include several images that have never before been exhibited.

 

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Image: Diane Arbus, Untitled (49) 1970-71
© The Estate of Diane Arbus

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Opening reception 
Friday, November 2, 6–8 PM

Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this exhibition takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Drawn from international museum and private collections, the exhibition at David Zwirner will include works from the twelfth century to the present day.

 

The exhibition will provide a unique opportunity to examine affinities in intention and imagery between works executed across a broad span of time. Endless Enigma will explore the ways artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Works on view range from gothic gargoyles; masterworks from the fifteenth and sixteenth centuries by Herri met de Bles, Hieronymus Bosch, Piero di Cosimo, and Titian; seventeenth- and eighteenth-century works by Damiano Cappelli, Pietro Novelli, and Salvator Rosa; nineteenth-century works by William Blake, James Ensor, Francisco de Goya, Gustave Moreau, Odilon Redon, and James Ward; and works from the twentieth century to the present day by Eileen Agar, Francis Alÿs, Louise Bourgeois, Salvador Dalí, Giorgio de Chirico, Max Ernst, Leonor Fini, Robert Gober, José Gutiérrez Solana, Sherrie Levine, René Magritte, Roberto Matta, Pablo Picasso, Wallace Putnam, Man Ray, Kay Sage, Yves Tanguy, and Lisa Yuskavage, among others.

 

In conjunction with the exhibition, David Zwirner Books will publish a fully illustrated catalogue, which will include new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.

 

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Image: Contemporary follower of Hieronymus Bosch, The Garden of Earthly Delights, c. 1515 (detail)

Special event 
"Fantastic Art Revisited: Exhibiting Old Masters and Contemporary Art," Saturday, October 27, The Kitchen, New York
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Piero di Cosimo
The Finding of Vulcan on the Island of Lemnos, c. 1490
Oil and tempera on canvas
60 x 66 1/2 inches 152.4 x 168.9 cm Wadsworth Atheneum Museum of Art, Hartford, CT The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1932.1 Courtesy Nicholas Hall
Giorgio de Chirico
La grande torre (The Big Tower), c. 1932
Oil on canvas
12 1/2 x 12 1/2 inches (31.8 x 31.8 cm) Framed: 20 3/4 x 20 3/4 x 2 1/2 inches (52.7 x 52.7 x 6.4 cm) © 2018 Artists Rights Society (ARS), New York / SIAE, Rome Private Collection Courtesy Nicholas Hall
Max Ernst
Forêt, ​soleil, oiseaux ou Le chant à la lune, 1927
Oil on paper on cardboard
25 3/8 x 19 3/4 inches 64.5 x 50.2 cm Courtesy Nicholas Hall
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Opening reception 
Wednesday, September 12, 6-8 PM

David Zwirner is pleased to present Myths & Mortals, an exhibition of new work by Marlene Dumas that will be on view at the gallery’s 537 West 20th Street location. In this exhibition, the artist’s second with the gallery and her first solo presentation in New York since 2010, Dumas will debut an expansive series of works on paper originally created for a recent Dutch translation of William Shakespeare’s narrative poem Venus & Adonis (1593) by Hafid Bouazza.1 Tender and erotic with hints of violence, these drawings depict the story of Venus, the goddess of love, and her tragic passion for the handsome youth Adonis in the artist’s singularly expressive ink wash. Alongside these works, the exhibition will feature a selection of new paintings that range from monumental nude figures to intimately scaled canvases that present details of bodily parts and facial features.

 

 

 

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April 28–June 30, 2018
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Opening reception 
Saturday, April 28 6-8 PM

David Zwirner is pleased to present Dan Flavin: in daylight or cool white at its 537 West 20th Street gallery. The exhibition will examine Dan Flavin’s use of different variations of fluorescent white light, focusing on significant works from the 1960s. The title refers to Flavin’s seminal text “‘… in daylight or cool white.’ an autobiographical sketch,” first published in the December 1965 issue of Artforum.

 

Beginning in 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold, fluorescent lamp installed diagonally on a wall, until his death in 1996, Flavin produced a singularly consistent and prodigious body of work that utilized fluorescent light to create installations (or “situations,” as he preferred to call them) of light and color.

 

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Dan Flavin
alternate diagonals of March 2, 1964 (to Don Judd), 1964
Daylight and cool white fluorescent light
12 ft. (366 cm) long on the diagonal
Dan Flavin
the nominal three (to William of Ockham), 1963
Daylight fluorescent light
8 ft. (244 cm) high
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Opening reception 
Wednesday, February 21, 6–8 PM

On the occasion of the gallery’s 25th anniversary, David Zwirner will present a special exhibition celebrating the artists who have shaped the gallery’s program since its founding in 1993.

 

On view across all of the gallery’s Chelsea spaces in New York (519, 525 & 533 West 19th Street and 537 West 20th Street), the exhibition will feature artworks by the gallery’s artists, including significant historical work, alongside new and never-before-seen works commissioned specially for the occasion.

 

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Carol Bove
Lemon, 2017
Stainless steel, found steel, and urethane paint
62 3/4 x 113 3/4 x 55 1/2 inches (159.4 x 288.9 x 141 cm)
Josef Albers
Study for Homage to the Square: Distant, 1964
Oil on Masonite
Framed: 24 5/8 x 24 5/8 inches (62.5 x 62.5 cm)
Marcel Dzama
Die Verwandlung, 2017
Watercolor, ink, and graphite on paper
Framed: 94 3/4 x 66 inches (240.7 x 167.6 cm)
Jeff Koons
Bluebird Planter, 2010-2016
Mirror-polished stainless steel with transparent color coating and live flowering plants
82 1/2 x 115 x 41 1/2 inches (209.5 x 292.1 x 105.4 cm)
Philip-Lorca diCorcia
Buddy, 2017
Inkjet print
Framed: 45 1/4 x 64 1/2 inches (114.9 x 163.8 cm)
Wolfgang Tillmans
Vapeur, 2017
Inkjet print on paper, clips
161 3/4 x 108 1/8 inches (410.8 x 274.6 cm)
Ruth Asawa
Untitled (S.535, Hanging Five Lobed Continuous Form within a Form and Two Interior Spheres and One Teardrop Form), 1951
Hanging sculpture—iron and brass wire
87 x 12 1/2 x 12 1/2 inches (221 x 31.8 x 31.8 cm)
Josh Smith
Coming Home, 2018
Oil on linen
60 x 48 inches (152.4 x 121.9 cm)

David Zwirner is pleased to present two major new works in forged steel by Richard Serra. Recent drawings by the artist will be on view in the gallery’s second floor exhibition spaces. 

 

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© 2017 Richard Serra / Artists Rights Society (ARS), New York. Courtesy David Zwirner, New York/London

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Richard Serra
Rotterdam Horizontal #5 / Right Angle, 2016
Etching ink, silica, and paintstick on handmade paper
43 1/4 x 31 1/2 inches (109.9 x 80 cm)
Richard Serra
Right Angle #1, 2017
Etching ink, silica, and paintstick on handmade paper
27 3/4 x 27 3/4 inches (70.5 x 70.5 cm)
Rotterdam Vertical #10
Etching ink, silica, and paintstick on handmade paper
39 x 39 1/4 inches (99.1 x 99.7 cm)
Richard Serra
AR Vertical #4, 2017
Etching ink, silica, and paintstick on handmade paper
40 1/4 x 39 1/2 inches (102.2 x 100.3 cm)
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Ruth Asawa
Continuous (S.340, Hanging, Miniature Single-Lobed, Three Layered Continuous Form within a Form), c. 1981-1982
Hanging sculpture—gold-filled wire
3 1/2 x 4 1/2 x 4 1/2 inches
(8.9 x 11.4 x 11.4 cm)
©  Estate of Ruth Asawa
 

David Zwirner is pleased to announce the gallery's first exhibition dedicated to the work of Ruth Asawa since having announced the representation of the artist's estate earlier this year, which will take place at the 537 West 20th Street location. The exhibition will bring together a selection of key sculptures, paintings, and works on paper spanning Asawa's influential practice, as well as rare archival materials, including a group of vintage photographs of the artist and her work by Imogen Cunningham. 

 

Born in rural California, Asawa began to make art while detained in internment camps for Japanese Americans at Santa Anita, California, and Rohwer, Arkansas, where she was sent with her family in 1942-1943. Following her release, she enrolled in Milwaukee State Teachers College, eventually making her way to Black Mountain College in North Carolina in 1946, then known for its progressive pedagogical methods and avant-garde aesthetic milieu. Asawa's time at Black Mountain proved formative in her development as an artist, and she was influenced there in particular by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn.

 

 

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

 

 

 

 

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Ad Reinhardt: Blue Paintings, organized by the Ad Reinhardt Foundation, will present the largest number of the artist’s “blue” paintings ever shown together. Drawn exclusively from museum and private collections, this will be the first exhibition devoted entirely to this body of work since the artist’s 1965 solo show at the Stable Gallery, New York, over fifty years ago. This presentation will focus on works made between 1950 and 1953, in addition to related earlier canvases from the 1940s.

 

The perceptual demands of these compelling works are intense and reward sustained looking: the blues in Reinhardt’s paintings appear to change before one’s eyes, influenced by subtle shifts in color within each canvas and in neighboring works. Reinhardt paired tones of blue that are so similar that it may take minutes to see they are not the same, creating resonant compositions that challenge the limits of perception. In bringing these works together, this exhibition will afford a rare opportunity to experience one of the greatest twentieth-century painters thinking in color.

 

The Ad Reinhardt Foundation would like extend its deep gratitude to the many generous lenders who have made this unprecedented exhibition possible. Ad Reinhardt: Blue Paintings, which is free and open to the public, will introduce a new audience to these iconic works, and has already contributed immensely to the study of the artist’s oeuvre. 

 

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Above, from left to right: Abstract Painting, 1950-51. Oil and acrylic on canvas. 78 1/4 x 24 inches (198.8 x 61 cm). Private Collection, Courtesy Pace Gallery. Blue Painting, 1951-1953. Oil on canvas. 80 x 59 7/8 inches (203.2 x 152.1 cm). Private Collection, Europe. No. 15, 1952. Oil on canvas. 110 9/16 x 42 1/2 inches (280.8 x 108 cm). Collection Albright-Knox Art Gallery, Buffalo, Gift of Seymour H. Knox, Jr., 1958, K1958:42. All artwork © 2017 The Ad Reinhardt Foundation

 

 

 

 

 

 

 

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Ad Reinhardt in his studio, 1953. Works on view in the current exhibition include Number 88, 1950 (Blue), 1950 (far left; now in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (far left); and No. 15, 1952 (directly to the left of the artist; now in the collection of the Albright-Knox Art Gallery, Buffalo). Artwork © Ad Reinhardt Foundation. Photo © Walter Rosenblum.
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On the occasion of the recent announcement that David Zwirner and Andrea Rosen Gallery will co-represent the Estate of Felix Gonzalez-Torres, David Zwirner is pleased to announce the gallery's first exhibition dedicated to the artist's influential work.

 

Felix Gonzalez-Torres is one of the most significant artists to emerge in the late 1980s and early 1990s. In its reduced formal vocabulary, conceptual rigor, and evocative use of everyday materials, the artist's work resonates with meaning that is at once specific and mutable; rigorous and generous; poetic and political.

 

Drawn from museum and private collections, the exhibition spans several bodies of work from throughout the artist's career, presented in a series of distinct installations in nine spaces on two floors of the gallery's 537 West 20th Street location. The installations range from intimate to expansive and respond to the physical architecture and the simultaneously private and public nature of the gallery. Together, in their radical openness to interventions of site, audience, and context, the works on view challenge perceived notions of what constitutes an exhibition space, a public, an artwork itself.

 

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

 

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Felix Gonzalez-Torres
"Untitled" (Perfect Lovers), 1987-1990
Wall clocks
13 1/2 x 27 x 1 1/4 inches overall. Two parts: 13 1/2 inches diameter each
Felix Gonzalez-Torres
"Untitled" (Water), 1995
Strands of beads and hanging device
Dimensions vary with installation
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