David Zwirner and Zwirner & Wirth will both present an exhibition of the work of Los Angeles-based artist Raymond Pettibon. Opening on January 10, Zwirner & Wirth will exhibit a group of early drawings, drawn from private collections, documenting the first decade of Pettibon’s work in the 1980s. Opening on January 11, David Zwirner will present an installation of new drawings by the artist.

 

This year a solo exhibition entitled Raymond Pettibon, plots laid thick was organized by MACBA in Barcelona, Spain which traveled to the Tokyo Opera City Art Gallery in Tokyo; and to the Musée Departemental d’Art Contemporain in Rochechouart, France. The exhibition is currently on view at the Haags Gemeentemuseum in The Hague, the Netherlands. The artist's work was also included in Documenta XI in Kassel, Germany and in 2001 he was awarded the prestigious Wolfgang Hahn Prize in Germany.

 

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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.

 

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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.

 

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Fred Sandback
Black Piet After P.M.: Composition with Red, Yellow, Blue, 1930, 2003
Black paint on plywood
20 x 20 x 1 1/8 inches (50.8 x 50.8 x 2.9 cm)
Fred Sandback
Untitled, 1985
White acrylic yarn
Dimensions will vary with installation
Fred Sandback
Untitled (Sculptural Study, White Wall Relief, 2003/2006
White paint on wood
Overall: 36 1/4 x 68 1/4 inches (92.1 x 173.4 cm) Panel 1: 36 x 21 5/8 inches (91.4 x 54.9 cm) Panel 2: 36 x 8 5/8 inches (91.4 x 21.9 cm) Panel 3: 36 x 24 inches (91.4 x 61 cm)

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. 

 

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Opening on April 5, 2007, Zwirner & Wirth will present the only existing complete set of prints and multiples by German artist Blinky Palermo.

 

Blinky Palermo (1943-1977) has left behind a uniquely influential legacy as an artist, despite the tragically short span of his career. Though it has been linked with distinct 20th Century art practices–which include abstraction, minimalism, and conceptual art, Palermo's diverse body of work defies easy categorization.

 

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Opening on May 9, 2007, Zwirner & Wirth will present an exhibition of American and European conceptual photography drawn from a private collection. Spanning the years 1964-1989, the collection, which has been amassed over the last three decades, includes key examples of photo-based conceptual art by artists such as Vito Acconci, Giovanni Anselmo, John Baldessari, Bernd & Hilla BecherMel BochnerHans Breder, Marcel Broodthaers, Peter CampusRobert CummingValie Export, Fischli & Weiss, Dan Graham, Birgit Jürgenssen, Barry Le Va, Sol LeWitt, Robert Mapplethorpe, Ana Mendieta, Bruce Nauman, Meret Oppenheim, Hélio Oiticica, Giulio Paolini, Giuseppe Penone, Sigmar Polke, Richard Prince, Charles RayAllen Ruppersberg, Lucas Samaras, Laurie SimmonsAndy Warhol, and others.

 

An open-ended term, "conceptual art" encompasses a broad range of practices that emphasize the role of ideas in the production of artistic meaning. Beginning roughly in the 1960s and 70s, artists would question the traditional visual or aesthetic definition of the work of art in favor of more idea-driven, critical work. Photography would become central in the development of conceptual practices, as it proved to be a medium that could be implemented by artists in various ways, and the exhibition at Zwirner & Wirth will reflect a broad range of influential, conceptual photo-based work.

 

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Louis-Léopold Boilly, Michaël Borremans, Paul Bril, Glenn Brown, Jan Brueghel the Elder, Jan Brueghel the Younger, Lucas Cranach the Elder, John Currin, Berlinde de Bruyckere, Carlo Dolci, Battista Dossi, Hilary Harkness, Julie Heffernan, Karen Kilimnik, Master of Female Half-Lengths, Christopher Orr, Djordje Ozbolt, Elizabeth Peyton, Michael Raedecker, Wilhelm Sasnal, Anj Smith, Jacob Van Swanenburgh, Richard Wathen, Jakub Julian Ziolkowski, and others.

 

Opening on June 27, Zwirner & Wirth will present an exhibition of paintings by Old Master and contemporary artists.  Old School celebrates a re-engagement with Old Master modes of representation, which might be said to be a recent phenomenon in contemporary art.  A younger generation of artists looks to the past in works that re-define and re-contextualize the techniques, themes, and imagery of their art-historical predecessors, and Old School aims to present a dialogue between old and new with a selection of works spanning the 15th to the 21st centuries.

 

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Opening on October 18, 2006, David Zwirner and Zwirner & Wirth are pleased to present concurrent exhibitions of paintings and drawings by New York artist Lisa Yuskavage. Yuskavage had recent solo exhibitions at the Museo Tamayo Arte Contemporáneo in Mexico City, Mexico (2006), the Centre d'Art Contemporain, Geneva, Switzerland (2001) and the Institute of Contemporary Art at the University of Pennsylvania, Philadelphia, PA (2000). Major group exhibitions include the Fifth International Biennial: Disparities and Deformations, Our Grotesque, SITE Santa Fe, Santa Fe, NM (2004); Supernova: Art of the 1990s from the Logan Collection, San Francisco Museum of Modern Art, San Francisco, CA (2003); de Kooning to Today: Highlights from the Permanent Collection, Whitney Museum of American Art, New York, NY (2003); 2000 Whitney Biennial, The Whitney Museum of American Art, New York, NY (2000); and Greater New York, P.S.1/The Museum of Modern Art, New York, NY (2000). In 2007, Yuskavage will participate in America Today: 300 Years of Art from the USA at the National Art Museum of China in Beijing. These will be the artist's first exhibitions at David Zwirner and Zwirner & Wirth.

 

Known for paintings of women, Lisa Yuskavage's images occupy the space between high and low; the sacred and the profane. Many of these new works explore a complex psychological direction–specifically, symbiotic relationships. Influenced in part by images that depict power struggles, including Baroque sculptures (specifically Gianlorenzo Bernini) and Giorgio de Chirico's late "Gladiator" paintings, Yuskavage's "figures" hover or climb upon one another–caught in embraces that appear to shift between tenderness and violence. Within these paradoxical relationships, it is often difficult to decipher what is real and what is imagined; what is weighted and what is weightless; what is made of paint and what transcends the medium entirely. Yuskavage's subtle degrees of fiction and representation culminate in questionable, unsettling quasi-realities.

 

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Lisa Yuskavage
Changing, 2005
Oil on linen
77 x 68 inches (195.6 x 172.7 cm)
Lisa Yuskavage
Still Life II, 2005
Oil on linen
20 x 16 1/2 inches (50.8 x 41.9 cm)
Lisa Yuskavage
Morning, 2004-2005
Oil on linen
70 x 60 inches (177.8 x 152.4 cm)
Lisa Yuskavage
Imprint, 2006
Oil on linen
48 x 32 inches (121.9 x 81.3 cm)

Not so long ago, the history of modern art appeared to move forward in a fairly orderly progression from one movement to another. There was something almost biblical about this progress–Impressionism begat Post Impressionism, Post Impressionism begat Cubism, Cubism begat Surrealism, Surrealism begat Abstract Expressionism, and so on. In this view, art moved forward by extending or reacting against the preceding set of reigning assumptions, yielding a pleasing linear development from one set of influences to the next.

 

Things began to get more complicated in the1960s and 70s, as art moved through a dizzying series of changes predicated, it seemed at times, on little more than an attitude of negation toward all that had gone before. Still, the dream of order held on through the 1980s, as Neo Expressionism begat Neo Geo and Neo Geo begat Simulationism.

 

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Opening on September 13, 2007, Zwirner & Wirth will present a select survey of sculptures by the influential American artist H.C. Westermann. The exhibition brings together a group of ten key works that exemplify his innovative use of traditional craft techniques to create a body of sculptural work that remains uniquely situated in the canon of 20th Century art.

 

From the late 1950s until his death in 1981, Westermann worked with a number of materials and formal devices to address a range of personal, literary, artistic, and pop-cultural references. The artist's sculptural oeuvre is distinguished by its intricate craftsmanship, in which wood, metal, glass, and other materials are laboriously hand-tooled, and by its ability to convey an offbeat, often humorous, individualistic sensibility.

 

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