David Zwirner is pleased to present an exhibition of new photographs by Stan Douglas—the artist’s fourteenth solo exhibition with the gallery—at 525 West 19th Street in New York. On view will be works from two recent series, DCT (2016–ongoing) and Blackout (2017), that together illustrate the artist’s overarching interest in the nature of photographic representation and its relationship to reality. 

 

Since the late 1980s, Douglas has created films and photographs—and more recently theater productions and other multidisciplinary projects—that investigate the parameters of their medium. His wide-ranging inquiry into technology’s role in image making, and how those mediations infiltrate and shape collective memory, has resulted in works that are at once specific in their historical and cultural references and broadly accessible. Since the beginning of his career, photography has been a central focus of Douglas’s practice, utilized at first as a means of preparing for his films and eventually as a powerful pictorial tool in its own right. The artist is influenced in particular by media theorist Vilém Flusser’s notion of the photographic image as an encoded language that is determined by a specific set of technological, social, cultural, and political circumstances.

 

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Opening reception 
Thursday, February 22, 6–8 PM
Curators 
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The gallery will open on December 12th with two concurrent solo exhibitions by Marcel Dzama and Jockum Nordström. This will be Canadian artist Marcel Dzama's third solo show at the gallery. A solo exhibition called More Famous Drawings traveled throughout Canada and Japan in 2002- 2003. Dzama (born 1975) is also part of the Winnipeg-based artists' collective The Royal Art Lodge, an exhibition of which opened earlier this year at the Drawing Center in New York, and then traveled throughout the United States and Europe. The artist's work was also included in many international group shows this year.

 

Dzama is known for his figurative compositions of pen and watercolor on manila-colored paper, with their characteristic palette of muted browns, grays, greens, yellows, and reds. His 14x11-inch drawings are populated by human characters, animals, hybrids---sometimes combined with text--- that are placed against bare backgrounds. Caught in unlikely situations, his characters and their environments are stripped of narrative contexts and offer many possibilities for interpretation. Despite this absence of narrative, Dzama's cast of characters is expansive and many characters reappear, creating various threads in the many different compositions. As the artist himself said: "There is a narrative, but it's so muddled that it's like an inside joke that has gone too far".

 

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David Zwirner is pleased to present recent paintings and works on paper by Suzan Frecon in concurrent exhibitions in New York and London, marking the artist's first show in London and her fourth overall solo presentation with the gallery.

 

For almost five decades, Frecon has created abstract paintings that address issues of horizontality and verticality, asymmetrical balances, and interacting arrangements of color. Each composition is the result of a deliberative process guided by careful attention to spatial relationships. Working slowly, she accrues paint gradually, allowing the process of arriving at a given configuration to take ultimate precedence. 

 

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Information about the concurrent London exhibition can be found here

 

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

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Opening on Wednesday, March 9, 2005, the gallery will present new work by German artist Thomas Ruff. This will be the artist’s fourth solo exhibition at the gallery.

 

Best known for his oversized, deadpan portraits, his unmediated shots of commonplace interiors, his colorful abstractions taken from the Internet of Japanese manga & anime, and his evocative nudes borrowed from pornographic websites, Ruff has quietly approached many familiar genres and proceeded to discreetly reinvent them. Ruff has an uncanny feel for the look of the ordinary–in people, places, and objects. However, his brand of photographic objectivity is not that purportedly practiced by photojournalists. Rather, it is elicited by scanning the mundane for the telling particulars of aggregated detail, and by a reserved and skeptical curiosity towards photography's ultimate truthfulness.

 

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Thomas Ruff
jpeg ny05, 2004
C-Print with Diasec
111.42 x 66.14 inches (283 x 168 cm)
Thomas Ruff
jpeg pk01, 2004
C-Print with Diasec
96.06 x 74.02 inches (244 x 188 cm)
Thomas Ruff
jpeg aa02, 2004
C-Print with Diasec
78.74 x 74.02 inches (200 x 188 cm)
Thomas Ruff
jpeg gr01, 2004
C-Print with Diasec
74.02 x 106.3 inches (188 x 270 cm)
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"Mamma builds houses, Jockum inhabits them. She gathers, he hunts." 
–Paolo Colombo

 

David Zwirner is pleased to present Who is sleeping on my pillow, two concurrent solo exhibitions by Swedish artists Mamma Andersson and Jockum Nordström. After spending half their lives together while maintaining separate practices, this is the first time they have exhibited together.

 

This is Mamma Andersson's second exhibition at the gallery (her U.S. debut was at David Zwirner in 2006), and Jockum Nordström's fifth. Known for her complex, multilayered subjects that converge between domestic interiors and Nordic landscapes, Andersson will present all new paintings. From Nordström, on view will be collages, other works on paper, and sculptures made of cardboard and matchboxes. Also featured will be two collaborative works, Sleepwalkers and Wetland, both from 2010. In these two-sided works on paper, Andersson has created lush color washes on the back, while Nordström has collaged the front with figures of people, animals, and trees.

 

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

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Jockum Nordström
Groaning, 2010
Watercolor, graphite, and collage on paper
27 1/2 x 39 3/8 inches (70 x 100 cm)
Jockum Nordström
Child of Nature, 2010
Watercolor, graphite, and collage on paper
29 7/8 x 22 1/2 inches (75.9 x 57.2 cm)
Jockum Nordström
Duello, 2009
Graphite on paper
12 1/4 x 17 3/4 inches (31 x 45 cm)
Jockum Nordström
Blockhead, 2010
Paper, glue, cardboard, graphite, and watercolor
9 1/2 x 26 1/2 x 10 3/4 inches (24.1 x 67.3 x 27.3 cm)
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Opening on September 8, 2006, David Zwirner is pleased to present a solo exhibition of new work by Swedish artist Jockum Nordström. The artist recently exhibited at the Wexner Center for the Arts, Columbus, OH; The Museum of Modern Art, New York, NY; Liljevalchs Konsthall, Stockholm, Sweden; the Tate Modern in London, England; and the Moderna Museet in Stockholm, Sweden. This will be Nordström's fourth exhibition at the gallery and will take place at the 525 West 19th Street space.

 

Elegantly constructed, Nordström's settings are often frighteningly benign, yet they allude to decisive themes: manual labor, overt sexuality, and everyday social dynamics. The exhibition will include several collages as well as a number of new works on paper. Each of the works offers a glimpse of an eerily private encounter or a sinister tryst.

 

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Jockum Nordström
Fuck the Big Revolution, and Where is the Holy Bible, 2005
Graphite on paper
22 1/2 x 30 1/8 inches (57 x 76.5 cm)
Jockum Nordström
The Rag, 2006
Collage on paper
70 x 100 inches (177.8 x 254 cm)
Jockum Nordström
Ache, 2006
Cardboard
14 1/8 x 4 5/8 x 7 7/8 inches (35.9 x 11.7 x 20 cm)
Jockum Nordström
House-Recording, 2006
Cardboard
28 7/8 x 18 1/8 x 8 5/8 inches (73.5 x 46 x 22 cm)
Jockum Nordström
Så Bär Dig Då Till, 2006
Graphite on paper
23.62 x 17.72 inches (60 x 45 cm)
Jockum Nordström
Homework, 2006
Collage on paper
65.75 x 41.73 inches (167 x 106 cm)
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Already successful comic artists in the San Francisco underground scene, Aline Kominsky-Crumb and Robert Crumb met at a party in 1971. The attraction was immediate—Aline looked like a character Robert drew called Honeybunch Kaminski. Soon, they began drawing strips together. Their first joint comics recount their lives with acute honesty. When their best friend Terry Zwigoff saw them, he said, "This is the most embarrassing thing I've ever read!" The couple published them as Aline and Bob's Dirty Laundry Comics in 1974.

 

Drawn Together is a vivid account of their work both in collaboration and as individual artists, featuring portraits and self-portraits, magazine covers, sketches, and bawdy characters, all executed with extraordinary humor and generosity. Also featured is the ongoing Aline & Bob strip started in 1974 that follows them from Bay Area bohemia to southern France, where they nickname their home "Crumbland."

 

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

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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.

 

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Stan Douglas
Detail of Klatsassin Portraits, 2006
Black and White Laserlight Jet Print
11 prints: 33 x 27 inches (83.8 x 68.6 cm)
Stan Douglas
Detail of Klatsassin Portraits, 2006
Black and White Laserlight Jet Print
11 prints: 33 x 27 inches (83.8 x 68.6 cm)
Stan Douglas
Walhachin, 2006
Laserchrome print
53.94 x 66.93 in (137 x 170 cm)
Stan Douglas
Tong Building, Quesnel Forks, 2006
Laserchrome print
18.9 x 23.62 in (48 x 60 cm)
Stan Douglas
Stanley Cemetery, 2006
Laserchrome print
51.18 x 102.36 in (130 x 260 cm)
Stan Douglas
Maritime Worker's Hall, Vancouver, 2006
Laserchrome print
51.18 x 102.36 in (130 x 260 cm)
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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.

 

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Toba Khedoori
Untitled (Clouds), 2005
Wax, oil paint on paper
10.79' x 6.67' (329 x 203 cm)
Toba Khedoori
Untitled (Dark Windows), 2006
Encaustic wax, oil paint on paper
12 ft x 19 ft 1 in (365.8 x 581.7 cm)
Toba Khedoori
Untitled (stick), 2005
Oil and wax on paper
142 x 78 inches (360.7 x 198.1 cm)
Toba Khedoori
Untitled (Crumpled Paper), 2006
Encaustic, wax, oil paint on paper
11.73 x 14.49 ft (358 x 442 cm)
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