Posts tagged with "David Zwirner Gallery":

Archtober’s Building of the Day: David Zwirner Gallery

This is the fourth in a series of guests posts that feature Archtober Building of the Day tours! David Zwirner Gallery 537 West 20th Street New York, NY Selldorf Architects Lisa Green, art world veteran and partner at Selldorf Architects, guided our fourth Building of the Day Tour, the 2016 AIANY Design Award-winning David Zwirner 20th Street Gallery. The concrete façade of the 30,000-square-foot, ground-up art gallery elegantly distinguishes the space from the many brick converted warehouses and garages that make up Chelsea’s gallery district. Poured in place in five stages over the course of six weeks, the 8-inch pine formboard concrete façade was an ambitious undertaking guided by a concrete consultant and expert who has worked closely with I.M. Pei. Informed by a long relationship between Zwirner and Selldorf, the public exhibition spaces were built to accommodate Zwirner’s collection of minimalist estate artists like Donald Judd, Dan Flavin, and Fred Sandback (currently on view), as well as borrowed works from museums for special exhibitions. On the ground floor is a 5,000-square-foot, columnless gallery that can be readily adapted with temporary walls to fit the needs of each exhibition. The cool and expansive space, with double-height ceilings, northern-facing sawtooth skylights, and a poured concrete floor, contrasts with the smaller and more intimate gallery following upstairs, with 14-foot ceilings, white oak floors, warm, southern light exposure, and contractible roman shades. The third, fourth, and fifth floors hold a mixture of office and private viewing spaces, each illuminated by natural light. The five green roof spaces, including a beautiful rooftop deck, were designed by Dutch landscape architect Piet Oudolf, whose designs are on view next door on the High Line. Despite the temperature and moisture control systems required in art spaces, Zwirner was committed to green building standards, making the David Zwirner 20th Street Gallery the first commercial art gallery to achieve LEED Gold status. Join us tomorrow for the underground retail experience, Turnstyle! About the author: Julia Christie is the Office Manager at AIANY / Center for Architecture.

Yayoi Kusama’s infinitely immersive installation opens with The Broad in Los Angeles

The long awaited opening of The Broad designed by Diller Scofidio + Renfro, in collaboration with Gensler, is scheduled for September 20 in Downtown Los Angeles. In anticipation of the big day, the museum released details about the inaugural installation that will fill the 35,000 square feet of column-free gallery space on the third floor. [Video: Another of Yayoi Kusama's installations in the Infinity Mirrored Room series.] Curated by founding director Joanne Heyler, the rather chronological show will feature artworks by the heavy-hitters of the twentieth century drawn from the postwar and contemporary art collection assembled by philanthropists Eli and Edythe Broad: Jasper Johns, Robert Rauschenberg, Ed Ruscha, Andy Warhol, Roy Lichtenstein, John Baldessari, Mark Bradford, Jeff Koons, Barbara Kruger and Kara Walker. For fans of immersive experiences, the first floor will feature one of the Broad’s newest acquisitions, Yayoi Kusama’s Infinity Mirrored Room – The Souls of Millions of Light Years Away. The mesmerizing, cosmic chamber filled with an uncountable number of LED lights drew crowds around the block when it was exhibited David Zwirner Gallery in late 2013. Other recent works comment on the issues and crises facing contemporary culture and the built environment. Takashi Murakami’s 82-foot-long painting—a reflection on Japan’s recovery from the catastrophic 2011 Tohoku earthquake and tsunami. Robert Longo’s 2014 charcoal drawing Untitled (Ferguson Police, August 13, 2014), depicts police protests in Ferguson, while Cairo (2013) by Julie Mehretu captures the atmosphere and social unrest the Arab Spring in a large-scale, architectural, ink-and-acrylic drawing.

“Dotty” Japanese artist Yayoi Kusama brings ‘Obliteration Room’ stateside for the first time—this time inside a prefab house

Publicly deranged artist Yayoi Kusama is bringing her dotty otherworld to the United States for the first time with an exhibition of Obliteration Room at New York City's David Zwirner Gallery. A reiteration of her signature interactive work, exhibited around the world since 2002, Obliteration Room comprises a nondescript domestic backdrop awash in stark-white paint. Each guest to enter the gallery is presented with brightly colored dot stickers and invited to plaster them anywhere they please—on the sofa, the kitchen cabinets, the coffee table, the teapot, or even the grand piano. The once antiseptically bare rooms soon become psychedelically colorful as viewers vicariously experience the dot-filled hallucinations that have plagued Kusama since childhood. For the first time, Obliteration Room is housed in a traditional American prefabricated home, the soothing facade of picket fence normalcy giving way to a visually confounding world. The dotty exhibition is part of the larger exhibition by Kusama called Give Me Love on view at David Zwirner until June 13. Also on view are the Japanese artist's polka-dot pumpkin sculptures and paintings from her My Eternal Soul series.

On View> Doug Wheeler’s Light Installation Shines at David Zwirner Gallery Through April 5

Doug Wheeler David Zwirner Gallery 537 West 20th Street, New York Entry limited to 6 people at a time Reservations to view the exhibition are available, 212-517-8677 Through April 5, 2014 When you enter the immersive Doug Wheeler installation at David Zwirner Gallery, it’s like daybreak. A domed space with a flat apex meets the horizon with a hidden line of LEDs that shed light in a gradual, two-minute cycle in what the artist calls a “rotational horizon work.” The effect is like looking into a clear blue sky, that on closer inspection has subtle gradations that change as the earth revolves. The floor is the same color and is coped so you are slightly off balance as you advance and retreat towards this unreachable horizon. The acoustical possibilities are as tantalizing as the visual. If you stand at the epicenter, the acoustics are as soaring as a cathedral. We clapped hands, rubbed fabric, and using an iPhone, played music and noodled on an app synthesizer. Placing the phone on the floor or waving the device around made for a delightful experiment. One of the pioneers of the “Light and Space” movement in Southern California in the 1960s and 70s along with James Turrell and Robert Irwin, Wheeler originally devised this piece for Leo Castelli’s gallery in 1971 but it was never built. The title deconstructs the work’s history: LC 71 NY DZ 13 DW, or Leo Castelli 1971 New York David Zwirner 2013 Doug Wheeler.

On View> Manhattan’s David Zwirner Gallery Explores Richard Serra’s Early Work

Richard Serra: Early Work David Zwirner Gallery 537 West 20th Street New York, NY Through June 15 David Zwirner presents an exposition of early work by artist Richard Serra. The works on display, dating from 1966 to 1971 and compiled from museum and private collections, represent Serra’s earliest innovative, process-oriented experiments that employ nontraditional materials. He uses vulcanized rubber, neon, and lead to emphasize weight in relationship to the nature of materials. The exhibition, on view through June 15 at David Zwirner, examines the innovative methods and ideas that so decisively place Serra in the history of Twentieth-Century art. Serra’s work can be seen in numerous public and private collections in the United States and abroad, including the Museum of Modern Art and the Guggenheim Museum in New York. Since his early work, his approach to sculpture has evolved through focusing on site-specific projects that work with particular architectural, urban, or landscape settings. In concurrence with the exhibition, the gallery has published a complete monograph dedicated to the artist’s early practice. The publication includes archival manuscripts and photographs from the years 1966 to 1972. Also on view will be a program featuring Serra’s films from the same period.

On View> David Zwirner Gallery Presents Thomas Ruff: photograms and ma.r.s

Thomas Ruff: photograms and ma.r.s David Zwirner Gallery 525 West 19th Street New York, NY Through May 4 This March, Thomas Ruff’s seventh solo exhibition at the David Zwirner Gallery will be dedicated to two of the late twentieth-century German photographer’s most recent projects: photograms and ma.r.s. Ruff’s photograms series features a unique collection of “camera-less” photography—a technique used by photographers in the 1920s in which objects are placed on photosensitive paper and exposed to light. The outcome is the negative image of the object revealing itself in the form of a grey or white shadow glowing against a black backdrop. Ruff adds layers to his visually intriguing compositions—which mostly depict abstract lines, shapes, and spirals—by adding color and implementing varying degrees of transparency and lighting. To create his ma.r.s series, short for Mars Reconnaissance Survey, Ruff manipulated black-and-white satellite images, taken by a NASA spacecraft of the surface of Mars, and dramatically increased the saturation of the images, creating a striking representation of the planet’s rugged terrain.

On View> Manhattan’s David Zwirner Gallery Presents Diana Thater’s Video Installation, Chernobyl

Chernobyl David Zwirner Gallery 519 West 19th Street New York City Through December 22 Diana Thater’s video installation, Chernobyl, captures the effects manmade disasters have on the natural environment. Situating her work on the 1986 Chernobyl nuclear explosion in the Ukraine, which left a no-man’s land with the sudden evacuation of over 100,000 people, Thater highlights the possibilities nature has to rebuild itself when the ruins of industrial infrastructure are left to decay. She focuses on Prypiat, a city that was built to house nuclear plant workers, and the city’s wildlife, specifically the Przewlski’s Horse species that were released post-disaster and left free from human contact. Her work, both beautiful and startling, forces us to consider how we perceive images and their potential to dictate how we see our world.