Tomma Abts

David Zwirner Books  

Francis Alÿs
Mamma Andersson
Karla Black
Michaël Borremans
Carol Bove
R. Crumb
Raoul De Keyser
Philip-Lorca diCorcia
Stan Douglas

2015
Marlene Dumas
Marcel Dzama
Dan Flavin
Suzan Frecon
Isa Genzken
Donald Judd
On Kawara
Toba Khedoori
Jeff Koons
Yayoi Kusama
Kerry James Marshall
Gordon Matta-Clark
John McCracken
Oscar Murillo
Alice Neel
Jockum Nordström
Chris Ofili
Palermo
Raymond Pettibon
Neo Rauch
Ad Reinhardt
Jason Rhoades
Michael Riedel
Bridget Riley
Thomas Ruff
Fred Sandback
Jan Schoonhoven
Richard Serra
Yutaka Sone
Al Taylor
Diana Thater
Wolfgang Tillmans
Luc Tuymans
James Welling
Doug Wheeler
Christopher Williams
Jordan Wolfson
Lisa Yuskavage
David Zwirner Books Recent and Forthcoming Publications

4 No Problem: Cologne/New York 1984–1989

8 Bridget Riley: The Stripe Paintings 1961–2014
12 Yayoi Kusama: I Who Have Arrived In Heaven
16 Jeff Koons: Gazing Ball
20 Ad Reinhardt
24 Ad Reinhardt: How To Look: Art Comics
28 Richard Serra: Early Work
32 Richard Serra: Vertical and Horizontal Reversals
36 Jason Rhoades: PeaRoeFoam
40 John McCracken: Works from 1963–2011
44 Donald Judd
48 Dan Flavin: Series and Progressions
52 Fred Sandback: Decades
56 On Kawara: Date Painting(s) in New York and 136 Other Cities
60 Alice Neel: Drawings and Watercolors 1927–1978
64 Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström
68 Kerry James Marshall: Look See
72 Neo Rauch: At the Well
76 Raymond Pettibon: Surfers 1985–2015
80 Raymond Pettibon: Here’s Your Irony Back, Political Works 1975–2013
84 Raymond Pettibon: To Wit
88 Jordan Wolfson: California
92 Jordan Wolfson: Ecce Homo / le Poseur
94 Marlene Dumas: Against the Wall
98 Luc Tuymans: Exhibitions at David Zwirner
102 Raoul De Keyser: Terminus: Drawings (1979–1982) and Recent Paintings
106 Marcel Dzama: Puppets, Pawns, and Prophets
110 Palermo: Works on Paper 1976–1977
114 Jan Schoonhoven
118 Suzan Frecon: oil paintings and sun
122 Toba Khedoori
126 Al Taylor: Pass the Peas and Can Studys
130 112 Greene Street: The Early Years (1970–1974)
134 Michael Riedel: Oskar
138 James Bishop

142 David Zwirner Backlist

146 Related Backlist
153 Ordering Information
3

David Zwirner Books

David Zwirner Books was founded in 2014 as the stand-alone publishing

house of David Zwirner, a contemporary art gallery with locations in
New York (Chelsea) and London (Mayfair). Since opening its doors
in 1993, the gallery has been home to innovative, singular, and pioneering
exhibitions across a variety of media and genres. David Zwirner Books
publishes catalogues, monographs, historical surveys, artists’ books,
and catalogues raisonnés related to the gallery’s renowned exhibition
program. The imprint’s publications are produced with the highest
of production standards in collaboration with some of the most respected
authors, designers, and printers working today, and serve as a valuable
resource to curators, scholars, students, and art lovers alike.
David Zwirner Books’s titles are distributed internationally in the
book trade by Artbook | D. A.P. and Thames & Hudson, and are available
in bookstores and museum shops worldwide.

About davidzwirnerbooks.com

Launched in 2015, davidzwirnerbooks.com offers a wide selection

of publications related to the exhibition program of David Zwirner.
Featured are titles from David Zwirner Books, as well as from museums
including The Museum of Modern Art, New York; Solomon R.
Guggenheim Museum, New York; and Tate, London; in addition to
commercial imprints including Abrams, Hatje Cantz, Radius Books,
Rizzoli, Steidl, Yale University Press, and others.
4
In the words of Peter Schjeldahl, writing in The New Yorker about the
exhibition No Problem: Cologne / New York 1984–1989 at David Zwirner in
New York, “the show’s cast of artists amounts to a retrospective shopping
list of what would matter and endure in art of the era.” With an eye to
canonizing that moment, this seminal publication examines the latter
half of the 1980s through the lens of international art scenes that were
based in Cologne — arguably the European center of the contemporary
art world at that time — and New York.
While a number of established Cologne-based gallerists, including
Karsten Greve, Paul Maenz, Rolf Ricke, Michael Werner, and Rudolf
Zwirner, had already begun shaping the European reception of American
art in the previous decade, the 1980s marked a period during which art
being produced in and around Cologne gained international attention.
A burgeoning gallery scene supported the emerging work of artists based
in the region, with gallerists such as Gisela Capitain, Rafael Jablonka,
Max Hetzler, and Monika Sprüth showing artists such as Walter Dahn,
Martin Kippenberger, Albert Oehlen, Rosemarie Trockel, and others.
The works of these German artists were exhibited along with the latest
contemporary art from the US by artists like Robert Gober, Jeff Koons,
Richard Prince, Cindy Sherman, and Christopher Wool. Conversely,
the works of German artists were presented in New York, with breakout
exhibitions at galleries such as Barbara Gladstone, Metro Pictures,
Luhring, Augustine & Hodes, and other significant venues. Important
museum exhibitions that explored work being produced and exhibited
on both sides of the Atlantic also set the tone for this ongoing dialogue,
among them Europa / Amerika (Museum Ludwig, Cologne, 1986) and
A Distanced View: One Aspect of Recent Art from Belgium, France, Germany,
and Holland (New Museum, New York, 1986).
Big, bold, and vibrant, this Pentagram-designed publication revives
the conversation, reproducing in full color over one hundred immensely
varied artworks by the twenty-two international artists included in
this massive exhibition — one of the largest in David Zwirner’s history.
Beyond its stunning visual components, the book features crucial new
scholarship by Diedrich Diederichsen and Bob Nickas, and an illustrated
chronology of the decade by Kara Carmack. The book also includes an
arsenal of compelling archival material, from documentary photographs
from the period to reproductions of Cologne’s culture magazine Spex.
Taken as a whole, this ambitious exhibition catalogue encapsulates the
energy, heart, and “dissonance of styles”— in the words of Schjeldahl —
embodied by this fascinating and fecund moment in global art history.
No Problem:
Cologne/New York
1984–1989
David Zwirner Books
2015
Hardcover, 9×11¼ in (22.9×28.6 cm)
276 pages, 300 color
ISBN 9781941701027
$65 US & Canada | £42 | €60
•
Foreword by David Zwirner. Texts by
Diedrich Diederichsen and Bob Nickas.
Illustrated chronology by Kara Carmack
Artists featured in the book include Werner
Büttner, George Condo, Walter Dahn, Jiri Georg
Dokoupil, Peter Fischli / David Weiss, Günther
Förg, Robert Gober, Georg Herold, Jenny Holzer,
Mike Kelley, Martin Kippenberger, Jeff Koons,
Barbara Kruger, Sherrie Levine, Albert Oehlen,
Raymond Pettibon, Richard Prince, Cindy
Sherman, Rosemarie Trockel, Franz West, and
Christopher Wool.
•
Born in Hamburg in 1957, Diedrich Diederichsen
has worked since 2006 as a Professor of WERNER BÜTTNER • GEORGE CONDO
WALTER DAHN • JIRI GEORG DOKOUPIL • PETER FISCHLI / DAVID WEISS
COLOGNE
Contemporary Art Theory at the Academy of Fine
Arts in Vienna. In the 1970s and 1980s, he was
a music editor for the German magazine Spex,
and he has written art criticism and essays in
renowned art magazines from Artforum to Texte
zur Kunst, as well as numerous books including
On (Surplus) Value in Art (2008) and, most
recently, Über Pop-Musik (On Pop Music) (2014).
•
A writer and curator based in New York, Bob
Nickas has organized more than eighty
exhibitions since 1984. He was Curatorial Advisor
at PS1 Contemporary Art Center from 2004 to
2007, where his exhibitions included Lee Lozano:
Drawn from Life; William Gedney — Christopher
Wool: Into the Night; Stephen Shore: American
Surfaces; and Wolfgang Tillmans: Freedom from GÜNTHER FÖRG • ROBERT GOBER • GEORG HEROLD
NEW YORK
the Known. He collaborated with Cady Noland
on her installation for Documenta in 1992; JENNY HOLZER • MIKE KELLEY • MARTIN KIPPENBERGER
contributed a section to Aperto at the 1993 Venice
Biennale; and served on the curatorial teams
that organized the 2003 Biennale de Lyon,
and Greater New York 2005 at PS1 Contemporary
Art Center. His books include Live Free or Die:
Collected Writings 1985–1999 (2000), Theft Is Vision
(2008), Painting Abstraction (2009), and Catalog
of the Exhibition (2011). He is one of the authors
of Defining Contemporary Art: 25 Years in 200
Pivotal Artworks (2011). A new collection of his
writing, Komp-Laint Dept., is forthcoming in
the fall of 2015.
•
Kara Carmack is a Research & Exhibitions
Associate at David Zwirner, New York. JEFF KOONS • BARBARA KRUGER • SHERRIE LEVINE
1984–1989
ALBERT OEHLEN • RAYMOND PETTIBON
RICHARD PRINCE • CINDY SHERMAN
ROSEMARIE TROCKEL • FRANZAWEST • CHRISTOPHER WOOL
6 7

No Problem:
Cologne/New York
1984–1989
8
Published on the occasion of Bridget Riley’s major exhibition at David
Zwirner in London in the summer of 2014, this fully illustrated catalogue
offers intimate explorations of paintings and works on paper produced
by the legendary British artist over the past fifty years, focusing specifi-
cally on her recurrent use of the stripe motif. Riley has devoted her practice
to actively engaging viewers through elementary shapes such as lines,
circles, curves, and squares, creating visual experiences that at times
trigger optical sensations of vibration and movement. The London show,
her most extensive presentation in the city since her 2003 retrospective
at Tate Britain, explored the stunning visual variety she has managed
to achieve working exclusively with stripes, manipulating the surfaces of
her vibrant canvases through subtle changes in hue, weight, rhythm,
and density. As noted by Paul Moorhouse, “Throughout her development,
Riley has drawn confirmation from Eugène Delacroix’s observation
that ‘the first merit of a painting is to be a feast for the eyes.’ [Her] most
recent stripe paintings are a striking reaffirmation of that principle,
exciting and entrancing the eye in equal measure.”
Created in close collaboration with the artist, the publication’s
beautifully produced color plates offer a selection of the iconic works
from the exhibition. These include the artist’s first stripe works in color
from the 1960s, a series of vertical compositions from the 1980s that
demonstrate her so-called “Egyptian” palette — a “narrow chromatic
range that recalled natural phenomena”— and an array of her modestly
scaled studies, executed with gouache on graph paper and rarely
before seen.
A range of texts about Riley’s original and enduring practice
grounds and contextualizes the images, including new scholarship by
art historian Richard Shiff, texts on both the artist’s wall paintings
and newest body of work by Paul Moorhouse, 20th Century Curator at
the National Portrait Gallery in London, and a 1978 interview with Robert
Kudielka, her longtime confidant and foremost critic. Additionally, the
book features little-seen archival imagery of Riley at work over the years;
documentation of her recent commissions for St. Mary’s Hospital
in West London, taken especially for this publication; and installation
views of the exhibition itself, installed throughout the three floors
of the gallery’s eighteenth-century Georgian townhouse located in the
heart of Mayfair.
Bridget Riley:
The Stripe Paintings
1961–2014
David Zwirner Books
2014
Hardcover, 10×12 in (25.5×30.5 cm)
180 pages, 92 color, 7 b&w, 2 gatefolds
ISBN 9780989980975
$55 US & Canada | £35 | €40
•
Texts by Robert Kudielka, Paul Moorhouse,
and Richard Shiff. Interview with the artist
by Robert Kudielka
Born in London in 1931, Bridget Riley attended
Goldsmiths College from 1949 to 1952 and
the Royal College of Art from 1952 to 1955. In 1974,
she was made a CBE (Commander of the Most
Excellent Order of the British Empire) and in 1999,
she was appointed the Companion of Honour.
In 1968, she won the International Prize for
Painting at the Venice Biennale. In 2003, the artist
was awarded the Praemium Imperiale in Tokyo.
She received the Kaiser Ring of the City of Goslar,
Germany in 2009 and the Rubens Prize of the
City of Siegen, Germany in 2012. Recent interna-
tional museum shows include Bridget Riley,
The Art Institute of Chicago (2014); Bridget Riley:
Paintings and Related Work, National Gallery,
London (2010); Bridget Riley: From Life, National
Portrait Gallery, London (2010); Bridget Riley:
Flashback, Walker Art Gallery, Liverpool (2009);
Bridget Riley: Rétrospective, Musée d’Art
Moderne de la Ville de Paris (2008); Bridget Riley:
Paintings and Drawings 1961–2004, Museum of
Contemporary Art, Sydney (2004); Bridget Riley:
New Work, Museum Haus Esters and Kaiser
Wilhelm Museum, Krefeld, Germany (2002); and
Bridget Riley: Reconnaissance, Dia Center for the
Arts, New York (2000). Riley’s visual vocabulary is
complemented by her numerous books and
essays in which she explores concepts pertaining
to her own practice as well as the works of other
artists. She has also co-curated exhibitions
on Paul Klee (Hayward Gallery, 2002) and Piet
Mondrian (Tate Gallery, 1996).
•
Robert Kudielka is an art historian and former
Professor of Aesthetics and Philosophy of
Art at the University of the Arts, Berlin. He is the
co-author with Bridget Riley of Paul Klee: The
Nature of Creation, Works, 1914–1940 (2002) and
author and editor of numerous books on Riley,
including Robert Kudielka on Bridget Riley:
Essays and interviews since 1972 (2005; revised and
expanded edition, 2014) and The Eye’s Mind:
Bridget Riley, Collected Writings 1965–2009 (2009).
•
Paul Moorhouse is the 20th Century Curator
at the National Portrait Gallery in London, where
he is responsible for acquisitions, displays,
and research relating to the collection within the
period from 1914 to 1990. Since 2005, he has
organized several exhibitions at the museum,
including Pop Art Portraits (2007), Gerhard Richter
Portraits (2009), and The Queen: Art and Image
(2012). Recent publications include Pop Art
Portraits (2007), Anthony Caro: Presence (2010),
Bridget Riley: From Life (2010), and A Guide to
Twentieth Century Portraits (2013).
•
Richard Shiff is the Effie Marie Cain Regents
Chair in Art at The University of Texas at Austin,
where he directs the Center for the Study of
Modernism. His publications include Cézanne
and the End of Impressionism (1984), Critical Terms
for Art History (co-edited, 1996; second edition,
2003), Barnett Newman: A Catalogue Raisonné
(co-authored, 2004), Doubt (2008), Between Sense
and de Kooning (2011), and Ellsworth Kelly: New
York Drawings 1954–1962 (2014), among others.
For books published by David Zwirner, Shiff
has contributed essays to Dan Flavin: Series and
Progressions (2010) and Donald Judd (2011).
10 11

Bridget Riley:
The Stripe Paintings
1961–2014
12
Yayoi Kusama: I Who Have Arrived In Heaven offers an in-depth look at
the multifaceted practice of this pioneering artist. Over the span of six
decades, Kusama’s work has transcended two of the most important
art movements of the second half of the twentieth century — pop art and
minimalism — drawing vocabulary from both to forge a hallucinatory
visual style that is distinctly her own. As articulated by art critic and poet
Akira Tatehata in his accompanying catalogue essay, “the genius that
generates [Kusama’s] fertile artistic world, a paean to life, is driven
by obsessive thoughts”— and her extraordinary and highly influential
career encompasses works in various mediums that unfailingly conjure
both microscopic and macroscopic universes at once.
Kusama’s critically acclaimed inaugural 2013 exhibition at David
Zwirner in New York presented a selection of the artist’s large-scale
square-format acrylic on canvas paintings. This vibrant publication —
printed with multiple inks at the highest quality to fully capture the
dazzling glow of Kusama’s colorful canvases — opens with a selection of
these works, which anchored the gallery presentation. Kusama’s practice
recurrently integrates motifs that evoke the cosmic and the primordial,
from the ethereal to earthly, and embodies the unique amalgamation
of representational and non-representational subject matter.
Also featured are stills of the video installation SONG OF A
MANHATTAN SUICIDE ADDICT, as well as stunning panoramic views
of the exhibition’s two infinity rooms, including INFINITY MIRRORED
ROOM – THE SOULS OF MILLIONS OF LIGHT YEARS AWAY, which
was hailed by The New York Times as encouraging “the ultimate selfie.”
The other room, LOVE IS CALLING, stands out as among the artist’s most
immersive environments to date: a darkened, mirrored room illuminated
by inflatable, tentacle-like forms covered in her signature polka dots,
extending from floor to ceiling and slowly shifting color.
Concluding the publication, an original poem written by Kusama
herself, After the Battle, I Want to Die at the End of the Universe, contextual-
izes her practice: “Having always been distressed over how to live,” she
writes, “I have kept carrying the banner for pursuit of art.”
Yayoi Kusama:
I Who Have Arrived In Heaven
David Zwirner
2014
Hardcover, 12½×12½ in (31.8×31.8 cm)
108 pages, 60 color
ISBN 9780989980937
$55 US & Canada | £35 | €40
•
Text by Akira Tatehata. Poem by Yayoi Kusama
Yayoi Kusama was born in 1929 in Matsumoto,
Japan. After briefly studying painting in Kyoto,
she moved to New York City in the late 1950s,
eventually establishing herself in the mid-1960s
as an important avant-garde artist by staging
groundbreaking and influential happenings,
events, and exhibitions. Her work gained
widespread recognition in the late 1980s after
a number of international solo exhibitions,
including shows at the Center for International
Contemporary Arts, New York and the Museum of
Modern Art, Oxford, England. She represented
Japan in 1993 at the 45th Venice Biennale to
much critical acclaim. She has continued to show
widely around the world, and her work is featured
in such renowned international collections as
the Centre Georges Pompidou, Paris; Hara
Museum of Contemporary Art, Tokyo; Hirshhorn
Museum and Sculpture Garden, Washington,
D.C.; Los Angeles County Museum of Art; The
Museum of Modern Art, New York; The National
Museum of Art, Osaka; National Museum of
Modern Art, Tokyo; Stedelijk Museum,
Amsterdam; Taipei Fine Arts Museum; Tate
Gallery, London; Walker Art Center, Minneapolis;
and the Whitney Museum of American Art,
New York.
•
Akira Tatehata is an art critic and poet based
in Japan who has written extensively about Yayoi
Kusama’s work. In 1993, he invited the artist to
represent Japan at the 45th Venice Biennale.
He now serves as the President of the Kyoto City
University of Arts, Director of The Museum
of Modern Art, Saitama, and Chairman of the
Japanese Council of Museums.
14 15

Yayoi Kusama:
I Who Have Arrived In Heaven
16
Hailed by Peter Schjeldahl in The New Yorker as “the most original,
controversial, and expensive American artist of the past three and a half
decades,” Jeff Koons has come to reign as a master of the market, a
wry puppeteer with a “formidable aesthetic intelligence.” His elaborate,
exquisitely produced sculptures draw from a contemporary lexicon
of consumerism — often featuring large-scale reproductions of toys,
household items, or luxury goods — while simultaneously holding up a
mirror to the very culture from which they are extracted. These references
to popular media are evidenced not merely in his choice of subject
matter but also in his visual techniques: his sculptures frequently
comprise smooth, mirrored surfaces, and his paintings employ bright
and saturated colors.
Jeff Koons: Gazing Ball — the first catalogue on the artist’s work to be
published by David Zwirner — was produced on the occasion of the
major 2013 exhibition at the gallery in New York, which marked the world
debut of his Gazing Ball series, a brand new body of work that occupies
an important place in the trajectory of his practice. Conceptually derived
from the mirrored ornaments encountered on many suburban lawns,
including those of Koons’s childhood hometown in rural Pennsylvania,
every sculpture is anchored by a blue “gazing ball” of hand-blown
glass. These are situated atop large, white-plaster sculptures that have
been alternately modeled after iconic works from the Greco-Roman era,
including the Farnese Hercules and the Esquiline Venus, or after such
quotidian objects from the contemporary residential landscape as a
rustic mailbox, a birdbath, and an inflatable garden snowman.
Created in close collaboration with Koons, this elegant publication
echoes the classic design of a 1970 Picasso catalogue that the artist
admires. Inside, vivid color plates of the sculptures in situ capture the
stark contrast between the pristine whiteness of the plaster and the highly
reflective spheres. In their perfect contours and smooth, glistening sur-
faces, the gazing balls implicate audience as well as context — mirroring
both and offering playful yet powerful meditations on the dialogue
between gaze and reflection. “While all of the sculptures are grounded
in their own distinct narratives, derived from Art History and suburban
towns,” writes Francesco Bonami in his catalogue essay, “the seemingly
fragile and delicate gazing ball establishes that sense of uncertain equi-
librium that exists between history and fantasy, magic and materiality,
mass culture and exclusive beauty.”
Jeff Koons:
Gazing Ball
David Zwirner
2014
Hardcover, 9¾×12½ in (24.8×31.8 cm)
80 pages, 31 color
ISBN 9780989980913
$50 US & Canada | £32 | €40
•
Text by Francesco Bonami
Born in 1955 in York, Pennsylvania, New York-
based artist Jeff Koons studied at the Maryland
Institute College of Art in Baltimore and the
School of the Art Institute of Chicago. He had his
first solo exhibition in 1980 at the New Museum
in New York, and in 1988, his first American survey
was held at the Museum of Contemporary Art
in Chicago. Renowned venues which have
presented solo shows in the past decade include
the Museo Archeologico Nazionale, Naples (2003);
Château de Versailles, France (2008); Museum
of Contemporary Art Chicago (2008); The
Metropolitan Museum of Art, New York (2008);
Neue Nationalgalerie, Berlin (2008); Serpentine
Gallery, London (2009); Fondation Beyeler,
Basel (2012); and the Schirn Kunsthalle Frankfurt
and Liebieghaus Skulpturensammlung,
Frankfurt, a joint exhibition in 2012. Koons’s work
is held in collections that include The Broad Art
Foundation, Santa Monica, California;
Los Angeles County Museum of Art; Museum
of Contemporary Art, Tokyo; The Museum
of Modern Art, New York; National Gallery of Art,
Washington, D.C.; San Francisco Museum of
Modern Art; Solomon R. Guggenheim Museum,
New York; Stedelijk Museum, Amsterdam;
Tate Gallery, London; and the Whitney Museum
of American Art, New York. A retrospective
of Koons’s work, comprising over one hundred
sculptures and paintings that date from 1978 to
the present, was organized by the Whitney
Museum, where it was on view in New York from
June to October 2014. The exhibition travels to
the Centre Georges Pompidou in Paris (November
2014 to April 2015) and the Guggenheim Museum
Bilbao ( June to September 2015).
•
Francesco Bonami is a curator and writer. He was
the Director of the 50th Venice Biennale (2003)
and curated the 2010 Whitney Biennial. In 2008,
he was the curator of the Jeff Koons retrospective
at the Museum of Contemporary Art Chicago.
He lives in New York and Milan.
18 19

Jeff Koons:
Gazing Ball
20
Ad Reinhardt was one of the most significant American artists of
the twentieth century. His singular career bridges the history of modern
abstraction with minimal and conceptual practices and continues to
resonate today. From his varied work of the 1930s through the early 1950s,
to the rigorously systematic and subtly chromatic “black” canvases that
would preoccupy him from 1955 until his death, Reinhardt’s paintings,
prolific writings, extensive slides, and published cartoons encompass
a multifaceted practice that encourages the viewer’s active, perceptual
engagement in the act of looking at and experiencing art, thereby
influencing successive generations of artists with continued relevance.
“To him abstraction was not a genre or style,” The New York Times art
critic Holland Cotter writes of him, “it was an ethos.”
This catalogue — the first comprehensive overview of Reinhardt’s
career in over twenty years — reproduces thirteen of his signature
“black” paintings — 60 × 60 inch canvases from the 1960s, which he
considered to be his “ultimate” aesthetic expression and “the last paint-
ings that anyone can paint.” In addition, there are reproductions of
Reinhardt’s original and published cartoons he completed for various
publications, humorously commenting on contemporary social,
political, and cultural concerns. The cartoons are accompanied by
a selection from Reinhardt’s extensive collection of 12,000 slides taken
during his ambitious travels around the world. Reinhardt often pre-
sented them in slide shows at the Artists Club in New York, his studio or
loft, or at various museums and schools across the country during events
he termed “non-happenings.” Published to document the critically
lauded exhibition at David Zwirner in New York in 2013, the catalogue
includes new scholarship by curator Robert Storr, in addition to an
extensive chronology of the artist’s life and career.
Ad Reinhardt
David Zwirner Books
Forthcoming in October 2015
Hardcover, 9¾×11½ in (24.8×29.2 cm)
225 pages, 200 color
ISBN 9780989980999
$75 US & Canada | £45 | €55
•
Text by Robert Storr. Additional contributions
by Alex Bacon, Kara Carmack, and
Prudence Peiffer
Ad Reinhardt (1913–1967) was born in Buffalo,
New York. After graduating from Columbia
University in 1935, Reinhardt studied at the
American Artists School and the National
Academy of Design, worked on the WPA’s easel
division, and became a member of the American
Abstract Artists group. In 1943, the same year
the newspaper PM hired Reinhardt as its staff
artist, he began graduate studies in art history at
New York University’s Institute of Fine Arts.
In addition to his commercial work, he taught
art and art history at Brooklyn College, Hunter
College, California School of Fine Arts, University
of Wyoming, and Yale University. In 1946, he
joined Betty Parsons Gallery, which presented
twelve solo exhibitions over the course of his
career. Reinhardt’s work was included in impor-
tant museum exhibitions during his lifetime,
including Abstract and Surrealist Art in the United
States, Cincinnati Art Museum (1944); The New
Decade: 35 American Painters and Sculptors,
Whitney Museum of American Art, New York
(1955); Americans 1963 and The Responsive Eye, The
Museum of Modern Art, New York (1963; 1965);
and Painting and Sculpture of a Decade: 1954–64,
Tate Gallery, London (1964); among others.
The Jewish Museum mounted Reinhardt’s first
major retrospective in 1966, and The Museum
of Modern Art, New York organized a retrospec-
tive in 1991 that traveled to the Museum of
Contemporary Art, Los Angeles. More recent
exhibitions have taken place at the Solomon R.
Guggenheim Museum, New York (2008); Josef
Albers Museum, Bottrop (2010); Kröller-Müller
Museum, Otterlo (2011); and the Institute
of Contemporary Arts, London (2011). Malmö
Konsthall, Sweden, will highlight Reinhardt’s
commercial work in the summer of 2015.
•
Robert Storr is the Stavros Niarchos Foundation
Dean of the Yale School of Art. He was formerly
Senior Curator in the Department of Painting and
Sculpture at The Museum of Modern Art, New
York from 1990 to 2002. In 2002, he was named
the first Rosalie Solow Professor of Modern Art at
the Institute of Fine Arts, New York University.
He has also taught at the CUNY Graduate
Center, Bard Center for Curatorial Studies, Rhode
Island School of Design, Tyler School of Art,
New York Studio School, and Harvard University,
and has been a frequent lecturer in the United
States and abroad. From 2005 to 2007, he was
Director of Visual Art for the Venice Biennale, the
first American invited to assume that position.
The exhibition he organized at David Zwirner in
the fall of 2013 to celebrate the centenary of Ad
Reinhardt was voted “Best Show in a Commercial
Space in New York” by the US Art Critics
Association.
22 23

Ad Reinhardt
24
In February 1943, the progressive newspaper PM hired Ad Reinhardt
as its staff artist and, in January 1946, Reinhardt embarked on his most
ambitious illustration project—the notable “How to Look” series, in
which his cartoons and collages transformed from small, supplemental
illustrations, to complex, ironic, and pithy art-historical lessons always
articulated with a keenly critical eye and a wry sense of humor that
remains relevant today. In addition to showing Reinhardt’s complete
“How to Look” series, this catalogue, which was published on the occasion
of the 2013 exhibition at David Zwirner in New York, also includes the
artist’s ever-relevant biting, satirical critiques of the contemporary art
world later published in such periodicals as Critique, tran/sformation,
Art d’aujourd’hui, and ARTnews. As Dan Nadel notes in his review of the
exhibition, “Reinhardt winkingly guides viewers through art as he knew
it. Along the way there are many now-forgotten artists, critics, curators
and galleries, and many still known. But trace-the-reference is only part
of the fun. The elegance of Reinhardt’s compositions, the deftness
with which he juxtaposes text and image, and his infrequent, but jarring
use of hand-drawn cartooning make each strip a gem.”
Introducing new scholarship on this facet of Reinhardt’s career by
curator Robert Storr, the publication includes large, black-and-white
plates of the artist’s art comics, including the “How to Look” series in its
entirety. Storr lists a handful of Reinhardt’s contemporaries who were,
like the artist himself, successfully employed as illustrators in the 1930s,
1940s, and 1950s, from Philip Guston to Saul Steinberg — but among
them, he declares, only Reinhardt managed to “transform that bread-
and-butter occupation into a full-fledged but at the same time separate
dimension of his larger aesthetic enterprise.” From “How to Look at
Iconography,” printed with a telling disclaimer that the editors’ views
“do not necessarily reflect those of the author of this page,” to “How to
Look at Art and Industry,” accompanied by passionate cautions against
the danger of market obsession, these pages bring to life Reinhardt’s
inimitable spirit for provocation and thoughtful critique. They exist
as a testament to his legacy as one of the most important artists of the
twentieth century, and his comics continue to resonate as important
examples of astute political, cultural, and social commentary.
Ad Reinhardt:
How To Look: Art Comics
David Zwirner/Hatje Cantz
2013
Hardcover, 11¼×14¼ in (28.6×36.2 cm)
92 pages, 43 color
ISBN 9783775737685
$35 US & Canada | £24 | €30
•
Text by Robert Storr
Ad Reinhardt (1913–1967) was born in Buffalo,
New York. After graduating from Columbia
University in 1935, Reinhardt studied at the
American Artists School and the National
Academy of Design, worked on the WPA’s easel
division, and became a member of the American
Abstract Artists group. In 1943, the same year
the newspaper PM hired Reinhardt as its staff
artist, he began graduate studies in art history at
New York University’s Institute of Fine Arts.
In addition to his commercial work, he taught
art and art history at Brooklyn College, Hunter
College, California School of Fine Arts, University
of Wyoming, and Yale University. In 1946, he
joined Betty Parsons Gallery, which presented
twelve solo exhibitions over the course of his
career. Reinhardt’s work was included in impor-
tant museum exhibitions during his lifetime,
including Abstract and Surrealist Art in the United
States, Cincinnati Art Museum (1944); The New
Decade: 35 American Painters and Sculptors,
Whitney Museum of American Art, New York
(1955); Americans 1963 and The Responsive Eye, The
Museum of Modern Art, New York (1963; 1965);
and Painting and Sculpture of a Decade: 1954–64,
Tate Gallery, London (1964); among others.
The Jewish Museum mounted Reinhardt’s first
major retrospective in 1966, and The Museum
of Modern Art, New York organized a retrospec-
tive in 1991 that traveled to the Museum of
Contemporary Art, Los Angeles. More recent
exhibitions have taken place at the Solomon R.
Guggenheim Museum, New York (2008); Josef
Albers Museum, Bottrop (2010); Kröller-Müller
Museum, Otterlo (2011); and the Institute
of Contemporary Arts, London (2011). Malmö
Konsthall, Sweden, will highlight Reinhardt’s
commercial work in the summer of 2015.
•
Robert Storr is the Stavros Niarchos Foundation
Dean of the Yale School of Art. He was formerly
Senior Curator in the Department of Painting and
Sculpture at The Museum of Modern Art, New
York from 1990 to 2002. In 2002, he was named
the first Rosalie Solow Professor of Modern Art at
the Institute of Fine Arts, New York University.
He has also taught at the CUNY Graduate
Center, Bard Center for Curatorial Studies, Rhode
Island School of Design, Tyler School of Art,
New York Studio School, and Harvard University,
and has been a frequent lecturer in the United
States and abroad. From 2005 to 2007, he was
Director of Visual Art for the Venice Biennale, the
first American invited to assume that position.
The exhibition he organized at David Zwirner in
the fall of 2013 to celebrate the centenary of Ad
Reinhardt was voted “Best Show in a Commercial
Space in New York” by the US Art Critics
Association.
26 27

Ad Reinhardt:
How To Look: Art Comics
28
Published to celebrate the critically acclaimed 2013 exhibition at
David Zwirner in New York, a show that The New York Times art critic Ken
Johnson called “near perfect,” Richard Serra: Early Work devotes over
three hundred pages to a key five-year period of the artist’s earliest work.
Anchored by exquisite black-and-white plates, from installation views
of works in situ to documentary photographs, this “impressively realized”
publication offers “a blow-by-blow account of Serra’s rapidly expanding
art-world presence,” as described in a Bookforum review. Focusing specifi-
cally on work the artist produced during the period between 1966 and
1971, this classic tome documents the significance of his early work, with
archival texts and reviews, alongside new scholarship by American art
critic and historian Hal Foster.
Produced in close collaboration with the artist, this monograph
aims to reconsider the groundbreaking practices and ideas that so
firmly situate Serra in the history of twentieth-century art. Its stunning
selection of seminal works illuminates the debut of the artist’s innovative,
process-oriented experiments with nontraditional materials, such as
vulcanized rubber, neon, and lead, and introduces the interplay of
gravity and material—of “verticality and horizontality,” writes Foster—
that would remain a fundamental aspect of Serra’s production over
the subsequent decades. Also featured in the publication are key early
examples of the artist’s work in steel, as well as stills from some of
his most important early films.
Richard Serra:
Early Work
David Zwirner/Steidl
2014
Hardcover, 9½×12 in (24.1×30.5 cm)
340 pages, 19 color, 175 b&w
ISBN 9780989980906
$85 US & Canada | £54 | €68
•
Text by Hal Foster
Richard Serra was born in San Francisco in 1938.
His first solo exhibitions were held at the Galleria
La Salita in Rome in 1966 and at the Leo Castelli
Warehouse in New York in 1969. His first solo
museum exhibition was held at The Pasadena
Art Museum (1970); subsequent solo museum
shows have been held at the Stedelijk Museum
in Amsterdam (1977); The Museum of Modern
Art in New York (1986); Dia Center for the Arts
in New York (1997); and the Pulitzer Foundation
for the Arts in St. Louis (2003); among other
venues. In 2005, eight large-scale works by Serra
were installed permanently at the Guggenheim
Museum Bilbao, and in 2007 The Museum of
Modern Art, New York presented a retrospective
of the artist’s work. A traveling survey of Serra’s
drawings was on view from 2011 to 2012 at
The Metropolitan Museum of Art, New York;
San Francisco Museum of Modern Art; and
The Menil Collection, Houston. In 2014, the
Qatar Museum Authority presented a two-venue
retrospective survey of his work at the QMA
Gallery and the Al Riwaq exhibition space, Doha;
also in Qatar, a new permanent, site-specific
work, East-West / West-East, was installed in
the Brouq Nature Reserve in the Zekreet Desert.
An exhibition of recent works on paper by the
artist was presented at the Instituto Moreira
Salles, Rio de Janeiro in 2014.
•
Hal Foster, an art historian and well-known
author on modern and contemporary art
and theory, is the Townsend Martin, Class of
1917, Professor of Art & Archaeology at Princeton
University. His numerous books include
Prosthetic Gods (2004), Design and Crime (2002),
the textbook Pop Art (2005), The Return of the Real
(1996), and Compulsive Beauty (1993). Foster’s
intellectual formation took place in the cultural
context of late-1970s New York, initially as a critic,
then as a critical art historian. He began to write
for Artforum in 1978 and was an editor at Art in
America from 1981 to 1987. In 1983, he edited a
seminal collection of essays on postmodernism,
The Anti-Aesthetic: Essays on Postmodern Culture
(Bay Press), and in 1985 published his first
collection of essays, Recodings: Art Spectacle,
Cultural Politics (Bay Press). In 1987, Foster became
the Director of Critical and Curatorial Studies
at the Whitney Independent Study Program.
Foster has been an editor of October and October
Books since 1991 and writes regularly for art
publications, including Artforum, London Review
of Books, and New Left Review.
30 31

Richard Serra:
Early Work
32
Richard Serra’s “Reversal” drawings employ two identical rectangular
sheets of paper that are adjoined in a vertical or horizontal format, with
the black and white areas reversing themselves top to bottom (or left
to right). The area that is black on the top (or left) sheet is white on the
bottom (or right) sheet, and the area that is white on the top (or left) sheet
is black on the bottom (or right) sheet in a figure / ground reversal.
Vertical and Horizontal Reversals, designed by McCall Associates
in close collaboration with the artist and printed by Steidl, is the most
extensive presentation of the “Reversal” drawings to be published.
The book reproduces all thirty-three drawings shown in 2014 at David
Zwirner in New York, in addition to documenting this series in its entirety.
The book also includes new scholarship by art historian Gordon Hughes.
Richard Serra:
Vertical and Horizontal
Reversals
David Zwirner/Steidl
Forthcoming in June 2015
Hardcover, 9¾×12¼ in (24.8×31.1 cm)
88 pages, 45 color
ISBN 9781941701010
$65 US & Canada | £45 | €60
•
Text by Gordon Hughes
Richard Serra was born in San Francisco in 1938.
His first solo exhibitions were held at the Galleria
La Salita in Rome in 1966 and at the Leo Castelli
Warehouse in New York in 1969. His first solo
museum exhibition was held at The Pasadena
Art Museum (1970); subsequent solo museum
shows have been held at the Stedelijk Museum
in Amsterdam (1977); The Museum of Modern
Art in New York (1986); Dia Center for the Arts
in New York (1997); and the Pulitzer Foundation
for the Arts in St. Louis (2003); among other
venues. In 2005, eight large-scale works by Serra
were installed permanently at the Guggenheim
Museum Bilbao, and in 2007 The Museum of
Modern Art, New York presented a retrospective
of the artist’s work. A traveling survey of Serra’s
drawings was on view from 2011 to 2012 at
The Metropolitan Museum of Art, New York;
San Francisco Museum of Modern Art; and
The Menil Collection, Houston. In 2014, the
Qatar Museum Authority presented a two-venue
retrospective survey of his work at the QMA
Gallery and the Al Riwaq exhibition space, Doha;
also in Qatar, a new permanent, site-specific
work, East-West / West-East, was installed in
the Brouq Nature Reserve in the Zekreet Desert.
An exhibition of recent works on paper by the
artist was presented at the Instituto Moreira
Salles, Rio de Janeiro in 2014.
•
Gordon Hughes is a Mellon Assistant Professor
in the Department of Art History at Rice
University. He received his PhD from Princeton
in 2004, after studying philosophy at the Centre
for the Study of Theory and Criticism at the
University of Western Ontario. Originally trained
as an artist, he holds a MFA in studio arts from
the University of Illinois at Chicago. He is the
author of Resisting Abstraction: Robert Delaunay
and Vision in the Face of Modernism (2014);
co-editor with Philipp Blom of Nothing but the
Clouds Unchanged: Artists in World War One (2014);
and co-editor with Hal Foster of October Files:
Richard Serra (2000). He has published on
subjects ranging from Robert Delaunay’s early
abstraction, Douglas Huebler’s photo-conceptu-
alism, Jenny Holzer’s text-based artworks,
Roland Barthes’s book Camera Lucida, Georges
Braque’s still lifes, Robert Graves’s autobiography,
and Fernand Léger’s cinema and painting.
Hughes was a co-curator of the exhibition World
War One: War of Images / Images of War at the
Getty Research Institute and the Mildred Lane
Kemper Art Museum. His current book project,
begun while a scholar at the Getty Research
Institute in 2013, is titled Seeing Red: Murder,
Abstraction, Machines.
34 35

Richard Serra:
Vertical and Horizontal
Reversals
36
Up to his untimely death in 2006 at age 41, Jason Rhoades carried out
a continuous assault on aesthetic conventions and the rules governing
the art world—wryly subverting those very conditions by using them
as materials for his work. In 2002, Rhoades introduced the world to
his PeaRoeFoam, a “brand new product and revolutionary new material”
created from whole green peas, fish-bait style salmon eggs, and white
virgin-beaded foam. When combined with non-toxic glue, they trans-
form into a versatile, fast-drying, and ultimately hard material that
he intended for both utilitarian as well as artistic uses — his detailed step-
by-step instructions accompanied do-it-yourself kits complete with
everything needed to make PeaRoeFoam.
Rhoades debuted his PeaRoeFoam project at David Zwirner in
2002 (then located on Greene Street in SoHo) in the first of a trilogy of
exhibitions that also brought it to Vienna and Liverpool the same year.
Following the original “PeaRoeFormance” at the gallery, the artist moved
the equipment to the Museum Moderner Kunst Stiftung Ludwig Wien
(MUMOK) in Vienna, where he added a makeshift karaoke studio,
and then to the Liverpool Biennial, where he continued the production
inside a giant, inflatable pool the shape and color of a human liver.
PeaRoeFoam continued to be appropriated for subsequent works, but
the majority of the leftovers and objects from all three “PeaRoeFormances”
found a new place in Rhoades’s studio. Arranged on shelves covering
the full length of a large wall, they remained on the location until after
the artist’s death. The entirety of the installation, never previously
shown, was exhibited as part of the comprehensive presentation of the
PeaRoeFoam project at David Zwirner in New York in 2014.
This seminal publication is the first to properly examine and
situate PeaRoeFoam within Rhoades’s career and to acknowledge its
importance within the overall framework of his practice. The 2014
exhibition at David Zwirner presented many of the individual compo-
nents for the first time since their original installations, and this book
discusses and reproduces those initial presentations in depth. Also
included is an abundance of archival documents and photographs,
installation views of all 2002 shows, as well as the artist’s diagrams and
drawings. The publication also features a personal and revealing essay
by David Zwirner, who began showing Rhoades’s work in the early 1990s,
new scholarship by Julien Bismuth, and selected interviews from the
Jason Rhoades Oral History project, conceived by Dylan Kenny and
Lucas Zwirner, who have interviewed over fifty artists, curators, friends,
collaborators, art historians, and others who intimately knew the
artist — including curator and art historian Linda Norden.
Jason Rhoades:
PeaRoeFoam
David Zwirner Books
Forthcoming in June 2015
Hardcover, 8½×12¼ in (21.6×31.1 cm)
144 pages, 80 color
ISBN 9781941701072
$55 US & Canada | £32 | €40
•
Texts by Julien Bismuth and David Zwirner.
Contributions by Lucas Zwirner and Dylan Kenny.
Interview with Linda Norden
Jason Rhoades was born in Newcastle,
California in 1965. He received his MFA from
the University of California, Los Angeles
in 1993. Later that year, Rhoades joined David
Zwirner — becoming part of the gallery’s original
roster of artists — and had his first New York
solo show. Rhoades’s work has been exhibited
internationally since the 1990s. His first solo
presentation at a European institution was held
at the Kunsthalle Basel in 1996. Other interna-
tional venues which have organized solo shows
include the Van Abbemuseum, Eindhoven,
The Netherlands (1998); Kunsthalle Nürnberg,
Nuremberg, Germany (1998); Deichtorhallen
Hamburg, Germany (1999); Museum Haus Esters,
Krefeld, Germany (2000); Museum Moderner
Kunst Stiftung Ludwig Wien (MUMOK),
Vienna (2002); Le Magasin – Centre National d’Art
Contemporain de Grenoble, France (2005); and
the Centro de Arte Contemporáneo de Málaga,
Spain (2006). In 2013, Jason Rhoades, Four Roads
marked the first American museum exhibition
of the artist’s work, organized by the Institute of
Contemporary Art in Philadelphia. It traveled
internationally in 2014 to the Kunsthalle Bremen
in Germany and in 2015 to the BALTIC Centre
for Contemporary Art in Gateshead, England.
Museum collections which hold works by the
artist include the Centre Georges Pompidou, Paris;
Hamburger Bahnhof – Museum für Gegenwart,
Berlin; Los Angeles County Museum of Art;
Museum of Contemporary Art, Los Angeles;
The Museum of Modern Art, New York; Stedelijk
Museum, Amsterdam; Tate Gallery, London;
and the Whitney Museum of American Art,
New York.
•
Julien Bismuth is an artist and writer currently
based in New York. He has published a number
of texts, including a series of publications
with Devonian Press, which he co-founded with
the artist Jean-Pascal Flavien in 2005, as well as an
essay for the catalogue Toba Khedoori, published
on the occasion of her solo exhibition at David
Zwirner in 2012.
•
David Zwirner opened his eponymous gallery in
the SoHo neighborhood of New York in 1993.
With locations currently in New York (Chelsea)
and London (Mayfair), the gallery represents
close to fifty artists and estates.
•
Lucas Zwirner is a writer and translator. He
has contributed to numerous art publications
and translated Michael Ende’s Momo into
English, which was published by McSweeney’s
McMullens in 2013.
•
Dylan Kenny is a writer and researcher. He is
currently a Paul Mellon Fellow at the University
of Cambridge.
•
Linda Norden is an independent curator, writer,
and art historian. Norden’s writing has covered
an extensive range of artists and critics, including
Richard Artschwager, Robert Gober, Eva Hesse,
Roni Horn, Pierre Huyghe, Lucy Lippard, Sharon
Lockhart, Claes Oldenburg, Robert Ryman, and
Cy Twombly.
38 39

Jason Rhoades:
PeaRoeFoam
40
My works are minimal and reduced, but also maximal. I try to make
them concise, clear statements in three-dimensional form, and also to take
them to a breathtaking level of beauty.
— John McCracken
John McCracken occupies a singular position within the recent history
of American art, as his work melds the restrained formal qualities of
Minimalist sculpture with a distinctly West Coast sensibility expressed
through color, form, and finish. He developed his early sculptural work
while studying painting at the California College of Arts and Crafts
in Oakland in the late 1950s and early 1960s. While experimenting with
increasingly three-dimensional canvases, the artist began to produce
objects made with industrial materials, including plywood, sprayed
lacquer, and pigmented resin, creating the highly reflective, smooth sur-
faces for which he was to become known.
Published on the occasion of the 2013 exhibition of McCracken’s
work at David Zwirner in New York, this catalogue charts the evolution of
the artist’s diverse oeuvre, encompassing both well-known and lesser-
seen examples of his production from the early 1960s through his death
in 2011, with a range of sculptures, paintings, and sketches. Featuring
new scholarship by art historian Robin Clark, it includes an interview
with the artist by Anne Reeve from 2010, as well as reproductions of
archival and documentary materials ranging from the artist’s sketches to
gallery invitation cards, early catalogue covers, historic photographs,
and installation views of the exhibition.
John McCracken:
Works from 1963–2011
David Zwirner Books/Radius Books
2014
Hardcover, 11½×13 in (29.3×33 cm)
194 pages, 110 color, 11 b&w
ISBN 9781934435755
$75 US & Canada | £45 | €57
•
Text by Robin Clark. Interview with the artist
by Anne Reeve
Beginning in the 1960s, John McCracken
(1934–2011) exhibited steadily in the United States
and abroad, and his early work was included
in groundbreaking exhibitions such as Primary
Structures at the Jewish Museum, New York (1966)
and American Sculpture of the Sixties at the Los
Angeles County Museum of Art (1967). In 1997,
McCracken joined David Zwirner. In 2013,
Works from 1963–2011 marked the sixth and most
comprehensive solo show of the artist’s work
presented at the gallery in New York. McCracken’s
work is held in prominent international collec-
tions, including the Art Gallery of Ontario,
Toronto; The Art Institute of Chicago; Castello di
Rivoli, Turin; Los Angeles County Museum of Art;
Musée d’art contemporain de Montréal; Musée
d’art moderne et contemporain (MAMCO),
Geneva; Museum of Contemporary Art, Los
Angeles; The Museum of Modern Art, New York;
Orange County Museum of Art, Newport Harbor,
California; Palais des Beaux-Arts, Brussels;
San Francisco Museum of Modern Art; Solomon
R. Guggenheim Museum, New York; and the
Whitney Museum of American Art, New York.
•
Robin Clark is Director of the Artist Initiative
at the San Francisco Museum of Modern Art,
where she leads interdisciplinary collection
research projects that involve long-term collabo-
rations with participating artists. She is an art
historian and curator whose scholarship focuses
on the intersections of contemporary art and
architecture and the conservation of modern
materials. She was assistant curator and a
contributing author to the Eva Hesse retrospective
exhibition and catalogue produced by the San
Francisco Museum of Modern Art (SFMOMA and
Yale University Press, 2002) and was curator of
the Currents exhibition series at the Saint Louis
Art Museum (2002–2007). Her more recent
exhibitions and publications include Automatic
Cities: The Architectural Imaginary in Contemporary
Art (2009) and Phenomenal: California Light,
Space, Surface (2011), part of the Getty’s Pacific
Standard Time initiative.
•
Anne Reeve serves as Curatorial Associate
at Glenstone. In addition to her work on various
exhibitions and publications, she oversees
Glenstone’s Oral History Program, conducting
interviews to document its institutional
history and to enrich the understanding of the
artists in the foundation’s collection. Her writing
has appeared in Art in America and Art Papers
magazine, and she is currently at work on a
publication to accompany Glenstone’s upcoming
exhibition of works by Fred Sandback.
42 43

John McCracken:
Works from 1963–2011
44
One of the most important American artists of the postwar period,
Donald Judd has come to define Minimalist art — though he continued
to strongly object to this categorization throughout his life. His unaffected,
straightforward approach to his work and his strong interest in color,
form, material, and space led him to create striking art objects with
a direct physical “presence,” eschewing grand philosophical statements.
Judd began his practice as a painter in the late 1940s; however, he
soon introduced three-dimensional elements into the surface of his work.
His first sculptural objects took the form of shallow reliefs, and by 1963
he had begun to create freestanding works that were presented directly
on the floor and the wall. Throughout his practice, Judd used materials
such as plywood, steel, concrete, Plexiglas, and aluminum and employed
commercial fabricators in order to get the surfaces and angles he
desired, creating declaratively simple, fundamental sculptural forms.
This publication documents an exhibition held at David Zwirner in
New York in 2011, which brought together twelve identically scaled
aluminum works from the artist’s seminal 1989 solo presentation at the
Staatliche Kunsthalle Baden-Baden. That exhibition marked the
first time Judd used colored anodized aluminum in such a large, floor-
mounted format — thus comprising one of his few explorations of color
on a large scale and providing a focused investigation of one of the
key concerns within his practice. Although he had previously examined
the qualities of an open box form, the works created for Baden-Baden
display a distinct systematic approach in determining the interior space
of each box, which Judd divided vertically in different spatial configura-
tions, sometimes introducing color through the use of anodized
elements or sheets of Plexiglas in blue, black, or amber. The combina-
tions of materials, dividers, and colors — which differ from box to
box — thus determine the singular nature of each work within a finite
number of variable possibilities, each of the boxes being an individual
work that represents one possibility within the given parameters.
Featuring new scholarship by art historian Richard Shiff, the book’s
stunning visual elements are contextualized by such archival materials
as Judd’s preparatory drawings, as well as an interview with the artist
conducted in 1989 by Jochen Poetter.
Donald Judd
David Zwirner/Steidl
2011
Hardcover, 10×11¼ in (25.4×28.6 cm)
128 pages, 61 color
ISBN 9783869303901
$65 US & Canada | £45 | €60
•
Text by Richard Shiff. Interview with the artist
by Jochen Poetter
Donald Judd was born in Excelsior Springs,
Missouri in 1928 and died in New York in
1994. The recipient of many awards including
a Guggenheim Fellowship, Judd also wrote
and lectured extensively on his art. A survey
exhibition of the artist’s work was organized by
Tate Modern, London in 2004 and traveled to
the K20 Kunstsammlung Nordrhein-Westfalen,
Düsseldorf and the Kunstmuseum Basel.
Other important recent exhibitions of the artist’s
work include Donald Judd: Early Work 1955–1968,
which traveled from the Kunsthalle Bielefeld,
Germany to The Menil Collection, Houston
in 2002–2003; Donald Judd: Colorist, held at the
Sprengel Museum, Hannover, Germany,
Kunsthaus Bregenz, Austria, and Musée d’Art
Moderne et d’Art Contemporain, Nice in
2000–2001; Donald Judd: a good chair is a good
chair, a comprehensive exhibition of the artist’s
furniture and related drawings organized
by Ikon Gallery, Birmingham, England (2010);
and Donald Judd: The Multicolored Works (2013)
at the Pulitzer Foundation for the Arts, St. Louis.
Permanent installations of the artist’s work
can be seen at Judd Foundation spaces in New
York City, at 101 Spring Street, and in Marfa, Texas,
along with the neighboring Chinati Foundation.
In 2013, David Zwirner presented an exhibition
of works by Judd, the first gallery presentation of
this important artist in London in nearly fifteen
years and the first significant exhibition of
Judd’s work in the UK since his 2004 retrospective
at Tate Modern, London.
•
Richard Shiff is the Effie Marie Cain Regents
Chair in Art at The University of Texas at Austin,
where he directs the Center for the Study of
Modernism. His publications include Cézanne
and the End of Impressionism (1984), Critical Terms
for Art History (co-edited, 1996; second edition,
2003), Barnett Newman: A Catalogue Raisonné
(co-authored, 2004), Doubt (2008), Between Sense
and de Kooning (2011), and Ellsworth Kelly: New
York Drawings 1954–1962 (2014), among others.
For books published by David Zwirner, Shiff has
contributed essays to Dan Flavin: Series and
Progressions (2010) and Bridget Riley: The Stripe
Paintings 1961–2014 (2014).
•
Jochen Poetter is a German art historian, theorist,
and curator. Poetter is the former director of
several museums, including the Museum Ludwig
in Cologne, the Staatliche Kunsthalle Baden-
Baden, and the Museum Villa Stuck in Munich.
46 47

Donald Judd
48
Described by fellow artist Mel Bochner as “one of the first artists to make Dan Flavin was born in 1933 in New York City.
use of a basically progressional procedure,” influential Minimalist artist
Dan Flavin was known for his systematic arrangement of color and light. he studied art history at the New School for Social
This major monograph was published on the occasion of Dan Flavin:
Series and Progressions — the first exhibition of the artist’s work held in
2009 at David Zwirner in New York since the gallery announced its repre-
sentation of Dan Flavin. Featuring over fifty full-color plates of exemplary “icons,” which led him to his first work made
works made between 1963 and 1990, in addition to a comprehensive
selection of installation views, archival photographs, and documents,
this publication carefully examines Flavin’s use of progressions and
serial structures, ideas that were central to his practice throughout his
career. It also describes how his manipulations of color and light were
aspects of his work that not only led to it being characterized as Minimal
art but came to define and influence Conceptual artistic practices.
Dan Flavin: Series and Progressions includes new scholarship by
noted Flavin scholar and curator Tiffany Bell (author of the artist’s cata-
logue raisonné), Anne Rorimer, Richard Shiff, and Alexandra Whitney;
an interview with Dan Graham; and a facsimile of the original catalogue
from Flavin’s 1967–1968 exhibition alternating pink and ‘gold,’ at the
Museum of Contemporary Art, Chicago. Additional context is provided
by a detailed illustrated chronology, which documents historical
exhibitions of Flavin’s work.
Dan Flavin:
Series and Progressions
David Zwirner/Steidl
2010
Hardcover, 9¼×12 in (23.5×30.5 cm)
156 pages, 94 color, 20 b&w, 3 gatefolds
ISBN 9783869301464
$65 US & Canada | £45 | €60
• Exhibitions at David Zwirner, New York.
Texts by Tiffany Bell, Anne Rorimer, Richard Shiff,
and Alexandra Whitney. Interview with
Dan Graham
In the mid-1950s, he served in the US Air Force,
after which he returned to New York, where
Research and Columbia University. In 1961, he
had his first solo exhibition at the Judson Gallery,
New York. Later that year he began experimenting
with electric light in a series of works called
solely of fluorescent light, the diagonal of May 25,
1963 (to Constantin Brancusi) (1963). Major
exhibitions of Flavin’s work include those at the
Museum of Contemporary Art, Chicago (1967);
National Gallery of Canada, Ottawa (1969);
and the Staatliche Kunsthalle Baden-Baden
(1989). In 2004, Dia Art Foundation organized
a traveling retrospective in association with the
National Gallery of Art, Washington, D. C.
In 1983, Dia opened the Dan Flavin Art Institute,
which includes a permanent exhibition designed
by the artist in a former firehouse and Baptist
church in Bridgehampton, New York. Flavin’s last
completed work, untitled (1996), occupies the
stairwell at 548 West 22nd Street in New York City
in a building formerly used by Dia as an exhibition
space. In 2014, the installation of untitled (to
you, Heiner, with admiration and affection) (1973)
was designated as an official Dia site and
reinstalled on the premises of the Pinakothek der
Moderne, Munich. Flavin died in November
1996 in Long Island, New York.
•
Tiffany Bell, art critic and curator, served as
the project director of the Dan Flavin catalogue
raisonné, sponsored by the Dan Flavin Estate
and Dia Art Foundation. During the 1980s, she
was Flavin’s archivist and would go on to curate a
number of exhibitions of the artist’s work. Bell is
currently the editor of the Agnes Martin catalogue
raisonné and co-curator of the Agnes Martin
retrospective (2015).
•
Artist, writer, curator, and art and music critic
Dan Graham was born in Urbana, Illinois in 1942.
He lives and works in New York, and is a key figure
of Conceptual Art. In 2010, he was honored
by the American Academy of Arts and Letters in
New York.
•
Anne Rorimer is a freelance curator and
independent scholar specializing in American
and European art after 1965. She was formerly
a curator of modern and contemporary art
at The Art Institute of Chicago. She has published
in various art journals, including Artforum and
October, as well as numerous exhibition cata-
logues. She is the author of New Art in the
Sixties and Seventies: Redefining Reality (2001)
and, more recently, Michael Asher: Kunsthalle
Bern 1992 (2012).
•
Richard Shiff is the Effie Marie Cain Regents Chair
in Art at The University of Texas at Austin, where
he directs the Center for the Study of Modernism.
His publications include Cézanne and the End of
Impressionism (1984), Critical Terms for Art History
(co-edited, 1996; second edition, 2003), Barnett
Newman: A Catalogue Raisonné (co-authored,
2004), Doubt (2008), Between Sense and de Kooning
(2011), and Ellsworth Kelly: New York Drawings
1954–1962 (2014), among others.
•
Alexandra Whitney is the Director of Research &
50 51

Dan Flavin:
Series and Progressions
52
Known for sculptures that outline planes and volumes in space using
the humblest of materials, Fred Sandback (1943–2003) was an American
artist whose work is informed by a minimalist artistic vocabulary.
Though Sandback employed metal wire and elastic cord in his earliest
works, the artist soon dispensed with these materials and began using
acrylic yarn to create sculptures that produced perceptual illusions while
addressing their physical surroundings — the “pedestrian space,” as
Sandback called it, of everyday life. Throughout the course of his career,
yarn enabled the artist to elaborate on the phenomenological experience
of space and volume with unwavering consistency and ingenuity.
Fred Sandback: Decades is the third in a series of illustrated hardcover
monographs on the artist published by David Zwirner. Documenting
the eponymous exhibition held at the gallery in 2012, this award-winning
publication covers a selection of Sandback’s work dating from 1968
to 2008, thus spanning five decades of production. With ninety reproduc-
tions in color, this beautifully produced catalogue includes a fully
illustrated chronology with selected biographical and bibliographical
material, as well as new scholarship on Sandback by art historian
James Lawrence.
Fred Sandback:
Decades
David Zwirner/Radius Books
2013
Hardcover, 10×12 in (25.4×30.5 cm)
128 pages, 80 color
ISBN 9781934435588
$60 US & Canada | £35 | €45
•
Text by James Lawrence
The work of American artist Fred Sandback
(1943–2003) has been exhibited internationally
since the late 1960s. His first solo shows were
held at Galerie Konrad Fischer, Düsseldorf
and Galerie Heiner Friedrich, Munich, both in
1968 while the artist was still a graduate student
pursuing his MFA at the Yale School of Art
and Architecture. His work is on permanent
display at Dia:Beacon, New York, and was the
subject of an extensive survey organized in
2005 by the Kunstmuseum Liechtenstein, Vaduz
(which traveled to the Fruitmarket Gallery,
Edinburgh and the Neue Galerie am Joanneum,
Graz in 2006). In 2011, his work was featured
in a solo exhibition at the Whitechapel Gallery,
London, and the Museum of Contemporary Art,
Denver dedicated its entire building to a solo
exhibition of his work. David Zwirner has
shown the artist’s work since 2004. Since then,
the gallery has presented five solo shows of
Sandback’s work, including a 2012 exhibition
of important sculptures and drawings from each
decade of his career in New York and a 2013
exhibition at David Zwirner’s London location.
In 2014, the Kunstmuseum Winterthur hosted
the first major retrospective of Sandback’s
drawings, curated by Dieter Schwarz, and which
subsequently traveled to the Josef Albers
Museum, Bottrop and the Museum Wiesbaden.
Sandback’s work is represented in numerous
public collections, including The Art Institute of
Chicago; Centre Georges Pompidou, Paris;
Museum für Moderne Kunst, Frankfurt; The
Museum of Modern Art, New York; National
Gallery of Art, Washington, D.C.; Pinakothek der
Moderne, Munich; and the Solomon R.
Guggenheim Museum, New York.
•
James Lawrence is a critic and historian
specializing in postwar and contemporary
art. He is a frequent contributor to The Burlington
Magazine. Essays by Lawrence are included in
such publications as Richard Serra: Drawings —
Work Comes Out of Work (2008) and Blinky Palermo:
Retrospective 1964–1977 (2010).
54 55

Fred Sandback:
Decades
56
For over five decades, On Kawara created paintings, drawings, books,
and recordings that examined chronological time and its function as a
measure of human existence. His artistic practice was characterized
by its meditative approach to concepts of time, space, and consciousness.
He began making his now signature date paintings (known as the Today
series) on January 4, 1966 in New York City and continued to produce
them in different parts of the world up until his death.
On Kawara: Date Painting(s) in New York and 136 Other Cities
was published on the occasion of the artist’s fifth solo exhibition at David
Zwirner in New York in 2012, which comprised a seminal presentation
of over one hundred and fifty of Kawara’s renowned date paintings from
1966 to 2012. On view at the gallery was a comprehensive selection
of works painted in New York in one gallery, while a second exhibition
space presented works painted in almost all other cities visited by
the artist. This large-scale, beautifully designed catalogue provides a
comprehensive overview of forty-five years of date paintings and features
one hundred and ninety color illustrations. The first part of the catalogue
includes the complete series of paintings created in New York, while the
second part focuses on a selection of works completed in various cities
around the world. Also included are texts by astronaut Dr. Edgar Mitchell,
artist and writer Lei Yamabe, and writer Lucas Zwirner.
On Kawara:
Date Painting(s) in New York
and 136 Other Cities
David Zwirner/Ludion
2012
Hardcover, 9¾×11 in (24.8×27.9 cm)
288 pages, 340 color, 10 b&w
ISBN 9789461300157
$60 US & Canada | £35 | €45
•
Texts by Dr.Edgar Mitchell, Lei Yamabe,
and Lucas Zwirner
Since 1999, On Kawara’s work has been repre-
sented by David Zwirner. In addition to Date
Painting(s) in New York and 136 Other Cities (2012),
other gallery solo exhibitions include One
Million Years (2009), Paintings of 40 Years (2004),
Reading One Million Years (Past and Future) (2001),
and I READ 1966–1995 (1999). In 2015, a critically
acclaimed, career-spanning retrospective of
the artist’s work, On Kawara—Silence, was orga-
nized by the Solomon R. Guggenheim Museum
in New York. Work by Kawara is represented
in museum collections internationally, including
the Centre Georges Pompidou, Paris; Hara
Museum of Contemporary Art, Tokyo;
Kunstmuseum Basel; The Metropolitan Museum
of Art, New York; Moderna Museet, Stockholm;
Museum of Contemporary Art, Tokyo; The
Museum of Modern Art, New York; National
Gallery of Art, Washington, D.C.; The National
Museum of Modern Art, Tokyo; and Tate
Gallery, London. A long-term installation of the
artist’s date paintings is on view at Dia:Beacon,
New York.
•
Dr. Edgar Mitchell is an American pilot and
astronaut. He was the pilot of the lunar module
of Apollo 14, and the sixth man to walk on the
Moon, spending nine hours on the lunar surface
on February 9, 1971. During his years in the
Navy, he gained a Bachelor of Science degree in
aeronautical engineering from the US Naval
Postgraduate School and a Doctor of Science
degree in Aeronautics and Astronautics from the
Massachusetts Institute of Technology. He also
holds honorary doctorates from the New Mexico
State University, the University of Akron,
Carnegie Mellon University, and the Embry-
Riddle Aeronautical University.
•
Lei Yamabe is a fictional writer created as
an artistic project by Yuki Okumura, inspired by
On Kawara’s work, for essays that explore the
uncertainty of our bodily existence. Born in 1978
in Aomori, Japan, Okumura is an artist based
in Tokyo. His work has been included in
numerous solo and group exhibitions at institu-
tions worldwide, including the Museum of
Contemporary Art, Taipei, Taiwan (2011 and 2008);
Aomori Museum of Art, Japan (2010 and 2009);
Irish Museum of Modern Art, Dublin (2007);
Tokyo Opera City Art Gallery (2004); and the Grey
Art Gallery, New York (2001).
•
Lucas Zwirner is a writer and translator. He
graduated from Yale University, where he studied
Philosophy and Comparative Literature, in 2013.
He has contributed to numerous art publications,
including the David Zwirner catalogue Raymond
Pettibon: To Wit in 2014, and translated Michael
Ende’s Momo into English, which was illustrated
by Marcel Dzama and published by McSweeney’s
McMullens in 2013. He is currently at work on an
extensive oral history project about Jason Rhoades.
58 59

On Kawara:
Date Painting(s) in New York
and 136 Other Cities
60
Drawing was a fundamental, stand-alone component of Alice Neel’s
practice, persistently pursued alongside painting, for which she is
primarily known. As a medium, it enabled her to capture the immediacy
of her visual experience — whether in front of her sitters or on the city
streets — while also affording her a greater sense of experimentation and
informality. Neel chose the subjects for both her paintings and drawings
from her family, friends, and a broad variety of fellow New Yorkers:
writers, poets, artists, students, textile salesmen, cabaret singers, and
homeless bohemians. Through her penetrative, forthright, and at times
humorous touch, her work subtly engaged with political and social issues,
including gender, racial inequality, and labor struggles. Not initially
intended for public view, her drawings reveal a more private and intimate
nature than her paintings and as such reflect her deep sensitivity to
these subjects. Yet they are far from sentimental and she readily stripped
her sitters of their masks, foregrounding rather the incongruous, the
awkward, and, at times, the comical.
Alice Neel: Drawings and Watercolors 1927 – 1978 presents an
illuminating overview of the variety of themes and styles employed by
the artist across five decades. Published to coincide with the 2015 exhibi-
tion at David Zwirner in New York, the book contains over sixty color
plates organized thematically and includes works selected from through-
out her career. In addition, it features essays by the independent curator
and writer Jeremy Lewison and the award-winning novelist Claire
Messud, as well as a selected chronological biography and illustrated
list of works.
Although Neel’s influences and style changed from decade to decade,
her profound commitment to her subjects and to her art remained
consistent over the course of her career, and although the appearance
of many of her sitters changed over the years, there is a timeless quality to
the works. As Claire Messud notes in her reflections on the artist in the
exhibition catalogue, “The complex emotions Neel evokes in her art are
nothing less than the contradictions of life itself.”
Alice Neel:
Drawings and Watercolors
1927–1978
David Zwirner Books
2015
Hardcover, 9×11 in (22.9×27.9 cm)
120 pages, 127 color, 1 b&w
ISBN 9781941701133
$45 US & Canada | £30 | €37
•
Texts by Jeremy Lewison and Claire Messud
Alice Neel was born in 1900 in Merion Square,
Pennsylvania and died in 1984 in New York.
In 1921, she enrolled in the fine art program at the
Philadelphia School of Design for Women (now
Moore College of Art and Design) and graduated
in 1925. Although she showed sporadically early
in her career, from the 1960s onwards her work
was exhibited widely in the United States. In 1974,
she had her first retrospective at the Whitney
Museum of American Art, New York. Since 2008,
The Estate of Alice Neel has been represented
by David Zwirner. In 2010, Alice Neel: Painted
Truths, which thematically surveyed over sixty
paintings spanning fifty-five years, received wide
critical acclaim. It was organized by the Museum
of Fine Arts, Houston and traveled to the
Whitechapel Gallery, London and Moderna
Museet Malmö, Sweden. In 2013, a major presen-
tation of the artist’s watercolors and drawings,
Alice Neel: Intimate Relations, was on view at the
Nordiska Akvarellmuseet in Skärhamn, Sweden.
Work by the artist is represented in permanent
collections that include The Art Institute
of Chicago; Hirshhorn Museum and Sculpture
Garden, Washington, D. C.; The Metropolitan
Museum of Art, New York; Moderna Museet,
Stockholm; Museum of Contemporary Art,
Los Angeles; Museum of Fine Arts, Houston;
The Museum of Modern Art, New York; National
Gallery of Art, Washington, D.C.; Philadelphia
Museum of Art; Tate Gallery, London; and the
Whitney Museum of American Art, New York.
•
Jeremy Lewison is an independent curator,
writer, and lecturer, and since 2003 has acted as
the advisor to The Estate of Alice Neel. He began
his career in the art world in 1977 as Curator
of Kettle’s Yard, University of Cambridge. In 1983,
he joined Tate Gallery, London as an Assistant
Keeper in the Modern Collection, rising to
the position of Director of Collections in 1998.
In addition to having expertise in British art of the
interwar period, he became Tate’s specialist
in postwar American art, and was responsible for
publications and exhibitions on the works of
Jackson Pollock, Sol LeWitt, Brice Marden, and
Barnett Newman.
•
Claire Messud is an award-winning novelist.
Her most recent novel, The Woman Upstairs, was
listed as a Best Book of the Year by the Huffington
Post, Chicago Tribune, and Boston Globe, amongst
others. Her third book, The Emperor’s Children,
was named one of the Best Books of the Year by
The New York Times, Los Angeles Times, and
Washington Post. Her first novel, When the World
Was Steady, and her book of novellas, The Hunters,
were both finalists for the PEN / Faulkner
Award; and her second novel, The Last Life, was
selected as a Best Book of the Year by Publishers
Weekly and an Editor’s Choice at The Village Voice.
All four novels were Notable Books of the Year
by The New York Times. Messud has been awarded
Guggenheim and Radcliffe Fellowships and the
Strauss Living Award from the American Academy
of Arts and Letters.
62 63

Alice Neel:
Drawings and Watercolors
1927–1978
64
The Swedish artist couple Mamma Andersson and Jockum Nordström
have been at the forefront of contemporary figurative art since the
late 1980s. Updating Vuillard for a post-Hitchcock age, Andersson paints
beguilingly eerie interiors and landscapes. Nordström’s detailed collages,
watercolors, and drawings occupy a more folkloric realm peopled by
historical and contemporary characters enacting sexual and social roles
across broad narrative panoramas.
Originally published on the occasion of the 2010 exhibition at David
Zwirner in New York, Who is sleeping on my pillow marked the first time
Andersson and Nordström presented their work in concurrent solo shows.
The book showcases their work from the late 1980s to 2010 in over two
hundred full-color plates, as well as numerous reproductions of family
snapshots and source material. Also included are texts by Paolo Colombo
and Anders Krüger, a poem by Stig Claesson, and an interview with
Nordström by Marcel Dzama. As Colombo notes in his accompanying
essay, “The miracle is that Jockum and Mamma spent more than half
of their life together, and that over the years their complicity has guided
them into the artists they are, each the complement and the best
sounding board for the other.” The publication was reissued to coincide
with Nordström’s 2014 exhibition, For the insects and the hounds, at
David Zwirner in London, and Andersson’s 2015 presentation, Behind
the Curtain, at the gallery in New York.
Who is sleeping on my pillow:
Mamma Andersson
and Jockum Nordström
David Zwirner Books
2010. Reprint edition 2014
Hardcover, 9½×11½ in (24.1×29.2 cm)
247 pages, 200 color, 62 b&w
ISBN 9781935202264
$75 US & Canada | £45 | €60
•
Texts by Paolo Colombo and Anders Krüger.
Interview with Nordström by Marcel Dzama.
Poem by Stig Claesson
Mamma Andersson was born in 1962 in Luleå,
Sweden. She studied from 1986 to 1993 at
the Royal University College of Fine Arts in
Stockholm, where she continues to live and work.
Since 2004, Andersson’s work has been repre-
sented by David Zwirner. She has had three solo
shows at the gallery in New York, including her
United States debut in 2006. In 2011, Andersson’s
work was the subject of a solo exhibition at the
Museum Haus Esters in Krefeld, Germany. She
had her first museum solo show in the United
States at the Aspen Art Museum, Colorado in 2010,
and her first solo exhibition in Ireland at the
Douglas Hyde Gallery, Dublin in 2009. In 2007,
a critically acclaimed, mid-career survey of
her work was organized by the Moderna Museet,
Stockholm, which traveled to the Kunsthalle
Helsinki and the Camden Arts Centre, London.
Work by the artist is represented in museum
collections that include the Dallas Museum of
Art; Hammer Museum, Los Angeles; Magasin 3
Stockholm Konsthall; Museum of Contemporary
Art, Los Angeles; The Museum of Modern Art,
New York; and the Moderna Museet, Stockholm.
•
Jockum Nordström was born in 1963 in
Stockholm, where he continues to live and work.
In 2000, the artist joined David Zwirner, where
he had his first United States solo show that same
year. In 2013, a major survey of the artist’s work
was on view at the Lille Métropole, musée
d’art moderne, d’art contemporain et d’art brut
in Villeneuve d’Ascq, France, before it traveled
to the Camden Arts Centre in London, making it
the first solo exhibition of his work in the city.
Other recent solo shows include those organized
by the Swedish Institute, Paris (2011); Douglas
Hyde Gallery, Dublin (2010); and the Moderna
Museet, Stockholm (2005). Work by the artist is
represented in museum collections that include
the Centre Georges Pompidou, Paris; Cleveland
Museum of Art, Ohio; Hammer Museum, Los
Angeles; Magasin 3 Stockholm Konsthall;
Moderna Museet, Stockholm; The Museum of
Modern Art, New York; and the Stedelijk Museum
voor Actuele Kunst (S.M. A.K.), Ghent.
•
Born in Stockholm, Stig Claesson (1928–2008)
was an award-winning Swedish writer, artist, and
illustrator. He published more than eighty
books during his lifetime, several of which were
translated into English, with some adapted for
television and theater. His Walking in the Sun from
1976 was made into a film.
•
Italian curator Paolo Colombo is an advisor to
the Istanbul Museum of Modern Art. From 1989
to 2000, he was Director of the Centre d’Art
Contemporain in Geneva, and from 2001 to 2007,
he was Curator of the Museo Nazionale delle
Arti del XXI Secolo in Rome.
•
Marcel Dzama was born in 1974 in Winnipeg,
Canada, and lives in Brooklyn, New York. Since
1998, his work has been represented by David
Zwirner, and he has exhibited widely both in the
United States and internationally.
•
Anders Krüger is an artist, professor, and
curator based in Sweden. He was Director of the
Grafikens Hus in Mariefred, Sweden from
2008 to 2010.
66 67

Who is sleeping on my pillow:

Mamma Andersson
and Jockum Nordström
68
With a career spanning almost three decades, Kerry James Marshall
is well known for his complex and multilayered portrayals of youths,
interiors, nudes, housing estate gardens, land- and seascapes, all of
which synthesize different traditions and genres while seeking to counter
stereotypical representations of black people in society. Working across
various mediums, from paintings and comic-style drawings to sculptural
installations, photographs, and videos, the artist conflates actual and
imagined events from African-American history, integrating a range
of stylistic influences to address the limited historiography of black art.
Produced on the occasion of Marshall’s first exhibition at David
Zwirner in London in 2014 and designed by JNL Design in Chicago,
Look See features beautiful reproductions of every painting on view in the
show as well as numerous details, preparatory drawings, installation
photographs, new scholarship by Robert Storr and Hamza Walker, and
a conversation between the artist and Angela Choon, a Senior Partner at
the gallery. As suggested by the show’s title, these portraits use the
etymological differences between looking and seeing as their point of
departure, featuring subjects whose dissociated stares seem as defiant as
they are mystifying. In keeping with his signature approach, Marshall
has painted his figures in strikingly opaque black pigments, both
fashioning and abstracting their presences in order to assimilate the
limitations and contradictions of style, subject, and chronology inherent
in art-historical narratives written from a white, Western perspective.
Taken all together, the range of materials included in Look See constitutes
a vibrant and comprehensive portrait of Marshall’s original and ever-
evolving practice.
Kerry James Marshall:
Look See
David Zwirner Books
Forthcoming in July 2015
Hardcover, 10×12 in (25.5×30.5 cm)
100 pages, 50 color
ISBN 9781941701089
$65 US & Canada | £42 | €55
•
Texts by Robert Storr and Hamza Walker.
Interview with the artist by Angela Choon
Chicago-based artist Kerry James Marshall was
born in 1955 in Birmingham, Alabama. He studied
at the Otis Art Institute in Los Angeles, earning
his BFA in 1978 and an honorary doctorate in 1999.
The artist has exhibited widely since the late
1970s and early 1980s. In the spring of 2016, the
Museum of Contemporary Art Chicago will host
the first major American museum survey of
Marshall’s work, specially focusing on his paint-
ings from the past thirty-five years. In 2013,
Kerry James Marshall: Painting and Other Stuff
marked the most comprehensive presentation of
his work in Europe to date, which debuted at
the Museum van Hedendaagse Kunst Antwerpen
in Antwerp. In 2014, it traveled to the Kunsthal
Charlottenborg in Copenhagen, and was
co-hosted by two venues in Spain, the Fundació
Antoni Tàpies in Barcelona and the Museo
Nacional Centro de Arte Reina Sofía in Madrid.
Other prominent institutions which have
presented solo shows include the National
Gallery of Art, Washington, D.C. (2013); Secession,
Vienna (2012); Vancouver Art Gallery (2010); San
Francisco Museum of Modern Art (2009); Wexner
Center for the Arts, Columbus, Ohio (2008);
Camden Arts Centre, London (2005); The Studio
Museum in Harlem, New York (2004); Museum
of Contemporary Art Chicago (2003); The
Renaissance Society at the University of Chicago
(1998); and the Brooklyn Museum, New York (1998).
His work is featured in museum collections
worldwide, including The Art Institute of
Chicago; Los Angeles County Museum of Art; The
Metropolitan Museum of Art, New York; Museum
of Contemporary Art Chicago; The Museum
of Modern Art, New York; National Gallery of Art,
Washington, D.C.; San Francisco Museum of
Modern Art; The Studio Museum in Harlem, New
York; Walker Art Center, Minneapolis; and the
Whitney Museum of American Art, New York.
•
Robert Storr is the Stavros Niarchos Foundation
Dean of the Yale School of Art. He was formerly
Senior Curator in the Department of Painting and
Sculpture at The Museum of Modern Art, New
York, where in 1996 he co-organized From Bauhaus
to Pop: Masterworks Given by Philip Johnson,
amongst numerous exhibitions. In 2002, he was
named the first Rosalie Solow Professor of
Modern Art at the Institute of Fine Arts, New York
University. From 2005 to 2007, he was Director
of Visual Art for the Venice Biennale, the first
American invited to assume that position.
•
Hamza Walker is Director of Education and
Associate Curator for the Renaissance
Society, the non-collecting museum of contempo-
rary art at the University of Chicago. He holds
a BA in Art History from the University of Chicago
and is the recipient of the 2010 Ordway Prize, the
2004 Walter Hopps Award for Curatorial
Achievement, and the 1999 Norton Curatorial
Grant. In 2001, The New York Times named Walker
one of the seven most influential curators in
the United States.
•
Angela Choon joined David Zwirner in 1994
as a Director and is currently a Senior Partner
and based in the gallery’s London location.
Throughout the past two decades, she has over-
seen numerous shows at the gallery and
collaborated on many major museum exhibitions
throughout the United States and Europe and
their accompanying publications.
70 71

Kerry James Marshall:

Look See
72
The richly textured, seductive paintings of German artist Neo Rauch are
marked by a “distinctive Pop-Surrealist-Social Realist style,” as described
by The New York Times art critic Roberta Smith in 2002. Incorporating
disjunctive references to disparate eras, techniques, and aesthetics, they
evoke “avant-garde theater stage sets from an earlier time . . . both buoyant
and tamped down, comic and earnest.” In many of his compositions,
human figures engaged in manual labor or indeterminable tasks work
against backdrops of mundane architecture, industrial settings, or bizarre
and often barren landscapes. Scale is frequently arbitrary and non-
perspectival, which adds to an overall dreamlike atmosphere; spatial
relationships seem to construct an imaginary realm all of its own, one
which both defies logic and feels somehow familiar.
At the Well, produced to coincide with the 2014 exhibition of Rauch’s
new works at David Zwirner in New York, brings together small and large
format paintings that expand the artist’s unique iconography of eccentric
figures, animals, and hybrids within vaguely familiar but imaginary
settings. This oversized catalogue — designed in close collaboration with
the artist — is anchored by sixteen stunning plates and numerous
1: 1 details that bring to life, and give viewers intimate access to, these
compelling compositions. Themes of rebirth and new beginnings
abound: Rauch consistently creates characters who appear to be in the
process of transformation, literally on the brink of renaissance. These
figures, though squarely centered in his paintings, often have the
appearance of being part of still lifes: collaged, anachronistic elements
belonging to different time zones and eras offer a contemporary take
on the storied tradition of visual and psychological pastiche.
At the Well features an illuminating essay by art historian and curator
Sir Norman Rosenthal, who presents a careful reading of Rauch’s new
work, including its relationship to fairy tales; the influence of the German
Democratic Republic on his development as an artist in the 1980s; and
the overarching sense of alienation that is present within his narratives.
The book also includes a reprint of the classic Brothers Grimm fairy
tale “The Young Giant,” specifically chosen by Rosenthal to further
expand his analysis.
Neo Rauch:
At the Well
David Zwirner Books
2014
Hardcover, 10×12½ in (25.4×31.8 cm)
80 pages, 62 color
ISBN 9781941701119
$50 US & Canada | £32 | €40
•
Text by Norman Rosenthal
Neo Rauch was born in 1960 in Leipzig, where
he continues to live and work, and studied at the
Hochschule für Grafik und Buchkunst. Since
2000, Rauch’s work has been represented
by David Zwirner. At the Well marked his sixth solo
exhibition at the gallery in New York. His work
has been the subject of solo exhibitions at
prominent institutions internationally, most
recently in 2013 at BOZAR – Centre for Fine Arts
in Brussels. In 2010, his first major museum
survey was co-hosted by the Museum der
Bildenden Künste Leipzig and the Pinakothek der
Moderne, Munich. A version of this survey was
shown at the Zachęta National Gallery of Art,
Warsaw in 2011. Museum collections which hold
works by the artist include the Gemeentemuseum,
The Hague; Hamburger Bahnhof – Museum
für Gegenwart, Berlin; Kunstmuseum Wolfsburg,
Germany; The Metropolitan Museum of Art, New
York; Museum der Bildenden Künste Leipzig;
Museum Ludwig, Cologne; The Museum of
Modern Art, New York; Pinakothek der Moderne,
Munich; Solomon R. Guggenheim Museum, New
York; and the Stedelijk Museum, Amsterdam.
•
Sir Norman Rosenthal is an independent
curator and art historian. He previously served
as Exhibitions Secretary at the Royal Academy
of Arts in London from 1977 to 2007. He was
instrumental in curating several groundbreaking
exhibitions, including A New Spirit of Painting
(co-organized with Nicholas Serota and Christos
M. Joachimides) in 1981 that surveyed the current
state of painting at the time; and which amongst
others, brought the work of Anselm Kiefer and
Georg Baselitz to the forefront. Rosenthal also
curated the highly controversial group exhibition
Sensation in 1997 that introduced the Young
British Artists to an international audience.
74 75

Neo Rauch:
At the Well
76
Limning a dizzying array of topics with his distinctive combinations of
image and text, Raymond Pettibon has created a vocabulary of characters
and symbols that reappear consistently if enigmatically across his
oeuvre, ranging from baseball players, atomic bombs, and railway trains
to the cartoon Gumby. But the most poetic and revealing of Pettibon’s
symbols may be the surfer, the solitary longboarder challenging a massive
wave. In his surfer works, viewers ride along with a counterculture
existentialist hero who perhaps is the artist’s nearest proxy.
This revised and expanded edition of Raymond Pettibon: Surfers
1985–2015, the first printing of which sold out almost immediately upon
publication in 2014, features twenty additional works, as well as new
color separations and jacket design. Nearly all the works included in this
volume depict an ocean roiling with chaotic swells, accompanied by non
sequiturs, quotations, and fragments of poetry in the artist’s handwriting.
Organized chronologically, the publication traces Pettibon’s prolific
output of his surfer series, from early small-scale monochrome India ink
drawings to numerous examples from the 1990s when the artist intro-
duced color, culminating with his recent large-scale works, some of
which were executed directly on a wall. Rounding out the publication
is a poetic meditation by the writer Carlo McCormick, which captures
the essence of Pettibon’s surfing works: “Riddled with enigma, Raymond
Pettibon’s art speaks little about himself the artist, preferring rather to
address more central questions on the nature of self, but he tells us this,
‘Some things (sea foam, for instance) cannot be drawn at all, but only
surfed,’ or again, ‘All this must be either surfed or painted.’ ”
Raymond Pettibon:
Surfers 1985–2015
David Zwirner Books/Venus Over Manhattan
2014. Reprint edition forthcoming in June 2015
Softcover, 8½×11 in (21.6×27.9 cm)
136 pages, 92 color
ISBN 9781941701157
$39.95 US & Canada | £27 | €38
•
Foreword by Adam Lindemann. Text by
Carlo McCormick
Born in 1957 in Tucson, Arizona, and now
based in New York, Raymond Pettibon graduated
with a degree in economics from the University
of California, Los Angeles in 1977. Around
the same time, he joined his brother in the punk
band Black Flag and contributed artwork for
their album covers, flyers, and t-shirts, as well as
for their label, SST Records. His work has
been exhibited widely throughout the United
States and abroad, at venues including the
Kunstmuseum Luzern, Lucerne, Switzerland
(2012); Kestnergesellschaft, Hanover (2007);
Kunsthalle Wien, Vienna (2006); Centro de Arte
Contemporáneo de Málaga, Spain (2006);
Museum of Contemporary Art San Diego, La Jolla,
California (2005); and the Whitney Museum
of American Art, New York (2005). In 1998, his first
American museum presentation was organized
by The Renaissance Society at the University
of Chicago in collaboration with the Philadelphia
Museum of Art, and traveled to The Drawing
Center, New York and the Museum of
Contemporary Art, Los Angeles. Pettibon’s
work is held in the permanent collections of
the Centre Georges Pompidou, Paris; Hamburger
Bahnhof – Museum für Gegenwart, Berlin; The
Israel Museum, Jerusalem; San Francisco
Museum of Modern Art; Tate Gallery, London;
and the Whitney Museum of American Art,
New York.
•
Carlo McCormick is a New York art critic
and curator, and has been the author of numer-
ous publications, monographs, and catalogues
on contemporary art and artists. His writing
has appeared in magazines and journals such as
Aperture, Art in America, Artforum, ARTnews,
Camera Austria, Spin, Tokion, and Vice, and he
serves as Senior Editor of PAPER magazine.
McCormick has curated exhibitions for promi-
nent institutions including The Bronx Museum of
the Arts, Center for Photography at Woodstock,
and the Queens Museum of Art. In 2006, he
organized The Downtown Show: The New York Art
Scene, 1974–1984, a major survey exhibition
held at New York University’s Grey Art Gallery
and Fales Library. It was awarded first place
for the “Best Thematic Show in New York City”
by the US Art Critics Association.
78 79

Raymond Pettibon:
Surfers 1985–2015
80
Raymond Pettibon’s work embraces a wide spectrum of American “high”
and “low” culture, from the deviations of marginal youth to art history,
literature, sports, religion, politics, and sexuality. Rich in detail, his ob-
sessively worked drawings take, as their point of departure, the Southern
California punk-rock culture of the late 1970s and 1980s and the do-it-
yourself aesthetic of album covers, comics, concert flyers, and fanzines
that characterized the movement — but they have come to occupy their
own genre of potent and dynamic artistic commentary. His subjects
have included political figures and historical events throughout the years
and with mounting intensity since September 11, 2001.
Raymond Pettibon: Here’s Your Irony Back includes full-color,
striking images of Ronald and Nancy Reagan, J. Edgar Hoover, both Bush
presidents, the Kennedys, Hitler, scenes from the Vietnam War and pro-
test movements, wars in Iraq and Afghanistan, the prisoner abuse of Abu
Ghraib, President Obama, and Osama bin Laden. As artfully described
by art historian Benjamin H. D. Buchloh in his essay for the book,
Pettibon’s works from this period engage the recurring tropes of the
day, from caricature, sleaze, and pop, to graffiti and patriotism, engaging
universal issues with a tone that is at turns desperate, hilarious, ironic,
brutal, or tragic. Brought together here, the images in this book serve to
capture the power and urgency of Pettibon’s original graphic endeavor.
Raymond Pettibon:
Here’s Your Irony Back,
Political Works 1975–2013
David Zwirner/Hatje Cantz/Regen Projects
2013
Hardcover, 10½×12½ in (26.7×31.8 cm)
212 pages, 122 color
ISBN 9783775737333
$60 US & Canada | £36 | €45
•
Text by Benjamin H.D.Buchloh
Born in 1957 in Tucson, Arizona, and now
based in New York, Raymond Pettibon graduated
with a degree in economics from the University
of California, Los Angeles in 1977. Around
the same time, he joined his brother in the punk
band Black Flag and contributed artwork for
their album covers, flyers, and t-shirts, as well as
for their label, SST Records. His work has
been exhibited widely throughout the United
States and abroad, at venues including the
Kunstmuseum Luzern, Lucerne, Switzerland
(2012); Kestnergesellschaft, Hanover (2007);
Kunsthalle Wien, Vienna (2006); Centro de Arte
Contemporáneo de Málaga, Spain (2006);
Museum of Contemporary Art San Diego, La Jolla,
California (2005); and the Whitney Museum
of American Art, New York (2005). In 1998, his first
American museum presentation was organized
by The Renaissance Society at the University
of Chicago in collaboration with the Philadelphia
Museum of Art, and traveled to The Drawing
Center, New York and the Museum of
Contemporary Art, Los Angeles. Pettibon’s
work is held in the permanent collections of
the Centre Georges Pompidou, Paris; Hamburger
Bahnhof – Museum für Gegenwart, Berlin; The
Israel Museum, Jerusalem; San Francisco
Museum of Modern Art; Tate Gallery, London;
and the Whitney Museum of American Art,
New York.
•
Benjamin H.D. Buchloh has been the Andrew
W. Mellon Professor of Modern Art at Harvard
University since 2006. He is internationally
recognized as one of the most important scholars
of twentieth century art. Buchloh received his
PhD from the City University of New York in 1994,
and has since published widely on European and
American artists including Gerhard Richter, Hans
Haacke, and Andy Warhol. He is the co-editor
of the art journal October, and he was awarded the
Golden Lion Award for Contemporary Art
History and Criticism at the Venice Biennale
in 2007. He is also the recipient of numerous other
grants, including Getty, CASVA, and Lehman
Foundation fellowships, and an elected member
of the American Academy of Arts and Sciences.
82 83

Raymond Pettibon:
Here’s Your Irony Back,
Political Works 1975–2013
84
In the summer of 2013, Raymond Pettibon took over one of David
Zwirner’s gallery spaces in New York, transforming the high-ceilinged,
garage-like white cube into his studio in order to prepare a show of
drawings and collages within — and sometimes directly on — its walls.
Titled To Wit, evoking the Middle English expression that has come
to express a certain formality today and is defined as “namely,” or “that is
to say,” the exhibition gave new meaning to the term “site specific,”
featuring vibrant, gestural works Pettibon created in conversation with
his surroundings that operated as a sort of archive, both product and
record of his relationship to that space and time. Unified by their bold,
vivid lines and unconventional framing, they feature allusions to a wide
spectrum of American “high” and “low” culture, from violence, humor,
and sex to literature, youth, art history, and sports — embodying the
artist’s signature mix of social and political commentary, diary entry,
and automatic drawing.
This publication, presenting large color plates of the works created
over that summer by Pettibon, who also produced an original drawing
for its sturdy cardboard cover, explores the intricate relationship between
image and language that has long fascinated the artist. Just as the works
in the exhibition existed at once as art and document, so too does the
book itself have the hefty, physical presence of a work of art. Extensive
installation views capture the dynamic combination of visual imagery
and text that has come to characterize Pettibon’s practice, and a selection
of gritty black-and-white photographs by Andreas Laszlo Konrath offers
an intimate glimpse into the artist’s working process. Context is provided
by Lucas Zwirner, who accompanied the artist throughout this period
and contributed the book’s essay, “A Month with Raymond.” As Zwirner
describes it, the show functioned “as an essayistic whole held together
by imaginative leaps and subtle connections which Raymond has
left unexplained and uninterpreted.” That perspective is rounded out in
an interview with the artist by Kim Gordon, a visual artist and musician,
who first encountered Pettibon’s work in the early 1980s in Los Angeles.
Raymond Pettibon:
To Wit
David Zwirner
2014
Hardcover, 9¼×12½ in (23.5×31.8 cm)
188 pages, 97 color, 13 b&w
ISBN 9780989980944
$45 US & Canada | £30 | €37
•
Text by Lucas Zwirner. Interview with
the artist by Kim Gordon. Photographs by
Andreas Laszlo Konrath
Born in 1957 in Tucson, Arizona, and now
based in New York, Raymond Pettibon graduated
with a degree in economics from the University
of California, Los Angeles in 1977. Around
the same time, he joined his brother in the punk
band Black Flag and contributed artwork for
their album covers, flyers, and t-shirts, as well as
for their label, SST Records. His work has
been exhibited widely throughout the United
States and abroad, at venues including the
Kunstmuseum Luzern, Lucerne, Switzerland
(2012); Kestnergesellschaft, Hanover (2007);
Kunsthalle Wien, Vienna (2006); Centro de Arte
Contemporáneo de Málaga, Spain (2006);
Museum of Contemporary Art San Diego, La Jolla,
California (2005); and the Whitney Museum
of American Art, New York (2005). In 1998, his first
American museum presentation was organized
by The Renaissance Society at the University
of Chicago in collaboration with the Philadelphia
Museum of Art, and traveled to The Drawing
Center, New York and the Museum of
Contemporary Art, Los Angeles. Pettibon’s
work is held in the permanent collections of
the Centre Georges Pompidou, Paris; Hamburger
Bahnhof – Museum für Gegenwart, Berlin; The
Israel Museum, Jerusalem; San Francisco
Museum of Modern Art; Tate Gallery, London;
and the Whitney Museum of American Art,
New York.
•
Lucas Zwirner is a writer and translator. He
graduated from Yale University, where he studied
Philosophy and Comparative Literature, in 2013.
He has contributed to numerous art publications,
including the David Zwirner catalogue On Kawara:
Date Painting(s) in New York and 136 Other Cities
in 2012, and recently translated Michael Ende’s
Momo into English, which was illustrated
by Marcel Dzama and published by McSweeney’s
McMullens in 2013. He is currently at work on an
extensive oral history project about Jason Rhoades.
•
Visual artist, musician, and curator Kim Gordon,
founding member of the post-punk experimental
rock band Sonic Youth, was born in 1953 in
Rochester, New York, raised in Los Angeles, and
is currently based in New York, where she is
represented by 303 Gallery. Since graduating with
a BFA from the Otis College of Art & Design
in California, she has exhibited at international
venues including the Gagosian Gallery in Los
Angeles, South London Gallery, and White
Columns and Reena Spaulings, both in New York.
•
British photographer Andreas Laszlo Konrath
studied art at Amersham College and went
on to earn a degree in fine art at London Guildhall
University, Whitechapel. His early interests
in punk music and skateboarding guided him to
document the youth culture surrounding him,
initially in the London suburbs and more recently
in New York. In 2009, Konrath and Brian Paul
Lamotte founded Pau Wau Publications, which
produces limited edition zines and artist books.
86 87

Raymond Pettibon:
To Wit
88
Over the past decade, Jordan Wolfson has become known for his
thought-provoking works in a wide range of media, including video,
sculpture, installation, photography, and performance. He pulls
intuitively from the world of advertising, the Internet, and the technology
industries to produce ambitious and enigmatic narratives. However,
instead of simply appropriating found material, the artist creates his own
unique content, which frequently revolves around a series of invented,
animated characters.
This artist’s book is the product of close collaboration between
Wolfson and the book designer Joseph Logan. Initially conceived to doc-
ument the artist’s 2014 exhibition at David Zwirner in New York—his first
with the gallery, debuting new sculptural work, a critically acclaimed
video, and a much-discussed animatronic sculpture — the publication
ultimately exists as a hybrid between an exhibition catalogue and a
stand-alone expression of Wolfson’s vision. Featuring a dynamic layout
and large color plates, the book is anchored by extensive photo docu-
mentation of Wolfson’s bewitching (Female figure) 2014, which combines
elements of installation and performance in the figure of a curvaceous,
scantily clad woman covered in dirt marks and wearing a witch mask.
Presented are photographs by Andreas Laszlo Konrath, who documented
many aspects of the exhibition, including behind-the-scenes images of
its installation. Also included are reproductions of Wolfson’s new series
of wall-mounted sculptures comprised of bumper stickers overlaid on
inkjet prints, candid photographs of the artist taken by Gaea Woods, and
a text by the artist providing context for the visual material.
Jordan Wolfson:
California
David Zwirner Books
Forthcoming in June 2015
Softcover, 9½×13 in (24.1×33 cm)
136 pages, illustrated throughout
ISBN 9781941701065
$50 US & Canada | £35 | €40
•
Text by Jordan Wolfson. Photographs by
Andreas Laszlo Konrath and Gaea Woods
Jordan Wolfson was born in 1980 in New York,
and he is currently based between New York and
Los Angeles. In 2003, he received his BFA in
sculpture from the Rhode Island School of Design.
Prominent institutions which have hosted solo
shows include the Stedelijk Museum voor Actuele
Kunst (S.M. A.K.), Ghent (2013); Chisenhale
Gallery, London (2013); Kunsthalle Wien, Vienna
(2012); REDCAT (Roy and Edna Disney / CalArts
Theater), Los Angeles (2012); Kunstsammlung
Nordrhein-Westfalen, Düsseldorf (2011); CCA
Wattis Institute for Contemporary Arts, San
Francisco (2009); Swiss Institute of Contemporary
Art, New York (2008); Galleria d’Arte Moderna
e Contemporanea di Bergamo, Italy (2007); and
Kunsthalle Zürich (2004). Work by Wolfson is
held in public collections worldwide, including
the Fondazione Sandretto Re Rebaudengo, Turin;
Galleria d’Arte Moderna e Contemporanea di
Bergamo, Italy; Magasin 3 Stockholm Konsthall;
Museum of Contemporary Art Chicago; Museum
Ludwig, Cologne; Stedelijk Museum voor Actuele
Kunst (S. M. A. K.), Ghent; and the Whitney
Museum of American Art, New York.
•
British photographer Andreas Laszlo Konrath
studied art at Amersham College and went
on to earn a degree in fine art at London Guildhall
University, Whitechapel. His early interests
in punk music and skateboarding guided him to
document the youth culture surrounding him,
initially in the London suburbs and more recently
in New York. In 2009, Konrath and Brian Paul
Lamotte founded Pau Wau Publications, which
produces limited edition zines and artist books.
•
Joseph Logan is a New York-based designer.
His clients have included renowned international
galleries and museums including The Museum
of Modern Art, New York; Moderna Museet,
Stockholm; and the Musée des Arts Décoratifs,
Paris.
•
Gaea Woods is a Los Angeles-based artist and
photographer. After studying fine art at Parsons
School of Art & Design in Paris and obtaining a
degree in photography at the Rhode Island School
of Design, Woods worked in New York, San
Francisco, and Los Angeles in commercial pho-
tography. She is a two-time recipient of the
Elizabeth Greenshields Foundation Grant, and
an image from her latest series, Los Angeles
Artists and Their Cars, recently won first place in
the Theo Westenberger Estate Spring 2014
Photography Contest.
90 91

Jordan Wolfson:
California
92
This book, which sold out almost immediately upon publication, is a
reprint of the catalogue produced on the occasion of Wolfson’s 2012–2013
exhibitions at REDCAT (Roy and Edna Disney/CalArts Theater) in Los
Angeles and the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in
Ghent. Entitled Ecce Homo / le Poseur, the S.M.A.K. presentation marked
the most comprehensive survey of Wolfson’s work to date. The volume’s
eponymous title effectively expresses the artist’s interest in the ego
and its image as well as destabilizing differences between life and imita-
tion, reality and imagination. Anchored by full-scale color plates of
Wolfson’s three animations — video stills, details, and installation views
of the ambitiously conceived Con Leche (2009), Animation, masks (2011),
and Raspberry Poser (2012) — the book provides a critical framework
for the artist’s vast and varied practice.
Images are given context by illuminating scholarship by Esther
Leslie and Linda Norden, and a conversation between Aram Moshayedi
and Wolfson brings their analyses to ground. Also included is a letter
personally addressed to the artist by Philippe Van Cauteren. In Wolfson’s
words, his work is “about reaching a place of displacement and control
within the space of viewing”; this text exists as an embodiment of that
ever-evolving vision, which considers the developments of digital and
analogue animation as essential to the histories of modernism and
modernity, and posits them as responsible for shaping and relaying the
concerns of sculptural and pictorial modes of representation, and
defining our relationship to both images and objects.
Jordan Wolfson:
Ecce Homo/le Poseur
REDCAT/S.M.A .K ./Walther König, Cologne
in association with David Zwirner Books
2014. Reprint edition 2015
Hardcover, 9×13 in (22.9×33 cm)
136 pages, 90 color
ISBN 9783863354145
$55 US & Canada | £37 | €47
•
Introduction by Martin Germann and Aram
Moshayedi. Texts by Esther Leslie, Linda Norden,
and Philippe Van Cauteren. Interview with the
artist by Aram Moshayedi
Jordan Wolfson was born in 1980 in New York,
and he is currently based between New York and
Los Angeles. In 2003, he received his BFA in
sculpture from the Rhode Island School of Design.
Prominent institutions which have hosted solo
shows include the Stedelijk Museum voor Actuele
Kunst (S.M. A.K.), Ghent (2013); Chisenhale
Gallery, London (2013); Kunsthalle Wien, Vienna
(2012); REDCAT (Roy and Edna Disney / CalArts
Theater), Los Angeles (2012); Kunstsammlung
Nordrhein-Westfalen, Düsseldorf (2011); CCA
Wattis Institute for Contemporary Arts, San
Francisco (2009); Swiss Institute of Contemporary
Art, New York (2008); Galleria d’Arte Moderna
e Contemporanea di Bergamo, Italy (2007); and
Kunsthalle Zürich (2004). Work by Wolfson is
held in public collections worldwide, including
the Fondazione Sandretto Re Rebaudengo, Turin;
Galleria d’Arte Moderna e Contemporanea di
Bergamo, Italy; Magasin 3 Stockholm Konsthall;
Museum of Contemporary Art Chicago; Museum
Ludwig, Cologne; Stedelijk Museum voor Actuele
Kunst (S. M. A. K.), Ghent; and the Whitney
Museum of American Art, New York.
•
Martin Germann is senior curator at the Stedelijk
Museum voor Actuele Kunst (S.M. A.K.) in Ghent.
From 2008 to 2011, he worked as curator at the
kestnergesellschaft in Hanover, and he has orga-
nized solo exhibitions and publications with
artists such as Michaël Borremans, Aaron Curry,
Julian Göthe, Joachim Koester, Elke Krystufek,
Michael Sailstorfer, and Larry Sultan.
•
Esther Leslie is a writer and Professor of Political
Aesthetics at Birkbeck College, University
of London. She is the author of several books
including Walter Benjamin: Overpowering
Conformism (2000), Hollywood Flatlands:
Animation, Critical Theory and the Avant-garde
(2002), Synthetic Worlds: Nature, Art and the
Chemical Industry (2006), and Derelicts: Thought
Worms from the Wreckage (2014).
•
Aram Moshayedi is a writer and curator at the
Hammer Museum in Los Angeles. He was
formerly the associate curator of REDCAT (Roy
and Edna Disney / CalArts Theater) in Los Angeles,
where he organized exhibitions and oversaw
the production of new works by Jordan Wolfson,
as well as Tony Cokes, Jay Chung & Q Takeki
Maeda, Geoffrey Farmer, and Ming Wong.
He previously served as curator from 2005 to
2010 at LAXART in Los Angeles.
•
Linda Norden is an independent curator,
writer, and art historian. Norden’s writing has
covered an extensive range of artists and critics,
including Richard Artschwager, Robert Gober,
Eva Hesse, Roni Horn, Pierre Huyghe, Lucy
Lippard, Sharon Lockhart, Claes Oldenburg,
Robert Ryman, and Cy Twombly.
•
Philippe Van Cauteren is artistic director of the
Stedelijk Museum voor Actuele Kunst (S.M. A.K.)
in Ghent. He has been selected to curate
the Iraqi Pavilion at the 2015 Venice Biennale.
In 2002, he was curator of the first Bienal Ceará
América in Fortaleza, Brazil. He has worked
as a freelance curator in Germany, Mexico, Chile,
and Brazil, and regularly writes and lectures
on contemporary art.
94
Described by Deborah Solomon in a New York Times profile as “one
of contemporary art’s most compelling painters,” Marlene Dumas has
continuously explored the complex range of human emotions, often
probing questions of gender, race, sexuality, and economic inequality
through her dramatic and at times haunting figural compositions.
Originally published in 2010 on the occasion of Against the Wall, Dumas’s
first solo presentation at David Zwirner in New York, this much sought-
after exhibition catalogue — which sold out shortly after publication —
has been reprinted to coincide with the artist’s 2014–2015 European
retrospective exhibition The Image as Burden, organized by Tate Modern,
London in collaboration with the Stedelijk Museum, Amsterdam and
the Fondation Beyeler, Basel.
Throughout her career, the internationally renowned artist
has continually created lyrically charged compositions that eulogize the
frailties of the human body, probing issues of love and melancholy.
At times her subjects are more topical, merging socio-political themes
with personal experience and art-historical antecedents to reflect
unique perspectives on the most salient and controversial issues facing
contemporary society. The large-scale works included in Against the Wall
are primarily based on media imagery and newspaper clippings docu-
menting the conflict between Israel and Palestine, exploring the tension
between the photographic documentation of reality and the constructed,
imaginary space of painting. The Wall, the painting that began the
series, at first appears to present a scene at the Western Wall (also known
as the Wailing Wall), an important site of religious pilgrimage located
in Jerusalem. However, this work is based upon a photograph from a
newspaper that portrayed a group of Orthodox Jews on their way to pray
at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every
scene, Dumas destabilizes preconceived notions about what, in fact,
is being pictured — engaging the often ambiguous nature of ideas like
truth or justice. “In a sense they are my first landscape paintings,” Dumas
further notes in the catalogue, “or should I say ‘territory paintings.’
That is why they are so big.” The somber color plates reproduced in the
publication are given context by Dumas’s own musings, a text framed
as a letter to David Zwirner in which she tries to tell him “about the ‘why’”
of this powerful series.
Marlene Dumas:
Against the Wall
David Zwirner Books
2010. Reprint edition 2014
Hardcover, 9½×12½ in (24.1×31.8 cm)
72 pages, 30 color
ISBN 9781941701003
$45 US & Canada | £27 | €35
•
Text by Marlene Dumas
Born in 1953 in Cape Town, South Africa,
Marlene Dumas studied at the University of Cape
Town before moving to The Netherlands in
the late 1970s to study painting and psychology.
She continues to live and work in Amsterdam.
The Image as Burden is the artist’s current retro-
spective show that was first exhibited at the
Stedelijk Museum in Amsterdam from September
2014 to January 2015. Marking the most extensive
presentation of Dumas’s oeuvre in Europe to date,
the exhibition travels to Tate Modern in London
(February to May 2015) and the Fondation
Beyeler in Basel (May to September 2015). In 2008,
a critically acclaimed retrospective, Measuring
Your Own Grave, was organized by the Museum
of Contemporary Art, Los Angeles in association
with The Museum of Modern Art, New York,
which toured to The Menil Collection, Houston
in 2009. Intimate Relations marked her first
solo exhibition in South Africa and was held
at the Iziko South African National Gallery, Cape
Town in 2007 and the Standard Bank Gallery,
Johannesburg in 2008. The Museum of
Contemporary Art, Tokyo hosted the artist’s
first comprehensive solo show in Japan
in 2007. Titled Broken White, it traveled to the
Marugame Genichiro-Inokuma Museum of
Contemporary Art, Marugame, Japan. Her work
is represented in museum collections world-
wide, including the Centre Georges Pompidou,
Paris; Gemeentemuseum, The Hague; Los
Angeles County Museum of Art; Museum of
Contemporary Art, Los Angeles; The Menil
Collection, Houston; Museum of Contemporary
Art, Tokyo; Museum für Moderne Kunst,
Frankfurt; The Museum of Modern Art, New
York; Stedelijk Museum, Amsterdam; and Tate
Gallery, London.
96 97

Marlene Dumas:
Against the Wall
98

Belgian artist Luc Tuymans is widely credited with having contributed Born in 1958 in Mortsel, near Antwerp,
to the revival of painting in the 1990s. His sparsely colored, figurative Luc Tuymans was one of the first artists to be
represented by David Zwirner. He joined the
works speak in a quiet, restrained, and at times unsettling voice, and are gallery in 1994 and had his first American solo
typically painted from pre-existing imagery which includes photographs exhibition that same year. In 2015, Luc Tuymans:
and video stills, exploring diverse and sensitive topics including the The Shore was on view at David Zwirner in
Holocaust, the effects of images from 9 / 11, the ambiguous utopia London and marked his twelfth solo show with
the gallery. Tuymans’s work was recently the
of the Disney empire, the colonial history of his native Belgium, and the subject of a retrospective co-organized by the
phenomenon of the corporation. Since 1994, Tuymans has committed Wexner Center for the Arts, Columbus, Ohio
himself to showing a new series of works at David Zwirner once every two and the San Francisco Museum of Modern Art.
years — a promise that he kept, and continues to keep, twenty years on, It traveled from 2010 to 2011 to the Dallas Museum
of Art; Museum of Contemporary Art Chicago;
as his tempered style and political content have steadily garnered him and the Palais des Beaux-Arts, Brussels. In
worldwide acclaim. 2001, Tuymans represented Belgium at the 49th
This reprint edition of Luc Tuymans: Exhibitions at David Zwirner Venice Biennale. His works are featured in
includes additional visual material, as well as an updated appendix that museum collections worldwide, including The
Art Institute of Chicago; Centre Georges
features an exhibition history and bibliography. Striking color reproduc- Pompidou, Paris; Los Angeles County Museum
tions of the artist’s major works are contextualized by brief commentary, of Art; The Museum of Modern Art, New York;
photographs, and archival documentation, as well as installation views, Pinakothek der Moderne, Munich; Solomon
exhibition checklists, and personal photographs. Other texts include R. Guggenheim Museum, New York; and Tate
Gallery, London.
an interview between the artist and David Zwirner, as well as individual •
interviews conducted by Lynne Tillman with art critic Peter Schjeldahl; New York-based novelist and cultural critic Lynne
artist Brice Marden; art historian and academic Robert Storr; and Tillman is the author of five novels, three collec-
together with Helen Molesworth and Madeleine Grynsztejn, co-curators tions of short stories, one collection of essays, and
two other nonfiction books. Her novels include
of Tuymans’s major US retrospective. American Genius, A Comedy (2006), No Lease on Life
(1998) — which was a New York Times Notable
Book of 1998 and a finalist for the National Book
Critics Circle Award — Cast in Doubt (1992), Motion
Sickness (1991), and Haunted Houses (1987).
•
Brice Marden is an American artist based in New
York. His work has been the subject of numerous
solo exhibitions, including Brice Marden: Plane
Image, A Retrospective of Paintings and Drawings,
which was organized by The Museum of Modern
Art, New York and which later traveled to the
San Francisco Museum of Modern Art and the
Hamburger Bahnhof, Berlin.
•
Formerly an art critic for The Village Voice and
a contributing editor for Art in America,
Peter Schjeldahl has worked as the art critic for
The New Yorker since 1998.
•
Robert Storr is the Stavros Niarchos Foundation
Dean of the Yale School of Art. He was formerly
Senior Curator in the Department of Painting and
Sculpture at The Museum of Modern Art, New
York. In 2002, he was named the first Rosalie
Solow Professor of Modern Art at the Institute of
Fine Arts, New York University. From 2005 to 2007,
he was Director of Visual Art for the Venice

Luc Tuymans: Biennale, the first American invited to assume

that position.
•
Exhibitions at David Zwirner Madeleine Grynsztejn is the Director of the
Museum of Contemporary Art Chicago. She was
formerly a curator at The Art Institute of Chicago,
as well as Pittsburgh’s Carnegie Museum of Art
and the San Francisco Museum of Modern Art.
•
Scholar, writer, and curator Helen Molesworth
David Zwirner/Ludion is Chief Curator at the Museum of Contemporary
2013 Art, Los Angeles. Previously, she was the
Hardcover, 9¾×11½ in (24.8×29.2 cm) Barbara Lee Chief Curator of the Institute of
224 pages, 220 color Contemporary Art / Boston.
ISBN 9789461300720 •
$55 US & Canada | £30 | €37 David Zwirner opened his eponymous gallery in
• the SoHo neighborhood of New York in 1993.
Interviews with Brice Marden, Peter Schjeldahl, With locations currently in New York (Chelsea)
Robert Storr, Madeleine Grynsztejn, and and London (Mayfair), the gallery represents
Helen Molesworth by Lynne Tillman. Interview with close to fifty artists and estates.
the artist by David Zwirner
100 101

Luc Tuymans:
Exhibitions at David Zwirner
102
For nearly fifty years, Raoul De Keyser (1930–2012) created subtly evocative
paintings and works on paper that appear at once straightforward
and cryptic, abstract and figurative. Composed of basic but indefinable
shapes and marks, his compositions often invoke spatial and figural
illusions, though they remain elusive of any descriptive narrative.
Despite — or precisely because of — their sparse gesturing, his works
convey a grandeur that inspires prolonged contemplation; their apparent
simplicity belied a lengthy gestation period, which was guided largely
by intuition.
Terminus: Drawings (1979–1982) and Recent Paintings is a beautifully
designed and produced catalogue that brings De Keyser’s singular touch
to life. Originating from his 2009 solo exhibition at David Zwirner in
New York, the publication reproduces fifty works, encompassing a suite
of drawings from 1979 to 1982 and recent paintings from 2000 to 2009.
Beyond the publication’s stunning, full-color reproductions, it also
includes a selection of installation views and scholarship by acclaimed
art historian Robert Storr.
Raoul De Keyser:
Terminus: Drawings (1979–1982)
and Recent Paintings
David Zwirner/Steidl
2011
Hardcover, 9¾×12¼ in (24.8×31.1 cm)
144 pages, 103 color, 11 b&w
ISBN 9783869300542
$75 US & Canada | £45 | €55
•
Text by Robert Storr
Raoul De Keyser was born in 1930 in Deinze,
Belgium, and his work has been represented
by David Zwirner since 1999. Since the mid-1960s,
the artist’s work has been the subject of several
solo exhibitions at prominent institutions.
In 2000, a large-scale retrospective was presented
at the Royal Hibernian Academy, Dublin, which
traveled to the Goldie Paley Gallery, Moore
College of Art and Design, Philadelphia and The
Renaissance Society at the University of Chicago.
A major survey of the artist’s paintings traveled
extensively from 2004 and 2005 to the Whitechapel
Gallery, London; Musée de Rochechouart,
France; De Pont Museum for Contemporary Art,
Tilburg, The Netherlands; Museu Serralves,
Porto, Portugal; and the Kunstmuseum St.
Gallen, Switzerland. In 2009, his paintings were
exhibited in a retrospective at the Kunstmuseum
Bonn, Germany and his watercolors were
presented jointly at the Museu Serralves, Porto,
Portugal and the Douglas Hyde Gallery, Dublin.
Recent solo shows were presented in 2013
at the Museum van Deinze en de Leiestreek in
Deinze, Belgium and in 2015 at the Inverleith
House, Royal Botanic Garden Edinburgh. Work
by the artist is held in permanent collections
worldwide, including the Carnegie Museum of
Art, Pittsburgh, Pennsylvania; Museum of
Contemporary Art, Los Angeles; Museum
Dhondt-Dhaenens, Deurle, Belgium; Museum
Ludwig, Cologne; The Museum of Modern Art,
New York; Museum van Hedendaagse Kunst
Antwerpen, Antwerp; San Francisco Museum of
Modern Art; and the Stedelijk Museum voor
Actuele Kunst (S.M. A.K.), Ghent.
•
Robert Storr is the Stavros Niarchos Foundation
Dean of the Yale School of Art. He was formerly
Senior Curator in the Department of Painting and
Sculpture at The Museum of Modern Art, New
York, where in 1996 he co-organized From Bauhaus
to Pop: Masterworks Given by Philip Johnson,
amongst numerous exhibitions. In 2002, he was
named the first Rosalie Solow Professor of
Modern Art at the Institute of Fine Arts, New
York University. He has also taught at the CUNY
Graduate Center, Bard Center for Curatorial
Studies, Rhode Island School of Design,
Tyler School of Art, New York Studio School, and
Harvard University, and has been a frequent
lecturer in the United States and abroad. From
2005 to 2007, he was Director of Visual Art for
the Venice Biennale, the first American invited
to assume that position. The exhibition he
organized at David Zwirner in the fall of 2013 to
celebrate the centenary of Ad Reinhardt was voted
“Best Show in a Commercial Space in New York”
by the US Art Critics Association.
104 105

Raoul De Keyser:
Terminus: Drawings (1979–1982)
and Recent Paintings
106
Marcel Dzama’s work is characterized by an immediately recognizable
visual language that draws from a diverse range of references and artistic
influences, including Dada and Marcel Duchamp. While he has become
known for his prolific drawings with their distinctive palette of muted
colors, in recent years, the artist has expanded his practice to encompass
sculpture, painting, film, and dioramas.
Created in close collaboration with the artist, this richly illustrated
catalogue presents his 2013 exhibition at David Zwirner in London, which
included videos inspired by the game of chess and puppets and masks
based on the characters, along with drawings, collages, dioramas,
paintings, and sculptural works. Dzama utilized the architecture of the
gallery itself — an eighteenth-century Georgian townhouse — by hanging
puppets from a skylight above the five-story building’s central spiral
staircase and placing monitors in the windows so videos were viewed
from the street. As writer Deborah Solomon notes in her accompanying
essay, “Naturally, it is a futile endeavor to try and extract anything as
compact as a moral or a single storyline from the twisty symbolism of
Dzama’s art. But you can say, at the very least, that his latest work is
suffused with a sense of nostalgia for the European avant garde in its
heyday — it invites you to enter a world filled with costumes and masks
and erotic play, with chessboard personalities dancing their heads off,
with the sort of brazen gestures in which the Dadaists and the Surrealists
specialized. To be sure, the old avant garde is long gone. It isn’t coming
back. What Dzama offers us in its place is a fairy tale about a world
where art once tried to be pathbreaking and revolutionary, and which
lives on today as a story we tell and re-tell about a lost civilization.”
Marcel Dzama:
Puppets, Pawns, and Prophets
David Zwirner/Hatje Cantz
2013
Hardcover, 9¼×11 in (23.5×27.9 cm)
184 pages, 154 color
ISBN 9783775737326
$50 US & Canada | £28 | €35
•
Text by Deborah Solomon
Marcel Dzama was born in 1974 in Winnipeg,
Canada, where he received his BFA in 1997
from the University of Manitoba. He lives and
works in Brooklyn, New York. Since 1998, his
work has been represented by David Zwirner.
He has had seven solo exhibitions at the gallery
in New York and one presentation in London.
Since the late 1990s, Dzama has exhibited widely
in solo and group presentations throughout
the United States and abroad. In 2010, a major
survey of the artist’s work was presented
at the Musée d’art contemporain de Montréal
in Montreal. Other recent solo shows include
those organized by the Kunstmuseum
Thun, Switzerland (2014); Centro de Arte
Contemporáneo de Málaga, Spain (2012); Museo
de Arte de Zapopan (MAZ), Zapopan, Mexico
(2012); World Chess Hall of Fame and Museum,
St. Louis (2012); Gemeentemuseum, The Hague
(2011); Kunstverein Braunschweig, Germany
(2011); Pinakothek der Moderne, Munich (2008);
Ikon Gallery, Birmingham, England (2006);
and Le Magasin – Centre National d’Art
Contemporain de Grenoble, France (2005).
Work by the artist is held in museum collections
worldwide, including the Corcoran Gallery of
Art, Washington, D. C.; Dallas Museum of Art;
Musée d’art contemporain de Montréal; Museum
of Contemporary Art, Los Angeles; The Museum
of Modern Art, New York; National Gallery of
Canada, Ottawa; Solomon R. Guggenheim
Museum, New York; Tate Gallery, London; and
the Vancouver Art Gallery.
•
Born in 1957 in New York, Deborah Solomon
is an American journalist, critic, and biographer,
as well as WNYC radio art critic. Her writing
regularly appears in The New York Times, and she
is the author of several books, including American
Mirror: The Life and Art of Norman Rockwell
(2013) and Utopia Parkway: The Life and Work of
Joseph Cornell (2004).
108 109

Marcel Dzama:
Puppets, Pawns, and Prophets
110
Described by The New York Times art critic Roberta Smith as a “precocious
art star,” German artist (Blinky) Palermo (1943–1977) has been associated
with distinct twentieth-century art practices, from abstraction to
Minimalism and Conceptual art. But his diverse body of work in fact
defies easy classification. Throughout his brief and influential career —
leading all the way up to his untimely death at the age of 33 — Palermo
executed paintings, objects, installations, and works on paper that mined
various contextual and semantic issues at stake in the construction,
exhibition, and reception of works of art, eternally “stretching and ques-
tioning” the boundaries of every medium he touched.
This fully illustrated catalogue features new scholarship by Christine
Mehring and Christoph Schreier and documents the 2013 exhibition at
David Zwirner in New York. It is the first publication to tackle Palermo’s
late work, which is characterized by explorations of the tensions between
material and color, surface and depth, and figuration and abstraction —
focusing in particular on the paper works he produced between 1976
and 1977, the last year of his life. “Less a system builder than an analyst
working on intuition,” writes Schreier in his catalogue essay, Palermo
“explored surface, shape, and color — the constituent elements of
the image — with the aim of turning them into actors with a lively and
delicately balanced play of forces.” The simplicity of the artist’s vision is
beautifully evinced by the catalogue’s vibrant color plates, which reveal
every stroke and each grain of paper shining through from behind
the pigment.
Palermo: Works on Paper
1976–1977
David Zwirner/Radius Books
2014
Hardcover, 8½×10¾ in (21.6×27.3 cm)
134 pages, 104 color
ISBN 9781934435748
$50 US & Canada | £30 | €35
•
Texts by Christine Mehring and
Christoph Schreier
(Blinky) Palermo (1943 – 1977) was born Peter
Schwarze in Leipzig. In 1962, he entered the
Kunstakademie Düsseldorf, where he studied
with Bruno Goller and then with Joseph Beuys
and, in 1964, appropriated the name Blinky
Palermo from the American boxing promoter-
cum-mafioso Frank “Blinky” Palermo, famous
for managing heavyweight champion Sonny
Liston. Over the course of his short life, Palermo
participated in more than seventy exhibitions
worldwide, including Documenta in 1972 and
the Venice Biennale in 1976, and he represented
Germany at the São Paulo Biennial in 1975.
He has had posthumous retrospectives at the
Kunstmuseum Winterthur, Switzerland (1984);
Kunstmuseum Bonn (1993); Museu d’Art
Contemporani de Barcelona (MACBA) (2002);
Kunsthalle Düsseldorf (2007); and Dia:Beacon
and the Center for Curatorial Studies at
Bard College, Annandale-on-Hudson, New
York (CCS Bard) (2011).
•
Christine Mehring holds a PhD from Harvard
University and is Department Chair and Professor
of Art History at the University of Chicago with
interests in postwar European art, abstraction,
design, and the relationship between new
and old media. Mehring has written extensively
on Palermo, including the monograph Blinky
Palermo: Abstraction of an Era (2008). In 1999,
she curated the exhibition Wols Photographs at the
Harvard University Art Museum, and she regu-
larly contributes to exhibition catalogues and
publications including Artforum.
•
Born in Düsseldorf in 1954, Christoph Schreier is
Deputy Director of the Kunstmuseum Bonn,
where he was hired as the museum’s first curator
in 1992. After receiving his doctorate in art history,
literature, and history at the Ruhr University
in Bochum in 1982, he worked at the Staatliche
Kunsthalle in Baden-Baden until 1984 and
as a Scientific Assistant at the University of Siegen.
His most recent publications include Marcel
Odenbach:Works on Paper 1975–2013 (2014) and
New York Painting (2015).
112 113

Palermo: Works on Paper

1976–1977
114

In the work of Dutch artist Jan Schoonhoven, wrote The New York Times Jan Schoonhoven (1914–1994) is recognized for
art critic Roberta Smith in 1999, “clarity and purity reign.” Born in his extensive and systematic investigations
into light, form, and volume through his sculp-
Delft in 1914 and regarded as one of the most important Dutch artists of tural wall reliefs and works on paper. He studied
the twentieth century despite being relatively unknown in the United at the Royal Academy of Fine Art in The Hague
States, Schoonhoven was an active and influential player in the course and worked a full-time job at the Dutch Postal
of major European postwar developments in art, particularly related Service for over thirty years, making art in 17mm
his free time. Beginning in the 1950s, he played a
to monochromatic, serialized abstraction. His early abstract drawings, central role in the Nederlandse Informele Groep
influenced by the work of Paul Klee, evolved into spare, delicate, and (Netherlandish Informal Group) and the Nul-
often grid-based sculptural wall reliefs. In the 1960s, Schoonhoven groep (Nul Group) — which were affiliated with
co-founded the avant-garde Nul-groep (Nul Group), a Dutch branch of the European Informel movement and the ZERO
Group, respectively. Schoonhoven’s work is held
the international ZERO movement that sought to reduce art to the zero in important museum collections, including the
degree by simplifying compositions and using everyday materials. Gemeentemuseum, The Hague; Stedelijk Museum,
This catalogue was published in conjunction with the first signifi- Amsterdam; The Museum of Modern Art, New
cant presentation of Schoonhoven’s work in New York, if not the United York; and the Centre Georges Pompidou, Paris.
•
States, in over a decade, held at David Zwirner in New York in 2015. Antoon Melissen is an Amsterdam and Berlin-
Serving as an important contribution to English-language literature on based writer, art historian, and independent
the artist, this extensive exhibition catalogue is anchored by richly detailed scholar specializing in art of the 1950s through
plates of his sculptural reliefs and works on paper made primarily the 1970s. His publications include monographs
on the Dutch Nul artists Jan Henderikse (with
between the mid-1950s and early 1970s. During that period, Schoonhoven Renate Wiehager; 2010) and Armando (2015) as
focused on the production of white, monochrome reliefs and black ink well as catalogue texts on the international ZERO
drawings, in which the integration of meticulous control and automatic movement for the Stedelijk Museum, Amsterdam;

Ja n Sch oonhoven
gesture exemplify the artist’s ability to balance rigorous order with the Martin-Gropius-Bau, Berlin; and the Peggy
Guggenheim Collection, Venice; among others. Ja n Schoon hove n
expressiveness of the hand. He is currently working on a forthcoming mono-
Featuring new scholarship by Antoon Melissen, one of the foremost graph on the life and work of Jan Schoonhoven.
authorities on Schoonhoven’s work, as well as archival photographs
and an illustrated chronology, this publication offers an invaluable intro-
duction to the work of this pioneering champion of the proto-Minimalist
tendencies that sprang up in Europe and the United States in the
early 1960s.

David Zwirner
Jan Schoonhoven
David Zwirner

ZwirnerJanSchoonhovenCoverFINAL01_22_15.indd 1 23/01/2015 00:13

David Zwirner Books

2015
Hardcover, 8×10 in (20.3×25.4 cm)
126 pages, 130 color
ISBN 9781941701041
$50 US & Canada | £32 | €40
•
Text by Antoon Melissen
116 117

Jan Schoonhoven
118
For the past four decades, Suzan Frecon has become known for abstract
oil paintings and watercolors that avoid facile explanations or recogniz-
able visual associations. Instead, compositions integrate color, surface,
and light to create an abstract visual reality that she intends to exist solely
on its strength as art. In a deliberative and searching process, she works
toward painting that provides a complex, powerful, and inexplicable
experience for the viewer. As she has stated, “The physical reality and the
spiritual content of my paintings are the same.”
oil paintings and sun documents Frecon’s third solo exhibition at
David Zwirner in New York, held in 2015, and is the most vivid presentation
to date of the artist’s engagement with natural light, the always-varying
subtleties of which she integrates into how the painting is created.
The focal point of the catalogue is the painstakingly reproduced color
plates of fourteen recent paintings, many of which are depicted several
times in various types of light and from multiple angles, allowing the
reader to experience the work in a way that is more akin to seeing them in
person. In addition, it features an illuminating and lively essay by art
writer David Cohen, which strives to explain the complexity of viewing
and experiencing Frecon’s work. Rounding out the catalogue are numer-
ous details and installation views, atmospheric color photographs
of the artist’s studio and materials, and an illustrated visual appendix
showing a selection of Frecon’s reference sources for the comprised
works, including insightful commentary written by the artist.
Suzan Frecon:
oil paintings and sun
David Zwirner Books
Forthcoming in July 2015
Hardcover, 10¼×12½ in (26×31.8 cm)
80 pages, illustrated throughout
ISBN 9781941701096
$55 US & Canada | £35 | €40
•
Texts by David Cohen and Suzan Frecon
Suzan Frecon was born in 1941 in Mexico,
Pennsylvania. Following a degree in fine arts
from the Pennsylvania State University in
1963, she spent three years at the École nationale
supérieure des Beaux-Arts in Paris. Since 2008,
her work has been represented by David Zwirner.
Previous shows at the gallery in New York
include Suzan Frecon: recent painting (2010) and
Suzan Frecon: paper (2013), a large-scale presenta-
tion of her works on paper from the past
decade, which was presented concurrently with
an exhibition of watercolors at Lawrence Markey
in San Antonio. Frecon has exhibited widely
in the United States and internationally. In 2008,
her work was the subject of a major solo exhibition,
form, color, illumination: Suzan Frecon painting,
at The Menil Collection in Houston, which
traveled to the Kunstmuseum Bern in Switzerland.
She has participated in a number of group
exhibitions such as the 2000 and 2010 Whitney
Biennial. Permanent collections which hold
works by the artist include The Art Institute of
Chicago; Fogg Art Museum, Harvard University,
Cambridge, Massachusetts; Kunstmuseum Bern,
Switzerland; The Menil Collection, Houston;
The Morgan Library & Museum, New York;
The Museum of Fine Arts, Boston; The Museum
of Modern Art, New York; National Gallery of Art,
Washington, D.C.; and the Whitney Museum
of American Art, New York. She lives and works
in New York.
•
David Cohen is publisher and editor of
artcritical.com. Born in London and currently
based in New York, he has been active since
the 1980s as an independent scholar, exhibition
curator, and college instructor. He was art
critic for The New York Sun (2003–2008) and gallery
director at the New York Studio School
(2001–2010). For the last ten years he has been
the moderator of The Review Panel, a debating
forum of contemporary art criticism hosted
by the National Academy Museum in New York
and the Pennsylvania Academy of the Fine
Arts in Philadelphia.
120 121

Suzan Frecon:
oil paintings and sun
122
Los Angeles-based artist Toba Khedoori is known for delicately shaded,
large-scale compositions that depict objects and everyday environments
divorced from any background. Whether drawing and painting onto thin
sheets of paper and stapling these directly onto the wall, or using canvas
as physical support, her works are poised between ephemerality and
monumentality. Doors and windows, chairs and stairs, fences and bricks,
train compartments and fireplaces appear at once familiar and unrecog-
nizable, and their “neither-here-nor-there” presence seems to become
a space for meditation.
Designed in close collaboration with the artist, this exquisitely
produced — and generously scaled — catalogue features a recent series
of oil paintings from her 2012 exhibition at David Zwirner in New York,
which marked her sixth presentation with the gallery. Gatefolds allow
the viewer to appreciate the intricacy of these works. Ropes in various
configurations are a recurrent motif, along with subjects from the
natural world, including mountain ranges, tree branches, and rivers.
Spare, open expanses of the white page surround some of the renderings,
giving the images a calming, otherworldly quality; their visual power
is contextualized with an essay about Khedoori’s practice by noted artist
and writer Julien Bismuth.
Toba Khedoori
David Zwirner/Radius Books
2013
Hardcover, 10×12¾ in (25.4×32.4 cm)
96 pages, 26 color
ISBN 9781934435656
$55 US & Canada | £33 | €42
•
Text by Julien Bismuth
Born in 1964 in Sydney, Toba Khedoori received
her MFA from the University of California,
Los Angeles, in 1994. She joined David Zwirner
that same year — one of the first artists to be repre-
sented by the gallery. Her work has been the
subject of solo exhibitions at prominent institu-
tions worldwide, including the St. Louis Art
Museum, Missouri (2003); Royal Hibernian
Academy, Dublin (2002); Whitechapel Gallery,
London (2001); Museum für Gegenwartskunst,
Basel (2001); and the Hirshhorn Museum and
Sculpture Garden, Washington, D.C. (1997).
Her first museum solo exhibition was organized
in 1997 by the Museum of Contemporary Art,
Los Angeles, which traveled to the Walker
Art Center, Minneapolis. In 2002, Khedoori was
awarded the prestigious MacArthur Foundation
Grant. She has participated in a number of
international group exhibitions, including the
53rd Venice Biennale (2009); Liverpool Biennial
(2006); 26th São Paulo Biennial (2004); and
the 1995 Whitney Biennial.
•
Born in Paris in 1973, Julien Bismuth is an
artist and writer currently based in New York.
He received a BFA from the University of
California, Los Angeles, an MA from Goldsmiths
College, and he is currently pursuing a PhD in
Comparative Literature at Princeton University.
His work navigates between the visual and literary
arts, and he has published a number of texts,
including a series of publications with Devonian
Press, which he co-founded with the artist Jean-
Pascal Flavien in 2005, as well as an essay for the
catalogue Jason Rhoades: PeaRoeFoam, published
on the occasion of the 2014 exhibition at David
Zwirner in New York. His work is represented by
Galerie Georges-Philippe & Nathalie Vallois,
Galerie Parisa Kind, and the Layr Wuestenhagen
Gallery, and he has exhibited at Tate Modern,
London; Kunsthalle Wien, Vienna; and the Villa
Arson, Nice, France; among other venues.
124 125

Toba Khedoori
126
Having begun his studio practice as a painter and draftsman, in 1985
Al Taylor (1948–1999) devised a uniquely innovative approach to process
and materials that seamlessly enveloped drawings and three-dimensional
objects as he created compositions that were grounded in the formal
concerns of painting. Taylor ultimately sought to expand the possibilities
of vision in his search for new ways of experiencing and imagining
space, and his multilayered investigations of perception across variant
dimensions provide the viewer with an insight into the artist’s idiosyn-
cratic thinking, his methodology, and his playful sense of humor.
This publication focuses on two bodies of work by Taylor, Pass
the Peas and Can Studys. Although distinctly individual, both of these
series examine Taylor’s lifelong explorations of the circle. In his Pass the
Peas series from 1991–1992, the artist studied the inside and outside of
circular forms and investigated the multi-dimensional possibilities that
could be revealed by conceptually and physically moving “around” them
to expose the mutable perception of their intrinsic shape. Using hula
hoops, garden hoses, plastic-coated cables, and recycled bottle cap rings,
he created three-dimensional spirals and coils, interlocking loops,
and dissected circles that were mounted on the wall, left freestanding,
or suspended by wires from the ceiling to activate changing perspectives.
In this group of works, the artist renders conceptual ideas about the
dimensionality of linear curves, the role of gravity and chance on motion,
and the passage of time. In his 1993 Can Studys series, Taylor expanded
his circle “research” by investigating the play of light that would theoreti-
cally be reflected off of the exterior — or projected out of the interior
of cylinders. In a group of wall-mounted constructions created out of
tin cans, wood, hot-rolled steel bands, and asymmetrical lengths of
wire, the artist characteristically “draws” in real space with objects that
appear to vacillate between three and two dimensions. In his studies
of tin cans, Taylor explores the formal concerns of composition, math-
ematical proportionality, linear movement, and the spatial possibilities
of light. Consistent with the dual nature of his practice, the artist’s
facility as a draftsman is evidenced in an array of works on paper from
each series that run the gamut from still lifes to purely abstract drawings.
Al Taylor:
Pass the Peas and Can Studys
David Zwirner/Steidl
2014
Hardcover, 9×11½ in (22.9×29.2 cm)
144 pages, 90 color, 2 b&w
ISBN 9783869307152
$50 US & Canada | £30 | €38
•
Text by Klaus Kertess
Al Taylor (1948–1999) was born in Springfield,
Missouri and received a BFA from the Kansas
City Art Institute in 1970. Later that year, he
moved to New York, where he would continue to
live and work until his death in 1999, pioneering
a unique approach to process and materials
that encompassed two-dimensional drawings
and three-dimensional objects. After his first
solo show at the Alfred Kren Gallery in New York
in 1986, his work would go on to be shown in
numerous exhibitions in America and Europe,
including solo exhibitions at the Kunsthalle
Bern (1992); Kunstmuseum Luzern (1999);
Staatliche Graphische Sammlung München
at the Pinakothek der Moderne, Munich (2006
and 2010); Louisiana Museum of Modern
Art, Humlebæk, Denmark (2011); Santa Monica
Museum of Art (2011); and the High Museum
of Art, Atlanta (2013). In 2014, The Glass House
in New Canaan, Connecticut presented Six Panels:
Al Taylor, curated by Robert Storr. A retrospective
of the artist’s work, organized by the High
Museum of Art, will open in Atlanta in 2017. His
work is currently found in a number of prominent
public collections, including The Museum of
Modern Art, New York; National Gallery of Art,
Washington, D.C.; Museum of Fine Arts, Houston;
Whitney Museum of American Art, New York;
Glenstone, Potomac, Maryland; Centre Georges
Pompidou, Paris; The Morgan Library &
Museum, New York; British Museum, London;
and the Staatliche Graphische Sammlung
München, Munich.
•
Klaus Kertess, art historian and critic, was one
of Al Taylor’s early supporters and has previously
written on his work. Kertess’s essay “Lines of
Sight” appeared in the exhibition catalogue for
Taylor’s first solo exhibition at Alfred Kren
Gallery, New York in 1986.
128 129

Al Taylor:
Pass the Peas and Can Studys
130

112 Greene Street was more than a physical space — it was a locus of energy
and ideas that with a combination of genius and chance had a profound
impact on the trajectory of contemporary art . .. its permeable walls became
the center of an artistic community that challenged the traditional role
of the artist, the gallery, the performer, the audience, and the work of art.
— Jessamyn Fiore
112 Greene Street was one of New York’s first alternative, artist-run venues.
Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark, and Alan
Saret, among others, the building became a focal point for a young
generation of artists seeking a substitute for New York’s established
gallery circuit, and provided the stage for a singular moment of artistic
invention and freedom that was at its peak between 1970 and 1974.
112 Greene Street: The Early Years (1970 –1974) is the culmination of
an exhibition by the same name that was on view at David Zwirner in
New York in 2011. This extensively researched and historically important
book brings together a number of works that were exhibited at the
seminal space (including works by Gordon Matta-Clark, Vito Acconci,
Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret,
and Richard Serra); extensive interviews with many of the artists involved
in the space; a fascinating timeline of all the activity at 112 Greene Street
in the early years; and installation views of the 2011 exhibition. The
interviews in the book have been prepared by the exhibition’s curator,
Jessamyn Fiore, and Louise Sørensen, Head of Research at David Zwirner,
has contributed an introductory text that illuminates the space’s
significance and critical reception during the prime years of its operation,
as well as commentary on individual works in the show.
Jessamyn Fiore is a curator, writer, and artist
based in New York. After graduating from
Sarah Lawrence College in 2002, she moved to
Ireland where she ran her own theater company
for three years. In 2007, she became Director
of Thisisnotashop, a not-for-profit gallery space
in Dublin, which supported emerging artists
and co-founded The Writing Workshop, which
functioned as a collaborative forum for writers
and artists. She received a Masters from The
National College of Art and Design, Dublin in
2010. She is currently co-director of the Estate of
Gordon Matta-Clark with her mother Jane
Crawford, Matta-Clark’s widow. At David Zwirner
in New York, Fiore curated the exhibitions 112
Greene Street: The Early Years (1970–1974) in
2011 and Gordon Matta-Clark: Above and Below
in 2013. In 2014, she became a partner at the New
York gallery, Rawson Projects, where she had
previously organized the group exhibition
The Balloon.
•
Louise Sørensen is Head of Research at
David Zwirner. She has a PhD from the Courtauld
Institute of Art in London.

112 Greene Street:

The Early Years (1970–1974)

David Zwirner/Radius Books

2012
Hardcover, 8½×12 in (21.6×30.5 cm)
197 pages, illustrated throughout
ISBN 9781934435410
$50 US & Canada | £30 | €40
•
Interviews compiled by Jessamyn Fiore.
Introduction and selected texts
by Louise Sørensen
132 133

112 Greene Street:

The Early Years (1970–1974)
134

Over the past decade, German artist Michael Riedel has incorporated
a wide range of media into his practice, including large-scale works on
canvas, fabric works, film and video, audio recordings, installations,
and events. A central focus of his work is the publishing and production
of artist’s books, catalogues, brochures, posters, and cards.
In 2000, Riedel and Dennis Loesch launched a collaborative project
in an abandoned building in Frankfurt. Using the building’s address —
Oskar-von-Miller Strasse 16 — as the name for their new space, they
created an experimental laboratory where they restaged cultural events
held at other locations throughout the city, effectively duplicating
them in space and time. Occasionally, these re-presented events—which
included book readings, film screenings, art exhibitions, and music
concerts — were hosted on the same night as the actual event elsewhere
in the city, but mostly, they were presented days or weeks after the
original activity took place.
According to Riedel, “We presented one concept over and over again.
To create a distance to some original that had been done at another
place.” With the call of “record, label, playback,” a group of young artists
reiterated the language of a city’s cultural offerings, often without a
full understanding of what they were reciting, but always with an acute
aesthetic interest in the faults of transmission and transference.
Oskar is the account of Oskar-von-Miller Strasse 16. The art space
became renowned as a gigantic “replication device,” and this book
itself is a product of such practices. Scores of audio and visual materials,
partly in the form of transcripts from two Conferences of Anecdotes,
chronicle its years of activities. Produced by the artist, this book
was published to coincide with Riedel’s 2014 exhibition, Laws of Form,
at David Zwirner in London.
Michael Riedel was born in 1972 and currently
lives and works in Frankfurt, where he received
a Meisterschüler at the Städelschule in 2000.
Since joining David Zwirner in 2004, the artist has
had four solo exhibitions at the gallery in New
York and one presentation in London. Over the
past decade, Riedel has shown in both solo
and group shows at prominent venues through-
out the United States and Europe. In 2013,
he was invited by the Palais de Tokyo in Paris to
create a series of three site-specific installations
in the museum’s event space: Jacques comité
[Giacometti] ( July 2013 to April 2014); Dual
air [Dürer] (April 2014 to January 2015); and EFFJ
KNOOS [ JEFF KOONS] (February to May 2015).
In 2012, Riedel’s work was the subject of a major
survey, Kunste zur Text, at the Schirn Kunsthalle
Frankfurt. Other venues which have hosted
recent solo exhibitions include the Kunstverein
Hamburg (2010); Städel Museum, Frankfurt
(2009 and 2008); and the Kunstraum Innsbruck,
Austria (2007).

Michael Riedel:
Oskar

David Zwirner
2014
Softcover, 10½×10½ in (27.8×27.8 cm)
492 pages, b&w illustrations throughout
ISBN 9780989980951
$65 US & Canada | £40 | €48
136 137

Michael Riedel:
Oskar
138
Throughout his career, James Bishop has engaged with European and
American traditions of postwar abstraction while developing a subtle,
poetic, and highly unique visual language of his own. Alternating
between — and at times interweaving — painting and drawing, Bishop’s
works explore the ambiguities and paradoxes of material opacity
and transparency, flatness and spatiality, as well as linear tectonics and
loosely composed forms. Privileging the nuanced and expressive quali-
ties of color and scale, Bishop’s luminous works have been described by
American poet and art critic John Ashbery as “half architecture, half air.”
In the early 1960s, Bishop developed the vocabulary of color and
form that would characterize his paintings on canvas for over twenty
years: a reduced but rich palette, the employment of subtle architectonic
abstractions, and a consistently large, square format that reinforces the
viewer’s sense of scale and space. By overlapping thin but radiant veils of
monochrome color, Bishop creates discrete geometric frameworks
that suggest doors, windows, cubes, or what the artist describes as an
uncertain scaffolding.
Published to coincide with James Bishop’s first solo presentation
in New York since 1987, which was held at David Zwirner in New York
in 2014, this volume includes works spanning the artist’s prolific career.
The catalogue presents numerous large paintings on canvas from
the 1960s to the early 1980s, as well as small-scale paintings on paper,
to which Bishop turned exclusively in 1986 and which he continues
to produce today. In addition, the book includes details and installation
views, providing further context for understanding the artist’s work.
James Bishop
David Zwirner Books
2015
Hardcover, 9¾×11¼ in (24.8×28.6 cm)
80 pages, 36 color
ISBN 9781941701041
$50 US & Canada | £32 | €40
•
Text by Carter Ratcliff
Born in 1927 in Neosho, Missouri, James Bishop
studied painting at Washington University,
St. Louis and Black Mountain College, North
Carolina, and art history at Columbia University,
New York, before traveling to Europe in 1957
and settling in Blévy, France. His work has been
the subject of major museum exhibitions: from
1993 to 1994, James Bishop, Paintings and Works
on Paper traveled from the Kunstmuseum
Winterthur, Switzerland to the Galerie national
de Jeu de Paume, Paris and the Westfälisches
Landesmuseum, Münster; and from 2007 to 2008,
James Bishop. Malerie auf Papier / Paintings on
Paper traveled from the Staatliche Graphische
Sammlung München, Munich to the Josef Albers
Museum, Bottrop and The Art Institute of Chicago.
Bishop’s work can be found in public and private
collections throughout the United States and
Europe, including The Art Institute of Chicago;
Australian National Gallery, Canberra; Brooklyn
Museum of Art, New York; Grey Art Gallery & Study
Center, New York University Art Collection, New
York; Musée de Grenoble; Musée d’Art Moderne
de la Ville de Paris; The Museum of Modern
Art, New York; Centre Georges Pompidou, Paris;
Louisiana Museum of Modern Art, Humlebæk,
Denmark; ARCO Foundation, Madrid; Staatliche
Graphische Sammlung München, Munich;
San Francisco Museum of Modern Art; Tel Aviv
Museum; Kunstmuseum Winterthur; and
Kunsthaus Zürich, among others.
•
Carter Ratcliff is an award-winning poet and
art critic. His first gallery reviews appeared in
ARTnews in 1969. Since then his writing has been
published by major art journals in the United
States and abroad, including Art in America,
Artforum, Modern Painters, Tate, Art Presse, and
Artstudio, and in catalogues published by
American and European museums, including
The Museum of Modern Art, New York; Solomon
R. Guggenheim Museum, New York; Stedelijk
Museum, Amsterdam; and The Center for
Contemporary Art, Cincinnati. Ratcliff has taught
at New York University; Hunter College, New
York; and the New York Studio School of Drawing,
Painting & Sculpture. He received a Poets
Foundation grant in 1969. His other awards
include an Art Critics grant, NEA, 1972 and 1976;
a Guggenheim Fellowship, 1976; and the Frank
Jewett Mather Award for Art Criticism, College
Art Association, 1987. His first novel, Tequila
Mockingbird, was published in 2015.
140 141

James Bishop
142 143
David Zwirner Backlist
Al Taylor: Early Works
Steidl/Zwirner & Wirth
2008
Hardcover, 9×11¼ in (22.9×28.6 cm)
143 pages, 78 color, 1 b&w
ISBN 9783865216366
$65 US & Canada | £40 | €48
Assemblage
Zwirner & Wirth
2004
Softcover, 9×9 in (22.9×22.9 cm)
77 pages, 32 color
ISBN 9780970888414
$40 US & Canada | £25 | €36
Dan Flavin: The 1964 Green Gallery
Exhibition
Steidl/Zwirner & Wirth
2008
Hardcover, 9×10¼ in (22.9×26 cm)
72 pages, 24 color, 18 b&w
ISBN 9783865216793
$45 US & Canada | £28 | €35
Al Taylor: Rim Jobs and Sideffects
David Zwirner/Steidl
2011
Hardcover, 10×12½ in (25.4×31.8 cm)
171 pages, 113 color, 2 b&w
ISBN 9783869303895
$65 US & Canada | £40 | €48
Chris Ofili: Afro Margin
David Zwirner/Radius Books
2009
Softcover, 9¼×12½ in (23.5×31.8 cm)
24 pages, 8 tritone
ISBN 9781934435229
Out of print
Diana Thater: Dreamland
David Zwirner/Zwirner & Wirth
2005
Softcover, 10½×9 in (26.7×22.9 cm)
39 pages, 28 color
ISBN 9780970888471
$45 US & Canada | £28 | €35
Alan Uglow
David Zwirner/Radius Books
2013
Hardcover, 10½×12½ in (26.7×
31.8 cm)
96 pages, 48 color
ISBN 9781934435649
$60 US & Canada | £43 | €50
Chris Ofili: Devil’s Pie
David Zwirner/Steidl
2007
Hardcover, 9¾×11¾ in (24.8×
29.8 cm)
168 pages, 66 color, 1 b&w
ISBN 9783865216298
$50 US & Canada | £32 | €40
Francis Alÿs: Sometimes
Doing Something Poetic Can
Become Political and Sometimes
Doing Something Political Can
Become Poetic
David Zwirner
2007
Hardcover, 6½×8¼ in (16.5×21 cm)
100 pages
ISBN 9780976913674
$40 US & Canada | £25 | €36
Alice Neel: Late Portraits & Still Lifes
David Zwirner/Radius Books
2012
Hardcover, 8×11¼ in (20.3×28.6 cm)
72 pages, 18 color
ISBN 9781934435557
$50 US & Canada | £37 | €50
Claes Oldenburg: Early Work
Zwirner & Wirth
2005
Hardcover, 11×11 in (27.9×27.9 cm)
118 pages, 67 color, 11 b&w
ISBN 9780977356805
$65 US & Canada | £40 | €48
Franz West: Early Work
Zwirner & Wirth
2004
Hardcover, 9¼×11¼ in (23.5×28.6 cm)
156 pages, 93 color, 12 b&w
ISBN 9780970888464
Out of print
144 145

Fred Sandback Fred Sandback The Helga and Walther Lauffs James Welling: Flowers Marcel Dzama: Even the Ghost Marlene Dumas: Selected Works Michaël Borremans: Horse Hunting Michael Riedel: Neo
Collection of the Past
Zwirner & Wirth David Zwirner/Steidl David Zwirner Zwirner & Wirth David Zwirner David Zwirner
2007 2009 Steidl/Zwirner & Wirth 2007 David Zwirner/Steidl 2005 2006 2005
Hardcover, 10×12 in (25.4×30.5 cm) Hardcover, 10×12 in (25.4×30.5 cm) 2009 Hardcover, 8½×11 in (21.6×27.9 cm) 2008 Hardcover, 7×10 in (17.8×25 cm) Hardcover, 7¼×10 in (18.4×25.4 cm) Softcover, 8¼×11¾ in (21×29.8 cm)
141 pages, 65 color 145 pages, 110 color Hardcover, 2 volumes with slipcase, 64 pages, 31 color Hardcover, 9¼×11½ in (23.5× 94 pages, 35 color 40 pages, 16 color 130 pages
ISBN 9780977356850 ISBN 9783865218513 9½×11½ in (24.1×29.2 cm) ISBN 9780976913689 29.2 cm) ISBN 9780970888488 ISBN 9780976913641 ISBN 9783865882103
$80 US & Canada | £50 | €40 Out of print 505 pages, illustrated throughout $50 US & Canada | £32 | €40 244 pages, illustrated throughout Out of print $35 US & Canada | £27 | €33 $35 US & Canada | £27 | €33
ISBN 9783865218506 ISBN 9783865217424
$175 US & Canada | £115 | €160 Out of print

Jason Rhoades’s Black Pussy John McCracken: Early Sculpture John Wesley: A Collection Lisa Yuskavage Neo Rauch Neo Rauch: Renegaten On Kawara: Paintings of 40 Years Primary Atmospheres: Works from
Cocktail Coffee Table Book California 1960™–™1970
Zwirner & Wirth Zwirner & Wirth David Zwirner David Zwirner/Steidl David Zwirner David Zwirner
David Zwirner/Steidl 2005 2006 2006 2008 2005 2004 David Zwirner/Steidl
2007 Softcover, 7½×10½ in (19.1×26.7 cm) Softcover, 8¼×10½ in (20.3×26.7 cm) Hardcover, 8×10 in (20.3×25.4 cm) Hardcover, 8¼×9¾ in (21×24.8 cm) Softcover, 8¾×11¼ in (22.2×28.8 cm) Hardcover, 6¾×9 in (17.1×22.9 cm) 2010
Hardcover, 9½×13 in (24.1×33 cm) 64 pages, 34 color 56 pages, 23 color 80 pages, 30 color 44 pages, 17 color 40 pages, 20 color 80 pages, 26 color Hardcover, 9¾×11½ in (24.8×
306 pages, illustrated throughout ISBN 9780976913623 ISBN 9780977356833 ISBN 9780976913658 ISBN 9783865217431 ISBN 9780976913603 ISBN 9780970888440 29.2 cm)
ISBN 9783865216311 Out of print $25 US & Canada | £16 | €20 Out of print $28 US & Canada | £16 | €20 $40 US & Canada | £25 | €36 $45 US & Canada | £28 | €35 96 pages, 35 color
$60 US & Canada | £36 | €45 ISBN 9783869301471
$68 US & Canada | £40 | €48

Luc Tuymans: Mwana Kitoko, Luc Tuymans: Proper Marcel Dzama: Behind Every Curtain Marcel Dzama: The Course of Human Raoul De Keyser: Recent Work Robert Graham: Early Work Suzan Frecon: paintings 2006™–™2010 Suzan Frecon: paper
Beautiful White Man History Personified 1963™–™1973
David Zwirner David Zwirner David Zwirner David Zwirner/Radius Books David Zwirner/Radius Books
David Zwirner 2005 2011 David Zwirner 2006 David Zwirner/Steidl 2010 2013
2000 Softcover, 8×11¾ in (20.3×29.8 cm) Softcover, 6×7¾ in (15.2×19.7 cm) 2005 Softcover, 8¼×9 in (21×22.9 cm) 2011 Hardcover, 10¼×12¾ in (26×32.4 cm) Hardcover, 9¾×11¼ in (24.8×
Softcover, 8×10½ in (20.3×26.7 cm) 60 pages, 29 color, 5 b&w 80 pages, 80 color, 25 b&w Hardcover, 8×10 in (20.3×25.4 cm) 72 pages, 31 color Hardcover, 8×10 in (20.3×25.4 cm) 48 pages, 22 color 28.6 cm)
32 pages, 10 color ISBN 9780976913634 ISBN 9781935202622 96 pages, 50 color ISBN 9780976913666 128 pages, 43 color, 4 b&w ISBN 9781934435298 144 pages, 68 color
No ISBN $45 US & Canada | £28 | €35 $20 US & Canada | £12 | €15 ISBN 9780976913610 $25 US & Canada | £16 | €20 ISBN 9783869309859 $55 US & Canada | £33 | €42 ISBN 9781934435618
$30 US & Canada | £18 | €23 $60 US & Canada | £36 | €45 $68 US & Canada | £40 | €48 $60 US & Canada | £36 | €45
146 147

Related Backlist
The following publications are related to the
David Zwirner program. Featured titles are from
museums including The Museum of Modern Art,
New York; Solomon R.Guggenheim Museum,
New York; and Tate, London; in addition to
commercial imprints including Abrams, Hatje
Cantz, Radius Books, Rizzoli, Steidl, Yale
University Press, and others. Alice Neel: Intimate Relations™— Alice Neel: Painted Truths Blinky Palermo: Retrospective The Book of Genesis Illustrated
Drawings and Watercolours 1964™–™1977 by R.¤Crumb
1926™–™1982 Museum of Fine Arts, Houston
2010 Yale University Press W.W. Norton & Company, Inc.
Nordiska Akvarellmuseet Hardcover, 9¾×11 in (24.8×27.9 cm) 2010 2009
2014 296 pages, 120 color, 26 b&w Hardcover, 9¼×11¼ in (23.5×28.6 cm) Hardcover 9×11¼ in (22.9×28.6 cm)
Hardcover, 8×9 in (20.3×22.9 cm) ISBN 9780300163322 192 pages, 150 color 224 pages, illustrated throughout
96 pages, 95 color $65 US & Canada ISBN 9780300153668 ISBN 9780393061024
ISBN 9789189477537 $55 US & Canada $25 US & Canada
$40 US & Canada

Chinati: The Vision of Donald Judd Chris Ofili Chris Ofili Chris Ofili: Night and Day

The Chinati Foundation/ Rizzoli Tate Publishing New Museum/Skira Rizzoli

Yale University Press 2009 2010 2014
2010 Hardcover, 9¾×12½ in (24.8× Hardcover, 8¼×10 in (21×25.4 cm) Hardcover, 9×12 in (22.9×30.5 cm)
Hardcover, 10×11½ in (25.4×29.2 cm) 31.8 cm) 176 pages, 130 color 240 pages, illustrated throughout
328 pages, 170 color, 70 b&w 268 pages, illustrated throughout ISBN 9781854378811 ISBN 9780847844562
ISBN 9780300169393 ISBN 9780847832156 $50 US & Canada $75 US & Canada
$75 US & Canada $85 US & Canada

Christopher Williams: Printed in Christopher Williams: The Production Dan Flavin: Lights Donald Judd
Germany Line of Happiness
Hatje Cantz Yale University Press
Walther König, Cologne The Art Institute of Chicago 2013 2010
2014 2014 Hardcover, 8¼×10½ in (21×26.7 cm) Hardcover, 8½×10½ in (21.6×
Softcover, 8¼×10¾ in (21×27.3 cm) Softcover, 8½×10½ in (21.6×26.7 cm) 260 pages, 200 color 26.7 cm)
372 pages, 138 color 186 pages, 46 color, 77 b&w ISBN 9783775735230 220 pages, 110 color, 10 b&w
ISBN 9783863356002 (yellow) ISBN 9780300203905 (yellow) $60 US & Canada ISBN 9780300162769
ISBN 9783863356019 (red) ISBN 9780865592636 (red) $60 US & Canada
ISBN 9783863356026 (green) ISBN 9780865592643 (green)
$120 US & Canada $45 US & Canada
148 149

Donald Judd: Complete Writings Donald Judd: The Multicolored Works form, color, illumination: Francis Alÿs: A Story of Deception Jeff Koons: A Retrospective Jeff Koons: Conversations with Jockum Nordström: All I Have John McCracken: Sketchbook
1959™–™1975 Suzan Frecon painting Norman Rosenthal Learned and Forgotten Again
Yale University Press The Museum of Modern Art, Whitney Museum of American Art Radius Books
The Press of the Nova Scotia College 2014 The Menil Collection/Kunsthalle Bern New York/Tate Publishing 2014 Thames & Hudson Hatje Cantz 2008
of Art and Design Hardcover, 7½×9½ in (19.1×24.1 cm) 2008 2010 Hardcover, 10¼×12½ in (26×31.8 cm) 2014 2013 Hardcover, 11×14 in (27.9×35.6 cm)
2005 304 pages, 135 color Hardcover, 8×11½ in (20.3×29.2 cm) Softcover, 7½×9½ in (19.1×24.1 cm) 288 pages, 306 color, 36 b&w Hardcover, 7×9¾ in (17.8×24.8 cm) Hardcover, 9×11½ in (22.9×29.2 cm) 160 pages, 157 color
Softcover, 8½×11 in (21.6×27.9 cm) ISBN 9780300197655 112 pages, 52 color, 2 b&w 192 pages, 132 color ISBN 9780300195873 296 pages, illustrated throughout 208 pages, 103 color ISBN 9781934435120
240 pages, 300 b&w $45 US & Canada ISBN 9780300125528 ISBN 9780870707902 $65 US & Canada ISBN 9780500093825 ISBN 9783775735827 $75 US & Canada
ISBN 9780919616424 $35 US & Canada $35 US & Canada $30 US & Canada $60 US & Canada
$55 US & Canada

Diary / Landscape
J A M E S W E L L I N G

Francis Alÿs: REEL-UNREEL Fred Sandback: Drawings Isa Genzken: Retrospective James Welling: Diary¤/¤Landscape Karla Black Kerry James Marshall: Painting and Lisa Yuskavage: The Brood Luc Tuymans
Other Stuff Paintings 1991™–™2015
Centre for Contemporary Art Ujazdowski Richter Verlag The Museum of Modern Art, New York The University of Chicago Press Walther König, Cologne/ D.A .P./San Francisco Museum of
Castle/Electa/Museo Madre 2014 2013 2014 Kestnergesellschaft Ludion Skira Rizzoli Modern Art/Wexner Center for the Arts
2014 Hardcover, 10½×12½ in (26.7× Hardcover, 9½×12 in (24.1×30.5 cm) Hardcover, 9×11 in (22.9×27.9 cm) 2014 2013 Forthcoming in September 2015 2009
Hardcover, 9×10½ in (22.9×26.7 cm) 31.8 cm) 315 pages, 320 color 160 pages, 126 b&w Softcover, 9×11½ in (22.9×29.2 cm) Softcover, 8¼×10¼ in (21×26 cm) Hardcover, 10×12 in (25.4×30.5 cm) Hardcover, 10×11¾ in (25.4×29.8 cm)
192 pages, 100 color 208 pages, 239 color, 5 b&w ISBN 9780870708862 ISBN 9780226204123 129 pages, 150 color 192 pages, 100 color 224 pages, 150 color 228 pages, 175 color
ISBN 9788891802187 ISBN 9783941263680 $75 US & Canada $45 US & Canada ISBN 9783863354886 ISBN 9789461301260 ISBN 9780847846481 ISBN 9781933045986
$45 US & Canada $60 US & Canada $55 US & Canada $50 US & Canada $65 US & Canada $60 US & Canada

James Welling: The Mind on Fire James Welling: Monograph Jason Rhoades Jason Rhoades, Four Roads Luc Tuymans: Graphic Works Luc Tuymans: Is It Safe? Marcel Dzama: Sower of Discord Marlene Dumas: The Image as Burden
1989™–™2012 Works 2004™–™2009
DelMonico Books/Prestel Aperture DuMont Buchverlag/Friedrich Institute of Contemporary Art, Abrams Books D.A .P./Tate Publishing
2014 2013 Christian Flick Collection University of Pennsylvania/DelMonico Ludion Phaidon 2013 2014
Hardcover, 8¾×11 in (22.2×27.9 cm) Hardcover, 9½×11½ in (24.1×29.2 cm) 2009 Books/Prestel 2012 2010 Hardcover, 9¾×12 in (24.8×30.5 cm) Softcover, 9¼×12 in (23.5×30.5 cm)
176 pages, 140 color, 150 b&w 256 pages, 250 color Hardcover, 9¼×11½ in (23.5× 2014 Hardcover, 9½×11¼ in (24.1×28.6 cm) Hardcover, 10×11¼ in (25.4×28.6 cm) 288 pages, 500 color 196 pages, 200 color
ISBN 9783791353661 ISBN 9781597112093 29.2 cm) Hardcover, 8½×11 in (21.6×27.9 cm) 256 pages, 350 color 224 pages, 180 color ISBN 9781419704079 ISBN 9781938922541
$50 US & Canada $80 US & Canada 224 pages, 208 color, 11 b&w 200 pages, 94 color, 38 b&w ISBN 9789461300515 ISBN 9780714856032 $65 US & Canada $45 US & Canada
ISBN 9783832191962 ISBN 9783791352923 $60 US & Canada $70 US & Canada
$60 US & Canada $75 US & Canada
150 151

Marlene Dumas: Measuring Your Marlene Dumas: Sweet Nothings Michaël Borremans: As sweet Michaël Borremans: Eating the Beard Oscar Murillo: work Philip-Lorca diCorcia Philip-Lorca diCorcia: Philip-Lorca diCorcia: Eleven
Own Grave Notes and Texts 1982™–™2014 as it gets A Storybook Life
Hatje Cantz Rubell Family Collection Kerber/Schirn Kunsthalle Frankfurt Freedman Damiani
D.A .P./Museum of Contemporary Art, D.A .P./Walther König, Cologne Hatje Cantz 2011 2012 2013 Twin Palms Publishers 2011
Los Angeles 2015 2014 Hardcover, 9¼×11¾ in (23.5× Softcover, 8×10¼ in (20.3×26 cm) Softcover, 9¾×11¾ in (24.8×29.8 cm) 2003 Hardcover, 11×13¾ in (27.9×34.9 cm)
2008 Softcover, 7½×8 in (19.1×20.3 cm) Hardcover, 11½×13¼ in (29.2× 29.8 cm) 112 pages, 56 color 208 pages, 79 color Hardcover, 14×11 in (35.6×27.9 cm) 252 pages, illustrated throughout
Hardcover, 9¾×12 in (24.8×30.5 cm) 256 pages, 35 b&w 33.7 cm) 224 pages, 121 color ISBN 9780982119587 ISBN 9783866788350 160 pages, 75 color ISBN 9788862081672
288 pages, 200 color, 50 b&w ISBN 9781938922831 304 pages, 120 color ISBN 9783775728355 $25 US & Canada $45 US & Canada ISBN 9781931885232 $70 US & Canada
ISBN 9781933751085 $27.50 US & Canada ISBN 9783775737692 $55 US & Canada $95 US & Canada
$55 US & Canada $85 US & Canada

Michael Riedel: Jacques comité Michael Riedel: Kunste zur Text Neo Rauch Neo Rauch: Paintings Philip-Lorca diCorcia: Hustlers Portraits. Luc Tuymans Raoul De Keyser: The Last Wall Raymond Pettibon
[Giacometti]¤/¤Dual air [Dürer]
Schirn Kunsthalle Frankfurt Taschen Hatje Cantz Steidldangin The Menil Collection/Yale MER.Paper Kunsthalle Rizzoli
Koenig Books, London 2012 2012 2010 2013 University Press 2014 2013
2015 Softcover, 10½×10½ in (26.7× Hardcover, 9¾×13 in (24.8×33 cm) Hardcover, 10×13¼ in (25.4×33.7 cm) Hardcover, 13×1 7 in (33×43.2 cm) 2013 Hardcover, 6¾×9¼ in (17.1×23.5 cm) Hardcover, 10½×12½ in (26.7×
Hardcover, 9½×12½ in (24.1×31.8 cm) 26.7 cm) 464 pages, 332 color, 7 b&w 224 pages, 170 color 168 pages, 66 color Hardcover, 9½×11 in (24.1×27.9 cm) 40 pages, 19 color, 11 b&w 31.8 cm)
141 pages, 33 color, 59 b&w 288 pages, 160 color ISBN 9783836535632 ISBN 9783775725217 ISBN 9783869306179 128 pages, 62 color ISBN 9789491775284 368 pages, illustrated throughout
ISBN 9783863357009 ISBN 9783863352073 $70 US & Canada $85 US & Canada $128 US & Canada ISBN 9780300196443 $50 US & Canada ISBN 9780847835003
$29.50 US & Canada $50 US & Canada $50 US & Canada $150 US & Canada

On & By Luc Tuymans On Kawara: 10 Tableaux and On Kawara™—™Silence Oscar Murillo: La era de la sinceridad Richard Serra Drawing: Robert Kudielka on Bridget Riley: Stan Douglas: Scotiabank Stan Douglas: Midcentury Studio
16,952 Pages A Retrospective Essays and interviews since 1972 Photography Award
The MIT Press/Whitechapel Gallery Guggenheim Museum Kilimanjaro/OMO Creates Ludion
2013 Dallas Museum of Art/Yale 2015 2014 The Menil Collection Ridinghouse Steidl 2011
Softcover, 6×8¼ in (15.2×21 cm) University Press Hardcover, 12¾×9¾ in (32.4× Softcover, 8¾×12½ in (22.2×31.8 cm) 2011 2014 2014 Hardcover, 8¾×10¼ in (22.2×26 cm)
240 pages 2008 24.8 cm) 80 pages, 51 color Hardcover, 9¾×12 in (24.8×30.5 cm) Softcover, 6×8¼ in (15.2×21 cm) Hardcover, 10×12¼ in (25.4×31.1 cm) 116 pages, 13 b&w, 46 duotone
ISBN 9780854882175 Hardcover, 8½×11 in (21.6×27.9 cm) 264 pages, 430 color ISBN 9780955414138 232 pages, illustrated throughout 280 pages, 87 color 228 pages, 178 color ISBN 9789055448791
$25 US & Canada 192 pages, 151 color ISBN 9780892075195 $65 US & Canada ISBN 9780300169379 ISBN 9781905464968 ISBN 9783869307480 $40 US & Canada
ISBN 9780300137347 $65 US & Canada $50 US & Canada $36 US & Canada $80 US & Canada
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