Miami Online | David Zwirner

Installation view, Resonating Spaces, Fondation Beyeler, Basel, 2019

Installation view, Resonating Spaces, Fondation Beyeler, Basel, Switzerland, 2019

David Zwirner presents an unexpected dialogue between works of dramatically different scale for Miami Online. From small panels by Josh Smith and Lisa Yuskavage to an expansive triptych by Toba Khedoori and a grand-scale painting by Oscar Murillo; large photographs by Thomas Ruff and Wolfgang Tillmans to vivid small-scale sculptures by Carol Bove and John McCracken, this exclusively online presentation playfully redraws the boundaries of the physical booth and flattens the hierarchy of size.

Debuting in parallel with the 2019 edition of Art Basel Miami Beach, Miami Online encompasses a collection of works from the miniature to the museum scale.

Toba Khedoori

Untitled (overpass), 1994

Oil and wax on paper

Overall: 137 1/2 x 234 inches (349.3 x 594.4 cm)

“Khedoori elevates the experience of the commonplace by treating ordinary objects and bits and pieces of nature as if they were precious baubles.”

—Franklin Sirmans, Director of the Pérez Art Museum Miami

Carol Bove

Never, 2019

Stainless steel and urethane paint

12 x 46 1/4 x 10 5/8 inches (30.5 x 117.5 x 27 cm)

Proceeds from the sale of Carol Bove's Never (2019) will be donated to The Kitchen, a multidisciplinary art and performance space in New York City.

Installation view, Carol Bove, May You Live in Interesting Times, the 58th International Art Exhibition La Biennale di Venezia, 2019

Donald Judd

Untitled, 1988

Set of ten (10) woodcuts printed in ivory black on Japanese wove paper Okawara

Sheet, each: 23 5/8 x 31 5/8 inches (60 x 80.3 cm)
Framed, each: 26 x 33 7/8 x 1 1/2 inches (66 x 86 x 3.8 cm)

Edition of 25, 10 AP, 4 PP

“To examine Judd's prints... is to encounter something we rarely associate with this artist: the materiality of process.”

—Jeffrey Weiss, in Donald Judd: Woodcuts, 2008

Wolfgang Tillmans

Greifbar 20, 2015

Inkjet print on paper, clips

107 1/2 x 144 1/2 inches (273 x 367 cm)

Edition of 1, 1 AP

Certificate of Authenticity

Available

“[Tillmans’s] pictures show something quite different from a ‘comprehensive order.’ They offer... a fragmentary, open-ended world view given structure through movement and transformation but also by singularity: the unrepeatable power of each picture as a moment of difference.”

—Artforum

Above: Wolfgang Tillmans, Greifbar 20, 2015 (detail)

Wolfgang Tillmans

Adalbert Garden, 2014

Inkjet print on paper, clips

108 x 161 1/2 inches (274.3 x 410.2 cm)

Edition of 1, 1 AP

Certificate of Authenticity

Installation view, Josh Smith: Emo Jungle, David Zwirner, New York, 2019

Josh Smith

Untitled, 2019

Oil on linen in artist's frame

11 x 9 x 1 3/8 inches (27.9 x 22.9 x 3.5 cm)

Josh Smith

Untitled, 2019

Oil on linen in artist's frame

10 7/8 x 9 x 1 3/8 inches (27.6 x 22.9 x 3.5 cm)

“Smith has continually been able to explore endless potential, and experiment to foster and sustain his work. At once seemingly casual and unpredictable the paintings are underpinned by a pragmatic mind at work and always present.”

— The Brooklyn Rail

Josh Smith

Untitled, 2019

Oil on linen in artist's frame

13 x 10 x 1 3/8 inches (33 x 25.4 x 3.5 cm)

Installation View, Babie Brood: Small Paintings 1985–2018, David Zwirner, New York, 2018

“One is conscious, even in these small [works], of the fluidity of paint and the artist’s remarkable manipulation of light and color.”

— The Brooklyn Rail

Lisa Yuskavage

Hot Couple, 2019

Oil on wood panel

8 x 6 inches (20.3 x 15.2 cm)

Thomas Ruff

nudes he07, 2012

Chromogenic print with Diasec

106 1/4 x 72 7/8 x 1 3/4 inches (270 x 185 x 4.5 cm)

Edition of 1, 1 AP

“Though Ruff is hardly the only contemporary artist to be interested in how images operate in the digital age, few have examined the subject with such encyclopedic rigor.”

— The New York Times

Ruff’s computer-generated Substrate series, begun in 2001, layers and superimposes images from Manga comics to a degree of pure but perfunctory abstraction.

Thomas Ruff

Substrat 13 III, 2003

Chromogenic print with Diasec

89 3/8 x 73 1/4 x 2 5/8 inches (227 x 186 x 6.7 cm)

Edition of 3, 1 AP

Installation view, Suzan Frecon: recent oil paintings, David Zwirner, New York, 2017

“Frecon’s images are obviously landscapes, but they also resemble something stranger: actual sculptures completely flattened against the surface, with traces of light and space lingering behind them that go beyond simple illusionism into actual perception.”

— The New York Times

Suzan Frecon

rounded area in double vertical, 2018

Oil on wood panel

9 3/4 x 12 1/8 x 1 inches (24.8 x 30.8 x 2.5 cm)

Marcel Dzama, Raymond Pettibon

No Title (The weight of...), 2019

Ink, charcoal, and graphite on paper

52 x 112 1/2 inches (132.1 x 285.8 cm)

Marcel Dzama and Raymond Pettibon began working together in summer 2015, first swapping series of unfinished drawings to be completed by the other. In a variation of the “exquisite corpse” method, they developed each other’s compositions through improvisational illustration, collage, and writing.

Installation view, Marcel Dzama and Raymond Pettibon: Forgetting the Hand, David Zwirner, New York, 2016

Installation view, Bill Traylor, David Zwirner, New York, 2019

“Bill Traylor’s brilliant but meteoric artistic moment is unprecedented…. The real adventure of finding meaning in Bill Traylor’s art is ours alone.”

—Kerry James Marshall

Bill Traylor

Green Man atop Construction, 1939–1942

Poster paint and pencil on cardboard

10 3/4 x 8 inches (27.3 x 20.3 cm)
Framed: 17 1/2 x 14 3/4 x 1 1/4 inches (44.5 x 37.5 x 3.2 cm)

“There is something solid yet evanescent about his sculptures.… They emanate both simplicity and complexity, and are imbued with the physical qualities of revelation and concealment.”

— Frieze

John McCracken

Untitled, 1967

Polyester resin, fiberglass, and plywood

10 x 10 1/2 x 7 3/4 inches (25.4 x 26.7 x 19.7 cm)

Installation view, John McCracken David Zwirner, New York, 2013

Oscar Murillo

manifestation, 2018-2019

Oil, oil stick, and graphite on canvas, linen, and velvet

112 1/4 x 136 inches (285.1 x 345.4 cm)

“The objects made by [Murillo’s] hand float buoyantly within the realm of the liminal, always here and there, inside and out, home and abroad, all at once very familiar, and yet, somehow, entirely untranslatable.”

— BOMB magazine

Yayoi Kusama

Red Pumpkin, 1996

Acrylic on canvas

5 1/4 x 7 1/8 inches (13.3 x 18 cm)
Framed: 9 5/8 x 11 1/4 x 1 1/2 inches (24.4 x 28.6 x 3.8 cm)

“It seems that pumpkins do not inspire much respect. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin’s generous unpretentiousness. That and its solid spiritual balance.”

— Yayoi Kusama, in Infinity Net , 2012

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