An Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra, David Zwirner, Los Angeles, dated 2024
An Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra, David Zwirner, Los Angeles, dated 2024

Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra.

 

David Zwirner is pleased to announce a group exhibition of works by Dan Flavin, Donald Judd, On Kawara, Sol LeWitt, Palermo, Robert Ryman, Fred Sandback, and Richard Serra on view at the gallery’s 612 North Western Avenue location in Los Angeles. Featuring key artists from the gallery’s program who were at the avant-garde of the New York art scene of the 1960s and 1970s, this presentation will bring together a selection of abstract and non-representational works that radically reconfigured the possibilities of their mediums in distinct ways. Highly influential to each other as well as their peers in New York and around the world, these artists established minimal, post-minimal, abstract, and conceptual vocabularies whose echoes still permeate the art world today. 

Complementing this presentation will be an exhibition of works by John McCracken, on view concurrently in the gallery’s 616 North Western Avenue space. McCracken’s geometric sculptural forms exemplify the distinctly West Coast take on the art coming out of New York during this period. Meticulously crafted from plywood coated with fiberglass and layers of pigmented polyester resin and taken by hand to a high polish, these works embody McCracken’s long-standing investigation of surface, form, color, and the transcendent potential of minimalist abstraction.

Image: Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra., David Zwirner, Los Angeles, 2024

An Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra, David Zwirner, Los Angeles, dated 2024

Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra., David Zwirner, Los Angeles, 2024

Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra., David Zwirner, Los Angeles, 2024

Dan Flavin

“One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.”

—Dan Flavin

A sculpture by Dan Flavin, titled "monument" for V. Tatlin, dated 1964.

Dan Flavin

"monument" for V. Tatlin, 1964
cool white fluorescent light
8 ft. (244 cm) high
Dan Flavin installing his solo exhibition fluorescent light, etc. from Dan Flavin, dated 1969

Dan Flavin installing his solo exhibition fluorescent light, etc. from Dan Flavin, 1969

Dan Flavin installing his solo exhibition fluorescent light, etc. from Dan Flavin, 1969

An Installation view, Dan Flavin: the 1964 Green Gallery exhibition, Zwirner & Wirth, New York, dated 2008

Installation view, Dan Flavin: the 1964 Green Gallery exhibition, Zwirner & Wirth, New York, 2008

Installation view, Dan Flavin: the 1964 Green Gallery exhibition, Zwirner & Wirth, New York, 2008

An Installation view, "monuments" for V. Tatlin by Dan Flavin, Museum of Contemporary Art, Los Angeles, dated 1984

Installation view, "monuments" for V. Tatlin by Dan Flavin, Museum of Contemporary Art, Los Angeles, 1984

Installation view, "monuments" for V. Tatlin by Dan Flavin, Museum of Contemporary Art, Los Angeles, 1984

An Installation view, Dan Flavin: colored fluorescent light, David Zwirner, London, dated 2023

Installation view, Dan Flavin: colored fluorescent light, David Zwirner, London, 2023

Installation view, Dan Flavin: colored fluorescent light, David Zwirner, London, 2023

A sculpture by Dan Flavin, titled the nominal three (to William of Ockham), dated 1963.

Dan Flavin

the nominal three (to William of Ockham), 1963
daylight fluorescent light
8 ft. (244 cm) high

Donald Judd

“The several limits of painting are no longer present. A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface.”

—Donald Judd

An untitled sculpture by Donald Judd, dated 1976.

Donald Judd

Untitled, 1976
Stainless steel
14 1/2 x 76 1/2 x 25 1/2 inches (36.8 x 194.3 x 64.8 cm)
A  Photo by Jamie Dearing of Donald Judd, dated 1982.

Donald Judd, 1982 (detail). Photo by Jamie Dearing

Donald Judd, 1982 (detail). Photo by Jamie Dearing

An Installation view, Judd, Museum of Modern Art, New York, dated 2020

Installation view, Judd, Museum of Modern Art, New York, 2020

Installation view, Judd, Museum of Modern Art, New York, 2020

An untitled sculpture by Donald Judd, dated 1987.

Donald Judd

Untitled, 1987
Galvanized iron and translucent green plexiglass
Ten (10) units, each: 6 x 27 x 24 inches (15.2 x 68.6 x 61 cm)

On Kawara

A painting by On Kawara, titled MAY 16, 1967, dated 1967.

On Kawara

MAY 16, 1967, 1967
from "Today" series, 1966-2013 "Collection."
Acrylic on canvas
13 x 17 inches (33 x 43.2 cm)
An image of On Kawara’s E 13th St studio, dated 1966

On On Kawaras Studio, Thirteenth Street, New York, 1966

On On Kawaras Studio, Thirteenth Street, New York, 1966

An Installation view, On Kawara—Silence, Solomon R. Guggenheim Museum, New York, dated 2015

Installation view, On Kawara—Silence, Solomon R. Guggenheim Museum, New York, 2015

Installation view, On Kawara—Silence, Solomon R. Guggenheim Museum, New York, 2015

An installation view of the exhibition On Kawara: Date Painting(s) in New York and 136 Other Cities, at David Zwirner New York, dated 2012.

Installation view, Date Painting(s) in New York and 136 Other Cities, David Zwirner, New York, 2012

Installation view, Date Painting(s) in New York and 136 Other Cities, David Zwirner, New York, 2012

A painting by On Kawara, titled SEPT. 18, 1969, dated 1969.

On Kawara

SEPT. 18, 1969, 1969
from "Today" series, 1966-2013 "Rhodesian troops and police swept into a mountainous district along the Mozambique border at dawn today and evicted the rebellious Tangwena tribe from its ancestral homeland."
Acrylic on canvas
13 x 17 inches (33 x 43.2 cm)

Sol LeWitt

“The most interesting characteristic of the cube is that it is relatively uninteresting. Compared to any other three-dimensional form, the cube lacks any aggressive force, implies no motion, and is least emotive. Therefore, it is the best form to use as a basic unit for any more elaborate function, the grammatical device from which the work may proceed.”

—Sol LeWitt, 1982

A sculpture by Sol LeWitt, titled Wall/Floor Piece ("Three Squares"), dated 1966.

Sol LeWitt

Open Cube/Corner Piece, 1965
Aluminum, baked-enamel coating
29 1/2 x 29 1/2 x 29 1/2 inches (75 x 75 x 75 cm)
A Photo by Jack Robinson of Sol LeWitt, New York, dated 1969.

Sol LeWitt, New York,  August 1969. Photo by Jack Robinson/Hulton Archive/Getty Images

Sol LeWitt, New York,  August 1969. Photo by Jack Robinson/Hulton Archive/Getty Images

An Installation view, Sol LeWitt, Dwan Gallery, Los Angeles, dated 1967

Installation view, Sol LeWitt, Dwan Gallery, Los Angeles, 1967

Installation view, Sol LeWitt, Dwan Gallery, Los Angeles, 1967

A sculpture by Sol LeWitt, titled Wall/Floor Piece ("Three Squares"), dated 1966.

Sol LeWitt

Wall/Floor Piece ("Three Squares"), 1966
White lacquered steel in three (3) parts
Each: 29 1/2 x 29 1/2 x 1 5/8 inches (74.9 x 74.9 x 4 cm)

Palermo

A painting by Blinky Palermo, called Ohne Titel (Untitled), dated 1969.

Palermo

Ohne Titel (Untitled), 1969
Casein and mirror on pressboard in two (2) parts
Left: 9 1/16 x 18 1/4 inches (23 x 46.4 cm)
Right: 9 x 18 inches (22.9 x 45.7 cm)
Overall: 9 1/16 x 54 1/4 inches (23 x 138 cm)
Palermo in 1973 with Untitled, 1969. Photo by Timm Rautert

Palermo, 1975. Photo by Dietmar Schneider

Palermo, 1975. Photo by Dietmar Schneider

An Installation view, Palermo, To the People of New York City, 1976, Dia:Chelsea, New York, 2018. © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photo by Bill Jacobson Studio, New York.

Palermo, To the People of New York City, 1976. Installation view, Dia:Chelsea, 545 West 22nd Street, New York, 2018. © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York

Palermo, To the People of New York City, 1976. Installation view, Dia:Chelsea, 545 West 22nd Street, New York, 2018. © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York

An Installation view, Blinky Palermo: Retrospective 1964-1977, Dia:Beacon, dated  2011

Installation view, Blinky Palermo: Retrospective 1964-1977, Dia:Beacon, 2011

Installation view, Blinky Palermo: Retrospective 1964-1977, Dia:Beacon, 2011

Installation photograph, Blinky Palermo: Retrospective 1964–1977, Los Angeles County Museum of Art, 2010–11.

Installation view, Blinky Palermo: Retrospective 1964–1977, Los Angeles County Museum of Art, 2010. Art © Blinky Palermo/Artists Rights Society (ARS), New York/VG Bild-Kunst, Germany. Photo © Museum Associates/LACMA

Installation view, Blinky Palermo: Retrospective 1964–1977, Los Angeles County Museum of Art, 2010. Art © Blinky Palermo/Artists Rights Society (ARS), New York/VG Bild-Kunst, Germany. Photo © Museum Associates/LACMA

A painting by Blinky Palermo, titled Ohne Titel (Untitled), dated 1973.

Palermo

Ohne Titel (Untitled), 1973
Chromed steel
81 1/8 x 81 1/8 x 1 1/8 inches (206 x 206 x 3 cm)

Robert Ryman

“There is never a question of what to paint but only how to paint.”

—Robert Ryman

An untitled painting by Robert Ryman, dated 1961.

Robert Ryman

Untitled, 1961
Oil on stretched linen canvas
71 x 71 1/2 inches (180.3 x 181.6 cm)
A photo of Robert Ryman, dated 1975 by Christian Bauer.

Robert Ryman, 1975. Photo by Christian Bauer

Robert Ryman, 1975. Photo by Christian Bauer

An Installation view, Robert Ryman: 1961–1964, David Zwirner, New York, dated 2023

Installation view, Robert Ryman: 1961–1964, David Zwirner, New York, 2023

Installation view, Robert Ryman: 1961–1964, David Zwirner, New York, 2023

An untitled painting by Robert Ryman, circa 1963.

Robert Ryman

Untitled, c. 1963
Oil on Bristol board mounted on honeycomb panel
12 x 12 inches (30.5 x 30.5 cm)

Fred Sandback

“The four pairs of gray lines are organized on an axis at a right angle to the plane of the three black lines. The three white elements do not have a regular relationship to the other two axes. . . . The pieces which we have discussed are not specific to only one location, but each is responsive to its location, and this conditions each reinstallation.”

—Fred Sandback

A sculpture by Fred Sandback, called Untitled (Fourteen-part Vertical Construction), dated 1987.

Fred Sandback

Untitled (Fourteen-part Vertical Construction), 1987
Off-white, gray, and black acrylic yarn
Situational: spatial relationships established by the artist; overall dimensions vary with each installation
Fred Sandback during the installation of Pier + Ocean: Construction in the Art of the Seventies, Hayward Gallery, London, dated 1980.

Fred Sandback during the installation of Pier + Ocean: Construction in the Art of the Seventies, Hayward Gallery, London, 1980

Fred Sandback during the installation of Pier + Ocean: Construction in the Art of the Seventies, Hayward Gallery, London, 1980

An Installation view, Fred Sandback: Vertical Constructions, Westfälischer Kunstverein, Münster, Germany, dated 1987

Installation view, Fred Sandback: Vertical Constructions, Westfälischer Kunstverein, Münster, Germany, 1987

Installation view, Fred Sandback: Vertical Constructions, Westfälischer Kunstverein, Münster, Germany, 1987

An Installation view, Fred Sandback, Dia Beacon, on long-term view

Fred Sandback, Untitled (Two-part Construction), 1996. Installation view, Dia Beacon, Beacon, New York. © The Fred Sandback Archive. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York

Fred Sandback, Untitled (Two-part Construction), 1996. Installation view, Dia Beacon, Beacon, New York. © The Fred Sandback Archive. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York

Richard Serra

“I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.”

—Richard Serra

A sculpture by Richard Serra, titled Plate Roll Prop, dated 1969.

Richard Serra

Plate Roll Prop, 1969
Lead
Plate: 49 x 49 1/4 inches (124.5 x 125.1 cm)
Pole: 60 inches (152.4 cm)
An installation view, Nine Young Artists, Solomon R. Guggenheim Museum, New York, dated 1969.

Installation view, Nine Young Artists: Theodoron Awards, Solomon R. Guggenheim Museum, New York, 1969. Photo by Peter Moore

Installation view, Nine Young Artists: Theodoron Awards, Solomon R. Guggenheim Museum, New York, 1969. Photo by Peter Moore

An Install view, Richard Serra: Early Work, David Zwirner, New York, dated 2013

Installation view, Richard Serra: Early Work, David Zwirner, New York, 2013

Installation view, Richard Serra: Early Work, David Zwirner, New York, 2013

A drawing by Richard Serra, titled out-of-round XVII, dated 1999.

Richard Serra

out-of-round XVII, 1999
Paintstick on Hiromi paper
55 3/4 x 65 1/4 inches (141.6 x 165.7 cm)
Framed: 59 1/8 x 69 1/4 inches (150.2 x 175.9 cm)
An Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra, David Zwirner, Los Angeles, dated 2024

Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra., David Zwirner, Los Angeles, 2024

Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra., David Zwirner, Los Angeles, 2024

An Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra, David Zwirner, Los Angeles, dated 2024

Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra, David Zwirner, Los Angeles, 2024

Installation view, Flavin, Judd, Kawara, LeWitt, Palermo, Ryman, Sandback, Serra, David Zwirner, Los Angeles, 2024

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