 is the first exhibition to explore the role landscape plays in 

’s highly influential paintings. The artist’s characters—bold, eccentric, exhibitionist, and introspective—are frequently set in fantastical environments in which real and abstract elements coexist and vivid colors convey meaning. In 

, the 2009 painting after which the show is titled, two female figures (and the legs of a third figure), are positioned in a powerful red, green, and yellow-hued landscape unfolding across two panels, with the potent color scheme extending over the women’s clothing and skin. While the terrain is vaguely naturalistic, it is also clearly permeated by unreal forces. As the museum’s press release observes: “Yuskavage explores the space of myth and fiction as it manifests in our surroundings, lending a sense of the romantic—and even the seductive—to the everyday.”

The exhibition will travel to the Baltimore Museum of Art from February 28, 2021–September 19, 2021.

A forthcoming catalogue will be published on the occasion of this exhibition, including essays by Christopher Bedford, Helen Molesworth, and Heidi Zuckerman, as well as a conversation between Yuskavage and Mary Weatherford. Recently published by David Zwirner Books, 

Lisa Yuskavage: Babie Brood, Small Paintings, 1985–2018

 is the first survey of the artist’s small-scale paintings. 

, published in 2015 to accompany a major solo exhibition, explores more than two decades of her work.



, the artist will be in conversation with critic and curator Jarrett Earnest, who contributed a text to 

, at McNally Jackson in New York. They will discuss the dynamics of education for artists, their shared interest in psychoanalysis and how it relates to writing and painting, and the role of narrative within art, memory, and history.

Image: Lisa Yuskavage, 

February 16–May 31, 2020

Lisa Yuskavage: Wilderness

“Art history is full of artists whose careers, cut short by early death, haunt us with their unfulfilled promise. The 20th century is pocked with many such examples, a mere handful of which include Paula Modersohn-Becker (who died at 31); Egon Schiele (28); Bob Thompson (28); Eva Hesse (34); Jean-Michel Basquiat (27).

The 21st century has the painter Noah Davis, now the subject of a big, beautiful exhibition at David Zwirner in Manhattan. He died of a rare cancer in Ojai, Calif., in August 2015, just three months after turning 32.

Talented and charismatic, with a knack for rallying people, Davis was inclusive in his art and his life. He gathered his family and friends around him and refused to commit to a single figurative style or to use photographic images in a formulaic way. Nearly every canvas here is different, and most have an interpretive and painterly openness. Your eyes and mind enter them easily and roam through the different layers of brushwork and narrative suggestion. There’s an unexpected optimism to all this. The paintings also dwell in silence, slow us down and hypnotize.”

Read the full review in 

The New York Times, review by Roberta Smith

“Noah Davis Is Gone; His Paintings Continue to Hypnotize”

 is an exhibition of paintings and drawings by 

. Curated by Rodolphe von Hofmannsthal, Senior Director, David Zwirner and Jari-Juhani Lager, the show is part of a three-year collaboration between the gallery and the Royal Academy in London. Wylie was elected as a Royal Academician in 2014.

For her work, Wylie draws from cultural arenas including film, fashion photography, literature, mythology, history, news reports, and sports, making colorful and exuberant compositions that are uniquely recognizable. The artist works primarily from memory, resulting in paintings and drawings that are replete with associative afterimages that remain only loosely tethered to their original referents, but tightly connected to the memories as they have developed over time.

As Russell Tovey writes in the catalogue accompanying 

, “Borrowing threads from observation and popular culture, Rose amalgamates scenes for a carnival of creatures to play in, every piece expanding across the wall like a woven tapestry, continuing beyond sight like the Bayeux itself, as tour de force from an inspired dramaturge. The works hum with life as constant moving scenes of action … Rose directs us to notice what she wants us to notice, creating a dialogue between her players, an actual script, written across the works.”

—the pair discuss improvisation, instincts, and creative influences in a conversation 

 describes as ”charmingly off-the-cuff.”

The artist’s work is on view in a solo exhibition at David Zwirner in Hong Kong, 

The Gallery at Windsor, Florida

Rose Wylie: Let it Settle

“The show is so good—yet so poignantly final—that it leaves you feeling both euphoric and wretched. As art, it stands alone, 100 percent persuasive.

[...]

There was nothing formulaic about Davis’s approach. Even when he was painting mundane domestic scenes, his eye for the subject and his painterly treatment infused them with a sly, soft-pedaled, gently melancholy wonder. One thinks of Fairfield Porter with a little more zing, or of a more nonchalant Peter Doig.

In several images, Davis showed people dwarfed by varieties of magical immensity. He would paint a child in blue pajamas at the foot of a daunting wooden staircase leading to a door emitting a mysterious cloud of colored glitter. Or a man looking at a monumental abstract sculpture on the leafy grounds of a wealthy estate. Or simply the night sky over Los Angeles.”

Read the full review in 

The Washington Post, review by Sebastian Smee

“A New York show reveals a great lost talent”

Noah Davis Review, Washington Post

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.