David Zwirner Gallery

Dorothea Rockburne is an abstract painter drawing inspiration primarily from her deep interest in mathematics and astronomy

Treading between documentaiton and fiction, diCorcia establishes a different kind of calculated truth,

Whoah! Dennis Freedman has his own imprint (Freedman Damiani) with Damiani Editore ! Now THAT is Event Publishing!

"Gravity will win, the apples will fall. But for the moment, they stand firm and proud."

"The apples are hanging, but they could fall at any moment.

‘Telle Mère Tel Fils’ by Abdel Abmessedmed ; Image via David Zwirner Gallery

Urban nomads in New York this month...make a pilgrimage to David Zwriner and immerse yourself in this perversely witty show.

View of “Fred Sandback,” 2009, David Zwirner, New York. From left: Untitled (Sculptural Study, Six-Part Construction), 1977/2008

Mr Chris Ofili Ph:Ghurron Briscoe

TI's always elegant art correspondent Ghurron Briscoe swung by the Chris Ofili opening at the David Zwirner gallery and made Mr. Ofili's acquaintance. The David Zwirner gallery issued this press release regarding the event.

Opening on September 20, 2007, David Zwirner is pleased to present an exhibition of new work by artist Chris Ofili, who lives and works in Trinidad. This will be the artist’s debut solo exhibition at David Zwirner and the first to unite his work in painting, sculpture, printmaking, and graphite drawing. A fully-illustrated catalogue will be published by Steidl/David Zwirner in conjunction with the exhibition.

The exhibition title, Devil’s Pie, is derived from singer-songwriter D’Angelo’s 1998 lyrical meditation on temptation and retribution, reaffirming the artist’s longstanding relationship with music, especially hip-hop sounds and culture, as well as his continued exploration of Biblical themes. According to the song, the ingredients of this metaphorical dish include “materialistic, greed and lust, jealousy, envious/bread and dough, cheddar cheese, flash and stash, cash and cream.” While addressing specific aspects of the black urban experience, the song maintains a universal significance, questioning the nature of sin, desire, and redemption. Similarly, in its diverse references and inextricable dichotomies, Ofili’s work functions as a magnet for viewers’ own meanings, ideas, or arguments and encourages them to disagree freely, even with themselves.