On View

Jordan Wolfson at David Zwirner

Still from 'Raspberry Poser' (2012) by Wolfson. (Courtesy the artist and David Zwirner)

For a brief moment in his discomfiting 14-minute video Raspberry Poser (2012), Jordan Wolfson, dressed as a ragtag skinhead, gives the camera a knowing little smile. Its message: I’ve arrived. He is 33, and his debut at David Zwirner firmly establishes him as a talent and a terror on the order of a young Jeff Koons: hell-bent on perfection and eager to provoke. People are going to take sides. He can’t wait. Read More

On View

Ad Reinhardt at David Zwirner


Most of us—artists and otherwise—struggle to be great at one thing. Ad Reinhardt excelled in at least three pursuits—painting, illustration and photography—as this thrilling show makes plain. (He was also a stellar polemicist.) A vital and iconoclastic member of the midcentury New York School, Reinhardt followed a Mondrian-like path over his too-short career, freeing his art of figuration and, eventually, mark-making altogether. He is best known today for his final works, the so-called black paintings, which he focused on from 1954 until his death of a heart attack in 1967, at age 53. Read More

On View

‘Robert Arneson: Early Work’ at David Zwirner

'Toaster,' 1965. (Courtesy David Zwirner)

You have to hand it to Robert Arneson. Almost 50 years after he made most of the libidinal, occasionally lascivious ceramic pieces in this show, many of them still look racy, even grotesque. He was in his mid-30s halfway through the 1960s and teaching ceramics at UC Davis, where he would stay almost until his death in 1992. His medium didn’t rank highly in most art-world hierarchies at the time, and so he really let it rip. To his great credit, the results continue to be unsettling. Read More

On View

‘Jeff Koons: New Paintings and Sculpture’ at Gagosian Gallery and ‘Jeff Koons: Gazing Ball’ at David Zwirner

'Metallic Venus,' 2010–12. (© Jeff Koons/Gagosian Gallery)

Jeff Koons’s two-gallery blowout, his first large-scale appearance in commercial galleries in the city in 10 years and the unrivaled event of the spring art season (barring, perhaps, the Frieze Art Fair), is a roaring success, filled with feats of engineering and artistic choices that are as gleefully peculiar and perverse as any he has ever made. Mr. Koons strives to please, and he delivers. Read More

On View

‘Richard Serra: Early Work’ at David Zwirner

Installation view. (Courtesy David Zwirner)

Take Richard Serra’s 1967 artwork Verb List, a piece consisting of 108 terms handwritten across four columns on two sheets of letter paper. It’s a kind of index to the 18 titanic formal experiments, borrowed from museums and private collections all over the world, that have been arranged to loosely recreate the feeling of the artist’s 1968 Soho loft inside David Zwirner’s distractingly opulent new building on West 20th Street. Begin with “to roll.” Scavenge an irregular, four-foot-high ingot of black rubber, scraped or torn into a sandy latex color along one corner. Lean it against the wall. The way it lists to the right brings to mind a dancer striking a supple pose, whose shape looks transitional even as it holds steady—a perfect sculptural embodiment of frozen gesture. But then the soft material reminds you that the piece, Chunk (1967) really is bending the way it looks like it’s bending, even though it’s bending too slowly to see. Read More

On View

‘Palermo: Works on Paper 1976–1977′ at David Zwirner

5 Photos

Manhattan, 1976–77

What would have happened if the prodigiously gifted German painter Blinky Palermo hadn’t died in 1977 at age 33, en route to see a girlfriend in the Maldives? That was the irresistible and heartbreaking question on everyone’s mind two summers ago, when curator Lynne Cooke’s majestic Palermo retrospective alighted at Dia:Beacon and CCS Bard. Zwirner’s current exhibition of more than 20 works on paper from the last year or so of Palermo’s life shows the artist rooting about, working in bracingly spare series, perhaps on the verge of conjuring the next in his long line of inventions. It renders his loss newly wrenching. Read More