Tag Archives: David Zwirner Books


Two years after Alice Neel, Uptown, David Zwirner presents ALICE NEEL—FREEDOM, another great exhibition of the painter’s work, this time focused on Neel’s portrayal of the nude figure.

The show’s catalogue features contributions by Marlene Dumas, Helen Molesworth, and Ginny Neel, Alice’s daughter-in-law and the organizer of FREEDOM.


Through April 13.

David Zwirner

537 West 20th Street, New York City.

From top: Alice Neel, Pregnant Julie and Algis, 1967; Alice Neel, Degenerate Madonna, 1930; Alice Neel, Untitled (Alice Neel and John Rothschild in the Bathroom), 1935; Alice Neel, Bronx Bacchus, 1929; Alice Neel, Joe Gould, 1933. All artwork © The Estate of Alice Neel, courtesy The Estate of Alice Neel and David Zwirner.


Dinner with Paul Cadmus in the Village. He showed me a hundred drawings or more; the nakedest and least disinterested are the best, particularly those of Jared French. Until lately they have shared this apartment, an oddly un-American interior; good shabby antiques; a quantity of books and music, charming evidence of self-education. Late in the evening a youth named Lloyd Goff, who was Paul’s assistant, wandered in, at his ease, sleepy, perhaps tipsy. Soon he threw himself on the couch and fell asleep… Paul and I talked and talked, reminiscence and theory, in that particular mood of ours, or of his: smiling relaxation, solemn boyish idealism, who knows what else…

Goff then woke up and undertook to say goodnight, but the next thing I knew, there he lay again, sprawled face down on another couch, his clothes all drawn on the bias and tight upon his very fine little back and buttocks. At last I gave up whatever impulse it was that had kept me so late. Paul fondly accompanied me to the subway. Perhaps, he said, he would make a drawing or two before he went to bed; our talk had been so stimulating, and a sleeping model suits him…Glenway Westcott, 1937*

Falling between last year’s Nick Mauss: Transmissions at the Whitney and next month’s Lincoln Kirstein’s Modern at MOMA, THE YOUNG AND EVIL—curated by Jarrett Earnest at David Zwirner—looks at the between-the-wars Neorealist-Romantic circles around the artists Jared French, his lover Paul Cadmus, his wife Margaret Hoening French (collectively known as PaJaMa), Cadmus’ sister Fidelma—who was married to Kirstein—Bernard Perlin, Pavel Tchelitchew, George Tooker, and Jensen Yow.

Taking its title from the 1933 collaborative novel by art critic Parker Tyler and poet Charles Henri Ford (Tchelitchew’s lover), the exhbition features never-before-exhibited photographs—many from the Kinsey Institute—rarely seen major paintings, sculptures, drawings, and ephemera of this American Bloomsbury, which included Katherine Anne Porter and the ménage à trois of writer Glenway Westcott, publisher Monroe Wheeler, and George Platt Lynes, who photographed (and often modeled for) them all.

THE YOUNG AND EVIL exhibition catalogue will be published later this year by David Zwirner Books, featuring new scholarship by Ann Reynolds and Kenneth E. Silver.


Through April 13.

David Zwirner

533 West 19th Street, New York City.

*Continual Lessons: The Journals of Glenway Westcott, 1937–1955, edited by Robert Phelps with Jerry Rosco (New York: Farrar, Straus, Giroux, 1990), 8–9.

Also see: By With To & From: A Lincoln Kirstein Reader, edited by Nicholas Jenkins (New York: Farrar, Straus & Giroux, 1991).

From top: Paul Cadmus, Stone Blossom: A Conversation Piece, 1939–1940, Museum of Fine Arts, Boston, Juliana Cheyney Edwards Collection and Seth K. Sweetser Fund, © 2019 Estate of Paul Cadmus / Artists Rights Society (ARS), NY; Paul Cadmus, Monroe Wheeler, 1938, © 2019 Estate of Paul Cadmus / Artists Rights Society (ARS), NY; Jared French, Murder, 1942, courtesy the Pennsylvania Academy of the Fine Arts, Philadelphia, John D. Phillips Fund; Fidelma Cadmus Kirstein, Two Women, circa 1930–1939; Pavel Tchelitchew, Portrait, 1935; Pavel Tchelitchew, The Lion Boy, 1936–1937, private collection, New Jersey; Pavel Tchelitchew, George Platt Lynes, circa 1937–1942; Paul Cadmus, Shore Leave, 1933, Whitney Museum of American Art, New York, gift of Malcolm S. Forbes, © 2019 Estate of Paul Cadmus / Artists Rights Society (ARS), NY.


New Documents (Los Angeles), onestar / Three Star (Paris), Printed Matter (New York), David Zwirner Books (New York), Art Metropole (Toronto), Sternberg Press (Berlin), and Roma Publications (Amsterdam) will join dozens of Asian publishers and artists at the inaugural BOOKED—TAI KWUN CONTEMPORARY’S ART BOOK FAIR in Hong Kong.

Talks, workshops, launches, and performances will take place throughout the event’s duration, and the fair will close with a set by DJ Freckles.


Friday through Sunday, January 11, 12, and 13.

JC Contemporary, Tai Kwun

10 Hollywood Road, Central, Hong Kong.

From top:

Kara Walker, MCMXCIX [sketches from 1999] (Amsterdam: Roma Publications, 2017).

Jumana Manna, A Small Big Thing (Berlin: Sternberg Press, 2018)

Maria Fusco, Give Up Art (Los Angeles: New Documents, 2017).

Phile: The International Journal of Desire and Curiosity 2 (2018), Art Metropole.

Wolfgang Tillmans, DZHK Book 2018 (New York: David Zwirner Books, 2018).

Stefan Brüggemann, Timeless (Paris: Onestar, 2015).


“For Ralph Lemon, evasion and erasure are counterintuitive; they mark history’s traces and court the past’s return. History—with its discrete epochs, nameable masses, and willful actors—is neither salve nor refuge for those who lie beyond its rules.” — Thomas J. Lax, “For Starters”

Artforum editor-in-chief David Velasco will present the choreographer, dancer, writer, and visual artist Ralph Lemon in the last of this year’s graduate art seminars at ArtCenter.


Tuesday, December 11, at 8 pm.

LA Times Media Center, ArtCenter College of Design

Hillside Campus, 1700 Lida Street, Pasadena.

See ArtCenter Talks: Graduate Seminar, The First Decade 1986–1995, Stan Douglas, ed. (New York: David Zwirner Books/Pasadena, CA: ArtCenter Graduate Press, 2016).

Ralph Lemon and Okwui Okpokwasili perform Untitled (2008) at the Museum of Modern Art, New York.

Image credit: MOMA.


“In 1985, the Village Voice offered me a job as senior art critic. This made my life easier and lousy at the same time. I now had to actually enter all those galleries instead of peeking in the windows.” — Gary IndianaVile Days

Indiana’s art reviews for the Voice—collected and republished as Vile Days: The Village Voice Art Columns, 1985–1988—combine “his novelistic and theatrical gifts with a startling political acumen to assess art and the unruly environments that give it context.”

Indiana will give this week’s graduate art lecture at ArtCenter’s Hillside Campus.

In mid-January he will read from Vile Days and present the Michael Haneke film Happy End (2017) at a Hard to Read event in West Hollywood.



Tuesday, December 4, at 7:30 pm.

ArtCenter College of Design

Hillside Campus

1700 Lida Street, Pasadena.



Tuesday, January 15, at 7 pm.

Standard Hotel

8300 Sunset Boulevard, West Hollywood.


See ArtCenter Talks: Graduate Seminar, The First Decade 1986–1995, Stan Douglas, ed. (New York: David Zwirner Books/Pasadena, CA: ArtCenter Graduate Press, 2016).

Image credit above: Semiotext(e).

Below: Gary Indiana. Photograph by Hedi El Kholti, courtesy El Kholti and Indiana.