In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...
China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...
David Zwirner and Fraenkel Gallery are pleased to participate in ADAA’s The Art Show 2019 with a joint presentation of works by Diane Arbus (1923–1971) and Alice Neel (1900–1984). This collaborative installation explores the unmistakable affinities between the two artists. Although they were simultaneously creating some of their most consequential work not far from each other, in New York City, there is no evidence that they ever met.
Neel and Arbus, both rogues in their own time, are now widely regarded as two of the foremost artists of the twentieth century. Neel chose her subjects largely from her milieu–family, friends, and other acquaintances–while Arbus more often sought out hers by exploring unfamiliar territories, many times building on chance encounters.
Neel’s paintings and Arbus’s photographs share a palpable intensity and complexity, and there is frequently an uncanny resonance between their portraits. The gaze and the gravity that each artist was able to conjure is magnified and even clarified by bringing them together in this presentation. The juxtaposition of the two artists’ work exposes an astonishing kinship that intensifies the idiosyncratic qualities of each.
The joint presentation by David Zwirner and Fraenkel Gallery at ADAA builds upon the September announcement of their co-representation of The Estate of Diane Arbus. The collaboration was inaugurated with the first complete exhibition of Arbus’s Untitled series (1969–1971) at David Zwirner’s 537 West 20th Street location in New York from November 2 through December 15, 2018.
Concurrent with ADAA, David Zwirner will present Alice Neel Freedom, on view from February 26 through April 13, 2019, at the gallery’s 537 West 20th Street space.
Fraenkel Gallery will celebrate its fortieth anniversary in 2019 with the exhibition and book Long short story. This year also marks the fourth decade of Fraenkel Gallery’s close association with The Estate of Diane Arbus.
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