I felt a need to enter the gravitational field that the art created. .

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As David Zwirner’s twenty-fifth anniversary draws to a close this year, in "For the Now," his essay for David Zwirner: 25 Years, art historian Richard Shiff explores the nuances of looking at art through the lens of the gallery’s program.

"In 2017, heading toward the entrance to David Zwirner, I unexpectedly encountered noh (2017), an abstract painting by Suzan Frecon. I was viewing it peripherally from the street, through a gallery window and into the space it occupied in isolation. Despite the skewed perspective, Frecon’s striking array of vermilion against green earth altered my purpose. I realize that my experience of this painting was analogous to my encounter with Judd’s sculptures from various angles, whether canonical or odd. As with Judd’s work, I felt a need to enter the gravitational field that the art created (Frecon’s land, so to speak)—to move forward and back, left and right, in the space that the color, luminosity, and scale of the painting projected. Noh had become my now. Frecon’s succinct assessment of the import of her art might suit Judd, Flavin, Riley, and Serra too, and even Dumas: ‘They are paintings that you experience. There is no ‘story.’"

Read the full text in David Zwirner: 25 Years.

Image: Suzan Frecon, noh, 2017