The first time I remember seeing his work in person was a few months later on the roof of the ICA in London. I checked his Phaidon monograph out from the library and kept renewing it for the following two semesters. I think I first learned about West when a friend suggested I look at his work my sophomore year in college. I remember thinking it was beautifully absurd to have so many chairs in a small house and that one day I would like to have that many chairs too. In my mind, there were at least thirty chairs in a very small room, all different colors and fabrics. She had several of his chairs and many chairs of her own. I remember first seeing Franz West’s work when I visited Mary Heilmann’s studio in East Hampton in the early 2000s. How were you first introduced to Franz West’s work? We asked three of the artists featured in the show- Alex Da Corte, Hannah Levy, and Oren Pinhassi-to share their thoughts on the ways in which West’s work and legacy directly engages with or diverges from conversations about art making today. Intended to be interacted with, West’s works redefine art as a social experience and ask how objects can function both as physical extensions of the body and as representations of the human experience. The exhibition takes as its point of departure Franz West’s (1947–2012) furniture and Passstücke (Adaptives). This Is Not a Prop at david Zwirner in New York brought together a multigenerational group of artists whose work explores the liminal space between body and object.
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