Zuckerman's focus since the pandemic has been on studio recording projects and producing. Winter/Spring 2021 will see the release of two brand new full length records: The Blue Tarantula and Mirage, exploring the limits of outsider pop, exotica and new wave, with contributions from colleagues and collaborators near and far. Spring will also see the re-master and release of the 2007: "An Early Record", with its nods to musicians Jim O'Rourke and Mayo Thompson. Athens Trio, a concert for strings, in collaboration with HYLE gallery, will have an official studio recording in February of 2021.

Stay in touch here and at @gardener_of_the_apocalypse for news and updates.


―   Fissão – Ostrava Days Festival

―   Ismay: Guide To Ismay Vol.1

―   Aplauso: Os Olhos Escutam

―   Full-Contact Minimalism

―   Penny Film

―   Reading/Non-Reading

―   8 X 8 Composers/Choreographers

―   Bar Bar – Performance

―   Casa de Buonaguro-Foerster

―   Ontopo 2018

―   Magick City Residency

―   How I Pulled Myself Out Of Swamp

―   Capitalist Realism Surinomo

―   Good Samaritans-NYCP

―   Sister-Song Benefit Performance

―   Eyes_1

―   How About A Game

―   Cologne Of The Maghreb

―   Really

―   S.E.M. Ensemble, Emerging Concert

―   The Evening-NYCP

―   The Augur-Untitled Radio

―   Jiro, Digital Painting-Musical

―   Cordelia Film

―   The Harmers – LA

―   The Harmers – NYC

―   Icarus-Film

―   Milarepa Opera Benefit

―   The And Group

―   The Auger – David Lewis Gallery

―   End of The Night Café

―   Ariella Von – Film

―   Wolfe with an E

―   Phoebe Zeitgeist – 16mm Film

―   A Cool Breeze on the Back of the Neck

―   Ivan The Bloodburst -Cassette

―   Scores and Objects


David Louis Zuckerman is a composer, visual artist and writer, working in the mediums of performance installation, new orchestral music and cinema. He is a company member of Richard Maxwell’s New York City Players and an alumnus of the Skowhegan Residency, the Labyrinth Theater Ensemble and the S.E.M. Emerging Composers Workshop. His work has been shown at Ciccio NY, On Stellar Rays, Untitled Miami, David Lewis Gallery, JOAN Los Angeles, Disjecta, Anthology Film Archives, Thomas Duncan Gallery, Kunstverein Cologne, Moma-New Director/New Films, Abron’s Art Center, 83 Pitt Street and others. He studied composition at Berklee College of Music and holds a BFA from The School of Visual Arts in Video and an MFA in Film/Video from Bard College. Zuckerman has contributed articles to Film Comment and Bomb magazines. A 2015 Rema Hort Mann Grant nominee; his work has been covered in Art in America, LA Weekly, Artforum, Cahiers du Cinema, Purple Magazine, Hyperallergic, The New York Times and Filthy Dreams.

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Performance Installation
Opera Project by David Louis Zuckerman
Adapted from a poem/text by Owen Hutchinson
On Stellar Rays, NYC, Dec 15th, 2016

None of us imagine one at a time
A healthy anytime
To see this obituary
It’s informative after all
Years of service in the world
And one day while the labor goes quickly
No not in the way easy
My inner lover works out
Demolishing the universe
The truth is more joy
The truth is more joy than we know
And co-exist in NYC
Thank you same one
De Lafayette is our hero of two worlds
In memoriam

EYES_1 is a new live performance of songs by composer and artist David Louis Zuckerman, set to text adapted from artist Owen Hutchinson’s book Eyes_1. For the past year Zuckerman has been working on setting Eyes_1 as an ‘impromptu for piano and voice’. Hutchinson’s poems and journalistic musings reflect, through a contemporary and anti-nostalgic lens, themes of pastoralism, romantic love and protest, historically associated with the musical form of Lieder, or “Art Song”.

Sitting at a table in the center of the gallery, Zuckerman is put under hypnosis using a vehicle license plate with the engraving ‘EYES_1’. This object is a reference to the origin of the book’s title appropriated from the back of a car observed by the author, while the act of hypnotism is employed as a theatrical device situating the performance and its narrator within the realm of remote automation. There Zuckerman is incited to embody the voice of Peter Poppers, a figure who appears in Hutchinson’s text and speaks (in the author’s words) to “a vibratory world of brutal psychic forces alternating between the confined and the limitless.”

Zuckerman has chosen the musical form of impromptu, defined as a free-form composition with the character of an ex tempore improvisation, as if prompted by the spirit of the moment. Zuckerman’s recent work, such as chamber piece Per Diem, premiered by SEM Ensemble, and the opera The Augur (premiered at David Lewis Gallery) act as a kind of rejoinder to expressive romanticism. At once lyrical and favoring chromaticism over atonality, these works, including EYES, at the same time problematize the concept of drama and subjectivism through satirical interventions into our saturated and desensitized present.