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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The Auger – David Lewis Gallery

Direction, Composition &
Libretto: David Zuckerman
Baritone Christophé Abiel
Soprano Jessica Ferri
Performance Installation
David Lewis Gallery February 23rd, 2014

In participation with Charles Mayton & David Lewis Gallery
on the occasion of C. Mayton’s show:
Score, Libretto & Video: David L Zuckerman
Interpretation and Stage Direction: Christophé Abiel
Soprano: Jessica Ferri
Set Design: Charles Mayton

This project was first catalyzed in opera director Peter Sellar’s ‘Art and Enlightenment’ class at UCLA in the fall of 2010. The term Anthropocene I first heard about from Internet posts by my friend Rory Rowan, a geophilosopher at the forefront of the concept. From the beginning the “mythos” of the word was already evident, with its signification of the end of nature, industrial-capitalism, climate-change and man’s fate etc. Anyone of these questions is dramatic enough, but that the Anthropocene also references a time scale of epic proportions (Pleistocene, Holocene, Anthropocene) made it even more apropos for a form considered well past its prime. What does well past its prime mean from the vantage point of geological time? Nature has always been a source of inspiration for composers. Schubert’s Winterreise, Messiaen’s Birdsongs: Holocene music. But Krzysztof Penderecki’s Threnody for the Victims of Hiroshima: Anthropocene music. However, The Augur is not violent like the Threnody. The fisherman Shofstall shows up ready to relax and enjoy his solitude, memories and beer. He drills through the ice with his machine, causes a rift and ends up crowned by a club-med sun goddess as he drowns in the frigid lake. Shofstall accepts his death, maybe even embraces it. The sun goddess turns into an emergency medical technician and finds in the frozen dead man’s wallet a picture of his wife and a receipt from Home Depot for the purchase of one diesel powered Auger. Welcome to the Anthropocene bitches.
– David Louis Zuckerman