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ronald ſeldman gallery CHRIS BURDEN BORN 1946 Boston, Massachusetts EDUCATION 1969 B.F.A., Pomona College, Claremont, CA 1971 M.F.A., University of California, Irvine, CA TEACHING 1978 San Francisco Art Institute, San Francisco, CA 1978 to 2004 University of California, Los Angeles, CA SOLO EXHIBITIONS 2017 Hobby Shop, Shin Gallery, New York, NY, May 3 – June 18. 2011 Beehive Bunker, Inhotim, Brumadinho, Brazil, permanent installation, open October 6, 2011. Three Ghost Ships, Portland Museum, Portland, Oregon, October 1, 2011 to January 22, 2012. 2010 Dreamer’s Folly, Nomadic Folly and The Rant, “The Heart: Open or Closed,” Gagosian Gallery, Rome, Italy, February 13 to March 27, 1010. 2009 “Chris Burden - Beam Drop Antwerp, Sculptures, Videos,” Middelheim Museum, Antwerp, Belgium, May 30 to September 27, 2009. “One Ton One Kilo”, Gagosian Gallery, Beverly Hills, California, March 7 to April 4, 2009. 31 Mercer Street [email protected] New York, New York 10013 phone 212–226–3232 feldmangallery.com fax 212–941–3232 2008 Beam Drop Inhotim, Inhotim Centro de Arte Contemporanea, Minas Gerais, Brazil, permanent installation, open June, 2009. What My Dad Gave Me, Rockefeller Center, New York, New York, 6/10 to 7/19/2008. Urban Light, Los Angeles County Museum of Art, Los Angeles, California. Permanent exhibition, open 2/7/2008. 2007 “Chris Burden Yin Yang,” Gagosian Gallery, Beverly Hills, California, 6/1 to 8/10/2007. “Tale of Two Cities,” Orange County Museum of Art, Newport Beach, California. 2/3 to 6/17/2007. 2006 “The Flying Steamroller,” Chelsea College of Art and Design, London, England. 10/2 to 10/15/2006. “Chris Burden,” Galleria Massimo De Carlo, Milan, Italy. 9/22 to 11/5/2006. “14 Magnolia Double Lamps,” South London Gallery, London, England. 9/14 to 11/5/2006. 2005 “Ghost Ship,” Faire Isle to Newcastle upon Tyne, England. 7/20 to 7/28/2005. “Bridges and Bullets,” Galerie Krinzinger, Vienna, Austria. 4/8 to 5/21/2005. 2004 Metropolis. “Inaugural Exhibition: The Encounters in the 21st Century: Polyphony – Emerging Resonances,” 21st Century Museum of Contemporary Art, Kanazawa, Japan. Open 10/08/2004. “Chris Burden: Early Works,” Zwirner and Wirth, New York, New York. 9/14 to 10/23/2004. “Chris Burden,” Gagosian Gallery, Chelsea, New York, New York. 1/20 to 2/28/2004. 2003 “Bridges and Bullets,” Gagosian Gallery, Beverly Hills, California. 7/10 to 9/13/2003. “Small Skyscraper,” Los Angeles Contemporary Art Exhibitions, Los Angeles, California. 5/1 to 7/27/2003. 2002 “Chris Burden,” The Baltic Centre for Contemporary Art, Gateshead, England. 7/13 to 10/6/2002. “Tower of Power,” Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria. 6/29 to 8/11/2002. 2001 “Chris Burden,” The Arts Club of Chicago, Chicago, Illinois. 5/8 to 7/21/2001. 2000 “Chris Burden: Tale of Two Cities,” Orange County Museum Art, Newport Beach, CA. 8/5/00 to 2/22/01. “Chris Burden,” Gagosian Gallery, London, England. 5/10 to 6/10/2000. “Chris Burden: Structures,” Crown Point Press, San Francisco, CA. 4/11 to 5/20/2000. 1999 “Airplane Factory Drawings and The Speed of Light Machine,” London Projects, London, England. 6/3 to 2 7/31,1999. “When Robots Rule: The Two Minute Airplane Factory,” Tate Gallery, London, England. 3/18 to 7/18/1999. “Chris Burden,” Magasin 3 Stockholm Konsthall, Stockholm, Sweden. 2/4 to 5/16/1999. 1996 “Chris Burden: Selected Works,” Tanya Bonakdar Gallery, New York, NY. 10/19 to 11/23/1996. “Chris Burden,” Galleri Ynglingagatan, Stockholm, Sweden. 10/5 to 11/24/1996. “Chris Burden: Selected Works,” Marc Jancou Gallery, London, England. 9/7 to 10/5/1996. “Three Ghost Ships,” Gagosian Gallery, Beverly Hills, CA. 7/11 to 8/30/1996. "Chris Burden-Out of the Museum," Galerie Krinzinger, Vienna, Austria. 2/29 to 4/14/1996. "Chris Burden: Beyond the Limits," Austrian Museum of Applied Arts (the MAK), Vienna, Austria. 2/28 to 8/4/1996. 1995 “The Hidden Force,” Washington State Arts Commission, McNeil Island Correction Center, Washington. November, 1995. “Chris Burden," Centre d'Art Santa Monica, Barcelona, Spain. 10/18/1995 to 1/31/1996. "Five Moonettes and Mini Video Circus," FRAC Languedoc-Roussillon, Montpellier, France. 7/7 to 8/8/1995. "Chris Burden, The Spirit of the Grape," Champagne Laurain, Ay, France. 4/21/1995 to present. 1994 "Mini Video Circus," Le Consortium, Dijon, France. 10/29 to 1/7/1995. "C.L.B., The Grape and Me and the Holy Trinity," FRAC Champagne-Ardenne, Reims, France. 10/21/1994 to 1/8/1995. "Chris Burden, 5 Moonettes," Galerie Anne de Villepoix, Paris, France. 9/17 to 12/23/1994. "Chris Burden: LAPD Uniforms and America's Darker Moments," The Fabric Workshop, Philadelphia, PA. 4/28 to 6/30/1994. "Chris Burden: LAPD Uniforms, America's Darker Moments, Small Guns," Gagosian Gallery, New York, NY. 2/26 to 3/26/1994. 1993 "Chris Burden: Medusa's Head," Gagosian Gallery, New York, NY. 2/13 to 3/6/1993. 1992 "Chris Burden: 5 Ships," Miller Nordenhake Gallery, Koln, Germany. 11/13 to 1/15/1993. "Chris Burden: The Other Vietnam Memorial and The Big Wheel," Lannan Foundation, Los Angeles, CA. 6/27 to 9/12/1992. "Chris Burden," Josh Baer Gallery, New York, NY. 3 1991 "The Sailing Destroyer," Josh Baer Gallery, New York, NY. 2/16 to 3/9/1991. "Medusa's Head," The Brooklyn Museum, Brooklyn, NY. 6/28 to 9/11/1991. 1990 "Samson," Daniel Buchholz Gallery, Cologne, Germany. 11/16 to 12/8/1990. "Chris Burden," Galerie Juergen Becker, Hamburg, Germany. 4/5 to 5/12/1990. 1989 "Samson," Josh Baer Gallery, New York, NY. 12/1 to 12/30/1989. "Chris Burden," Kent Fine Art, New York, NY. 10/13 to 11/18/1989. "Devil Drawings," Christine Burgin Gallery, New York, NY. 1988 “Chris Burden: A Twenty Year Survey," Newport Harbor Art Museum, Newport Beach, CA. 4/17 to 6/12. Travel to: Carnegie Mellon Art Gallery, Pittsburgh, PA. 5/13 to 7/9/1989; Institute of Contemporary Art, Boston, MA. 8/3 to 10/1/1989. 1987 "All the Submarines of the United States of America," Christine Burgin Gallery, New York, NY. 11/14 to 12/23/1987. "A Monument to Megalopolises Past and Future," (collaborative work with Nancy Rubins), Los Angeles Contemporary Exhibitions (L.A.C.E.), Los Angeles, CA. 11/13 to 12/28/1987. "All the Submarines of the United States of America," Hoffman Borman Gallery, Santa Monica, CA. 10/1 to 10/31/1987. "Model of Sex Tower and Drawings for Realized and Unrealized Projects," Rosamund Felsen Gallery, Los Angeles, CA. 3/21 to 4/18/1987. 1986 "Sprocket's Moon," (collaborative work with Nancy Rubins), New Langton Arts, San Francisco, CA. 3/18 to 4/12/1986. 1985 Lawrence Oliver Gallery, Philadelphia, PA. Fall. "Chris Burden: The Artist and His Models," Lowe Art Museum, Miami, FL. 8/29 to 9/28/1985. "Tower of Power," Wadsworth Antheneum, Hartford, CT. 1/12 to 1/20/1985. 1984 "Beam Drop," Art Park, Lewiston, NY. 8/2/1984. "Cost Effective Micro-Weaponry That Works," Rosamund Felsen Gallery, Los Angeles, CA. 1/7 to 2/4/1984. 1983 "Cost Effective Micro-Weaponry That Works," Ronald Feldman Fine Arts, New York, NY. 10/15 to 11/12/1984. 1982 "The Flying Kayak and Devil Drawings," Rosamund Felsen Gallery, Los Angeles, CA. 3/6 to 4/3/1982. 4 1980 "C.B.T.V. and B-Car," Film and Video Dept., Whitney Museum of American Art, New York, NY. 4/17 to 5/4/1980. "The Big Wheel, Devil Drawings and Sculptures," Ronald Feldman Fine Arts, New York, NY. 2/16 to 3/15/1980. 1979 "The Big Wheel, Devil Drawings and Sculptures," Rosamund Felsen Gallery, Los Angeles, CA. 10/9 to 11/3/1979. “The Reason for the Neutron Bomb,” Ronald Feldman Fine Arts, New York, NY. 4/28 to 5/28/1979. 1978 "The Citadel," Los Angeles, CA. 8/8 to 8/12/1978. (Installation/Performance). 1977 "C.B.T.V.," Ronald Feldman Fine Arts, New York, NY. 11/4 to 12/3/1977.(Installation/Performance). "Full Financial Disclosure," Jan Baum/Iris Silverman Gallery, Los Angeles, CA. 9/20 to 10/8/1977. "B-Car," Ronald Feldman Fine Arts, New York, NY. 4/1 to 4/30/1977. 1976 “Relics,” Broxton Gallery, Los Angeles, CA. 9/16 to 10/12/1976. "Relics," Ronald Feldman Fine Arts, New York, NY. 5/1 to 6/5/1976. 1975 “Yankee Ingenuity,” Galerie Stadler, Paris, France. 10/23 to 11/8/1975. “B-Car,” De Appel, Amsterdam, Holland. 10/18 to 11/13/1975. Galleria Allesandra Castelli, Milan, Italy. May, 1975. Galleria Schema, Florence, Italy. May, 1975. “Commentary Drawings,” Riko Mizuno Gallery, Los Angeles, CA. April, 1975. “Selections, 1971-1974,” Ronald Feldman Fine Arts, New York, NY. 3/8 to 3/29/1975. 1974 Contemporary Arts Center, Cincinnati, OH. November to December, 1974. “A Photographic Review,” Ronald Feldman Fine Arts, New York, NY. 2/16 to 3/6/1974. Riko Mizuno Gallery, Los Angeles, CA. 1/3 to 1/19/1974. SELECTED GROUP EXHIBITIONS 2012 Chrysler Building, “Skyscraper,” Museum of Contemporary Art, Chicago, IL, May 21 to November 2, 2012. “Ciudad Total,” Institut Valencia d’Art Modern, Valencia, Spain, May 3 to July 8, 2012. Gold Bullets, “Gold,” Belvedere, Vienna, Austria, March 15 to June 17, 2012. 5 Coyote Stories, “Print/Out,” Museum of Modern Art, New York, New York, February 19 to May 14, 2012. “Have We Met Before?” Ronald Feldman Fine Arts, New York, New York, February 18 to March 24, 1012. “Dark Drives: Uneasy Energies in Technological Times,” Kultur Projekte Berlin, Berlin, January 31 to February 5, 2012.
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    Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism.
  • IMAGINING WHITENESS in ART a Thesis Submitted to the Graduate School of the University of Notre Dame In

    IMAGINING WHITENESS in ART a Thesis Submitted to the Graduate School of the University of Notre Dame In

    IMAGINING WHITENESS IN ART A Thesis Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Master of Fine Art by Joseph Small Martina Lopez, Director Graduate Program in Art, Art History, and Design Notre Dame, Indiana April 2011 © Copyright 2011 Joseph Small CONTENTS Chapter 1: Introduction......................................................................................................1 Chapter 2: Paul McCarthy and the Performance ............................................................... 2 Figure 1: Still from Paul McCarthy’s Class Fool....................................................... 4 Chapter 3: Sally Mann and the Landscape .......................................................................12 Figure 2: Sally Mann’s Untitled (Gettysburg), 2001..............................................14 Chapter 4: Matthew Barney and the Revival of Whiteness .............................................20 Figure 3: Still from Matthew Barney's Cremaster 3, 2002....................................26 Chapter 5: Conclusion ......................................................................................................29 Bibliography .....................................................................................................................31 ii CHAPTER 1: INTRODUCTION The inability to distinguish between skin color and culture, nationality and race, and the personal and the political, often makes finding whiteness in art difficult and furthers society’s
  • Nancy Rubins Diversifolia

    Nancy Rubins Diversifolia

    G A G O S I A N 7 February 2018 NANCY RUBINS DIVERSIFOLIA Opening reception: Tuesday, February 6, 6–8PM February 7–April 14, 2018 6-24 Britannia Street London WC1X 9JD I am interested in the balance, the engineering and tenuousness of the objects, as well as the dynamic tension and energy. A continuum starts happening with one piece attached to another . the way that crystals or cells grow. I’m interested in the bigger picture. —Nancy Rubins Gagosian is pleased to present “Diversifolia,” an exhibition of new sculpture and drawings by Nancy Rubins. This is Rubins’s first solo exhibition in London. Page 1 of 3 Rubins transforms found objects and industrial refuse into expertly orchestrated abstractions that are fluid and rhizomatic in nature. Achieving this expressive fluidity at such a large scale requires precise engineering; in her recent work, she has employed a structural property called “tensegrity,” wherein individual parts are arranged in balanced compression and secured with tensile cables. Clusters of like objects—airplane parts, boats, carousel creatures, and more—seem to explode into space in all directions, propelled by their aggregated momentum. In the scientific names of plants, “diversifolia” indicates a single species possessed with a considerable variety of leaf. Rubins’s sculptures, though devoid of leaves per se, are bouquet- like arrangements comprised of a wide range of animal forms—giraffes, storks, tortoises, crocodiles, wolves, and hogs—cast in iron, bronze, brass, and aluminum. Though easily recognizable for their intended use in garden decor or signage, Rubins treats the sculptures as purely formal, abstracted components: limbs and tails flower-like Baroque arabesques in Hog de la Ivy (2016–17); tortoise shells create a cloud-like foundation from which rectangular bases and silvered hogs emerge; and the sharp antlers in Agrifolia Major (2017) give way to the animated curls of crocodile tails.