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G A G O S I A N Chris Burden Bibliography Selected Books and Catalogues: 2017 Burden, Chris, Christopher Bedford, Russell Ferguson, and George Roberts. Chris Burden: Streetlamps. New York: Gagosian. 2013 Burden, Chris, Lisa Phillips, Massimiliano Gioni, Jenny Moore, Johanna Burton. Chris Burden: Extreme Measures. New York: New Museum. 2012 Van Hoy, Justin. Milk and Honey. Pasadena: Ammo Books. 2010 ----------. Crash. New York: Gagosian Gallery. 2007 ----------. Chris Burden. Newcastle upon Tyne: Locus +, Gagosian Gallery. 2006 Grenier, Catherine. Los Angeles 1955-1985. Paris: Centre Pompidou/Panama Musees. 2005 Kraus, Chris, Jan Tumlir & Jane McFadden. LA Artland: Contemporary Art from Los Angeles. London: Black Dog Publishing. Hoffman, Fred, Paul Schimmel, Kristine Stiles & Robert Storr. Chris Burden. Locus + Publishing Ltd. 2004 Foster, Hal, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh. Art Since 1900: Modernism, Antimodernism, Postmodernism. New York: Thames & Hudson. ----------. Chris Burden: Early Works. New York: Zwirner & Wirth. Heartney, Eleanor. Postmodern Heretics:The Catholic Imagination in Contemporary Art. New York: Midmarch Press. 2003 ----------. Concrete Art. Austria: Graz Sweitausenddrei. 2002 Fréchuret, Maurice. Les années 70: l’art en cause. Paris: capcMusée d’art contemporain de Bordeaux. Koch, Alan & Linda Taalman. Trespassing. Houses x Artists. Ostfildern: Hatje Cantz. 2001 ----------. Chris Burden. Chicago: The Arts Club of Chicago. ----------. Extra Art: A Survey of Artist’s Ephemera 1960-1999. San Francisco: California College of Arts and Crafts. 2000 ----------. Made in California: Image, Art and Identity, 1900-2000. Los Angeles: The Museum of Contemporary Art. 1999 Morris, Frances. Chris Burden: When Robots Rule: The Two-Minute Airplane Factory. London: Tate Gallery Publishing. ----------. The American Century: Art and Culture 1900-2000. New York: Whitney Museum of American Art. ----------. Out of Actions: Between Performance and the Object, 1949-1979. Los Angeles: The Museum of Contemporary Art. ----------. Chris Burden. Stockholm: Magasin 3 Stockholm Konsthall. 1998 O’Dell, Kathy. Acting Out: Contract with the Skin: Masochism, Performance Art and the 1970s. Minneapolis: University of Minneapolis Press. 1997 ----------. 1997 Biennial Exhibition. New York: The Whitney Museum of American Art. Rugoff, Ralph. Scene of the Crime. Los Angeles: UCLA at the Armand Hammer Museum of Art and Cultural Center. ----------. Sunshine and Noir: Art in L.A., 1960-1997. Humelbaek, Denmark: Louisiana Museum of Modern Art. 1996 ----------. Chris Burden France 1994-1995. Le Consortium, Dijon, France. W W W . G A G O S I A N . C O M G A G O S I A N Obrist, Hans Ulrich and Guy Tortosa. Unbuilt Roads: 107 Unrealized Projects. Paris: Musée d’Art Moderne de la Ville de Paris. ----------. Chris Burden: Beyond the Limits. Ostfildern: Cantz Verlag. ----------. Chris Burden: Beyond the Limits. Vienna: MAK, Cantz Verlag. 1995 Albertini, Rosanna. Chris Burden/Bill Viola. Bolzano, Italy: Museo d’Art Moderna. ----------. Chris Burden. Barcelona: Centre d”art Santa Monica. ----------. Playtime: Artists and Toys. New York: The Whitney Museum of American Art. ----------. Chris Burden. (illustrated biography). Paris: Blocnotes Editions. Wilson, Malin, ed. Last Chance for Eden. Los Angeles: Art Issues Press. 1994 Beer, Jessica and Daniela Zyman, eds. Positions in Art. Vienna: MAK; Ostfildern: Cantz Verlag. 1993 ----------. 1993 Biennial Exhibition. New York: Whitney Museum of American Art. 1992 Kurtz, Bruce. Contemporary Art 1965-1990. New York: Prentice Hall. ----------. Chris Burden: LAX. Vienna: Galerie Krinzinger. ----------. Helter Skelter: L.A. Art in the 1990’s. Los Angeles: The Museum of Contemporary Art. 1991 Storr, Robert, ed. Dislocations. New York: The Museum of Modern Art. 1989 ----------. 1989 Biennial Exhibition. New York: The Whitney Museum of American Art. ---------. Image World: Art and Media Culture. New York: The Whitney Museum of American Art. 1988 ----------. Chris Burden: A Twenty Year Survey. Newport Beach: Newport Harbor Museum. 1987 ----------. L.A.: Hot and Cool. Cambridge: MIT Albert and Vera List Visual Arts Center. 1986 Hunter, Sam, ed. An American Renaissance: Painting and Sculpture Since 1940. Fort Lauderdale: Museum of Art; New York, Abbeville Press. ----------. Chris Burden: The Artist and His Models. Miami: Lowe Art Museum. Singerman, Howard, ed. Individuals: A Selected History of Contemporary Art, 1945-1986. Los Angeles: Museum of Contemporary Art; New York: Abbeville Press. ----------. Lumieres, perception-projection. Montreal: Centre International d'Art Contemporain. Broughel, Barbara. Poetic Resemblance. Buffalo: Hallwalls. ----------. Teaching Artists. Los Angeles: Frederick S. Wight Art Gallery, University of California,Los Angeles. ----------. Television's Impact on Contemporary Art. New York: The Queens Museum. 1985 ----------. Between Science and Fiction. São Paolo, Brazil. Weintraub, Linda, ed. Maximal Implications of the Minimal Line. Annandale- on-Hudson: Edith C. Blum Art Institute, Milton and Sally Avery Center for the Arts, Bard College Center. ----------. No! Contemporary American DADA. Seattle: Henry Art Gallery, University of Washington. ----------. 30 ans de recontres, de recherches, de partis pris. Paris: Galerie Stadler. Kriesche, Richard. Artificial Intelligence in the Arts, NR. 1, "Brainwork. Graz. W W W . G A G O S I A N . C O M G A G O S I A N 1984 Battock, Gregory and Robert Nickas, eds. The Art of Performance: A Critical Anthology. New York: E.P. Dutton.- ---------. Artpark 1984. Lewiston: Earl W. Brydges Artpark. ----------. Automobile and Culture. Los Angeles, Museum of Contemporary Art; New York: Abrams. Fox, Howard N.. Content: A Contemporary Focus, 1974-1984. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Press. ----------. National Video Festival Olympic Screenings. Los Angeles: American Film Institute. Rae Huffman, Kathy, ed. Video: A Retrospective, Long Beach Museum of Art, 1974-1984. Long Beach: Long Beach Museum of Art. Phyllis Freeman et al., eds. New Art. New York: Abrams. 1983 ----------. Site Strategies: Terry Allen, Chris Burden, Terry Fox. Oakland: The Oakland Museum. Gruber, Bettina and Maria Vedder. Kunst and Video: Internationale Entwicklung and Kunstler. Cologne: DuMont. 1982 Lyons, Lisa. Eight Artists: The Anxious Edge. Minneapolis: Walker Art Center. 1980 Poling, Clark V. Contemporary Art in Southern California. Atlanta: The High Museum of Art. Hughes, Robert. Shock of the New. New York: Alfred A. Knopf. Luciano, Inga-Pin. Performances Actions, Events, Activities, Installations. Italy: Mastrogiacomo. 1979 Deitch, Jeffrey, ed. Born in Boston; Sixteen Prominent Artists. Lincoln: De Cordova and Dana Museum and Park. Goldberg, Roselee. Performance: Live Art, 1909 to the Present. New York: Abrams. Loeffler, Carl. Performance Anthology: A Source Book for a Decade of California Performance Art. San Francisco: Contemporary Arts Press, La Mamelle Inc. Freeman, Phyllis, et al, eds. New Art. New York: Abrams. 1977 ----------. The Artist's Book. La Jolla: Mandeville Art Gallery, University of California, San Diego. ----------. 1977 Biennial Exhibition. New York: The Whitney Museum of American Art. ----------. Painting and Sculpture in California: The Modern Era. San Francisco: San Francisco Museum of Modern Art. ----------. Southland Video Anthology 1976-77. Long Beach: Long Beach Museum of Art. 1976 ----------. Do You Believe in Television? Calgary: Alberta College of Art Gallery. Lippard, Lucy. N.E. Thing Co. Ltd.: Celebration of the Body. Kingston: Agnes Etherington Art Center. Frederick, D. The Book as Art. Washington D.C.: Fendrick Gallery. Introduction. Schneider, Ira and Beryl Korot, eds. Video Art, An Anthology. New York and London: Harcourt Brace Jovanovich. p. 264-65. 1975 Wortz, Melinda. University of California Irvine, 1965-75. La Jolla: La Jolla Museum of Contemporary Art. Licht, Ira. Bodyworks. Chicago: Museum of Contemporary Art. W W W . G A G O S I A N . C O M G A G O S I A N Rose, Barbara. American Art Since 1900. New York: Praeger. Revised edition. 1974 Kurlansky, Mervyn and John Naar. The Faith of Graffiti. Text by Norman Mailer. New York: Praeger. Plagens, Peter. Sunshine Muse, Contemporary Art on the West Coast. New York: Praeger. Habel, Horst, ed. Art as Living Ritual. Graz: Poolerie Gallery. 1972 ----------. The New Art in Orange County. Newport Beach: Newport Harbor Art Museum. Selected Articles and Reviews: 2018 Govan, Michael. “Is art for pleasure or politics.” CNN, Mar 28. Vankin, Deborah. “’Urban Light’ – Everything you didn’t know about LA’s beloved landmark.” Los Angeles Times, Feb 14. 2017 Tylevich, Katya. “Chris Burden – Ode to Santos Dumont.” Domus, Jun 1. Chen, Anelise. “The Man Who Turned His Own Crucifixion into Art.” Vice, May 16. Miranda, Carolina A. “They mapped Chris Burden’s expeditions.” Los Angeles Times, May 14, pp. E1, E8. ----------. A closer look at Chris Burden. The Art Newspaper, Apr 19. 2016 Lord, Benjamin. “Chris Burden (1946-2015).” X-Tra Contemporary Art Quarterly, April. DeFore, John. “’Burden’: Tribeca Review.” The Hollywood Reporter, April 16. 2015 Crow, Kelly. “Shock Artist Chris Burden Is Dead at 69.” The Wall Street Journal, May 10. Knight, Christopher. “Chris Burden dies at 69: artist’s light sculpture at LACMA is symbol of L.A.” Los Angeles Times, May 10. Larner, Liz and Paul Schimmel and Vito Acconci. “Chris Burden 1946-2015.” Artforum, September. 2014
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  • The Museum of Modern Art: the Mainstream Assimilating New Art

    The Museum of Modern Art: the Mainstream Assimilating New Art

    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.