01 004-013 Tutor: 19 174-185 Tutor: Marina Abramović Thomas Lawson
02 014-027 Tutor: 20 186-195 Tutor: Walead Beshty Dinh Q. Lê
03 028-035 Tutor: 21 196-207 Tutor: Sanford Biggers Won Ju Lim
04 036-049 Tutor: 22 208-215 Tutor: Dara Birnbaum Jonas Mekas
05 050-059 Tutor: 23 216-223 Tutor: Carol Bove Carrie Moyer
06 060-071 Tutor: 24 224-229 Tutor: Tania Bruguera Wangechi Mutu
07 072-079 Tutor: 25 230-243 Tutor: Mark Dion Bob Nickas
08 080-089 Tutor: 26 244-253 Tutor: Ólafur Elíasson Raqs Media Collective
09 090-097 Tutor: 27 254-261 Tutor: Harrell Fletcher Neo Rauch
10 098-103 Tutor: 28 262-269 Tutor: Charles Gaines Tim Rollins
11 104-113 Tutor: 29 270-277 Tutor: Liam Gillick Michael Smith
12 114-121 Tutor: 30 278-283 Tutor: Piero Golia John Stezaker
13 122-131 Tutor: 31 284-295 Tutor: Michelle Grabner Stephanie Syjuco
14 132-139 Tutor: 32 296-305 Tutor: Dan Graham Shirley Tse
15 140-147 Tutor: 33 306-319 Tutor: Katharina Grosse James Welling
16 148-155 Tutor: 34 320-329 Tutor: Joan Jonas Richard Wentworth
17 156-165 Tutor: 35 330-337 Tutor: Miranda July Christopher Williams
18 166-173 Tutor: 36 338-349 Tutor: Chris Kraus Krzysztof Wodiczko
01 2 Tutor: 01 3 Tutor: Marina Abramović Marina Abramović
BORN / Belgrade, Serbia, (former Yugoslavia), 1946 / LIVES AND WORKS: New York
TRAINING: Honorary doctorates: • Instituto Superior de Arte, Havana, 2012 • Williams College, Williamstown, MA, 2011 • University of Plymouth, UK, 2009 • Art Institute of Chicago, IL, 2004 MA, Academy of Fine Arts in Zagreb, 1972 BA, Academy of Fine Arts in Belgrade, 1970
TEACHING POSTS: • Founder, Marina Abramović Institute, New York • Professor at the Hochschule für Bildende Kunst, Hamburg, Germany, 1992–96 • Visiting Professor, Hochschule der Kunst, Berlin, 1990–91 • Visiting Professor, Académie des Beaux-Arts, Paris, 1990–91 • Teacher at the Academy of Fine Arts, Novi Sad, Serbia, 1973–77
KEY WORKS: • Places of Power, Waterfall, 2013 • Art Must Be Beautiful, Artist Must Be Beautiful, 1975-2010 • The Artist is Present, 2010 • Seven Easy Pieces, 2005 • Balkan Baroque, 1997 • Works with Ulay, 1976–88 • Rhythm series, 1973–74
AWARDS: • Ordre des Arts et des Lettres Officier, for work in Bolero, Paris, 2013 • The Diaghilev Award for Marina Abramović, The Artist is Present at The Diaghilev Festival, Perm, Russia, 2012 • The Austrian Decoration of Honor for Science and Art, Vienna, 2008 • AECA Gran Premio Award, Madrid, 2007 • International Association of Art Critics, 2007 • AICA-USA Award for Seven Easy Pieces, New York, 2007 • Guggenheim Museum Award for Best Exhibition of Time Based Art (Video, Film or Performance) for Seven Easy Pieces, New York, 2006 • Golden Lion Award for Best Artist, Balkan Baroque (Performance) 47th Venice Biennale, Italy, 1997
2014: Entering the Other Side, Kistefos-Museet, Jevnaker, Norway // Marina RECENT SOLO Abramović: 512 Hours Holding Emptiness, EXHIBITIONS: Serpentine Gallery, London // 2013: Centro de Arte Contemporáneo de Málaga, Spain // 2012: Marina Abramović, Galerie Krinzinger, Vienna, Austria // Balkan Stories, Kunsthalle Vienna // 2011: The Artist is Present, Garage Center for Contemporary Culture, Moscow // Marina Abramović, Pinnacle Gallery, Savannah, GA // 2010: Personal Archaeology, Sean Kelly Gallery, New York // Marina Abramović, Lisson Gallery, London // The Artist is Present, MoMA, New York //
RECENT GROUP 2013: The Temptation of AA Bronson, Witte de With Contemporary Art, Bad Girls EXHIBITIONS: Rotterdam, Netherlands // , Fonds regional d’art contemporain de Lorraine, Metz, France // 2012: Feast: Radical Hospitality in Contemporary Art, Smart Museum of Art, University of Chicago, IL // Faces: The Phenomenon of Faces in Video Art, Galerie Rudolfnum, dOCUMENTA (13): The Worldly House, Prague // Karlsaue Park, Kassel, Germany // Beyond Time: International Video Art Today, Kulturhuset, Stockholm // 2011: Eleven Rooms: The Life and Death of Marina Abramović, Manchester International Festival, UK // Heroinas, Museo Thyssen- Bornemisza y Fundacion Caja, Madrid // Publics and Counter-publics, Centro Andaluz de Arte Contemporaneo, Seville, Spain // 2010: 100 YEARS, MoMA PS1, Long Island City, NY //
01 4 Tutor: Selected Works 01 5 Tutor: Selected Works Marina Abramović Marina Abramović
← Rest Energy, 1980, performance/Polaroid, ROSC, Dublin/Amsterdam. Collaboration with Ulay
↙ Rhythm 4, 1974, performance, Galleria Diagramma, Milan, Italy
↓ Waiting for an Idea, 1991, Maraba, Brazil
→ The Artist is Present, 2010, three-month performance, Museum of Modern Art, New York
↘ Balkan Baroque, June 1997, performance- installation (detail), 47th Venice Biennale
08 82 Tutor: Selected Works 08 83 Tutor: Selected Works Ólafur Elíasson Ólafur Elíasson
← Beauty, 1993, spotlight, water, nozzles, wood, hose, pump, installation view, Minding the World exhibition, ARoS Århus Kunstmuseum, Denmark, 2004
↓ Your rainbow panorama, 2006–11, permanent installation at ARoS Århus Kunstmuseum, Denmark
↓↓ Green river, 1998, uranine, water, installation view, Stockholm, Sweden, 2000
→ The weather project, 2003, monofrequency lights, projection foil, haze machines, mirror foil, aluminium, scaffolding, installation view, Turbine Hall, Tate Modern, London (The Unilever Series) 14 134 Tutor: Selected Works 14 135 Tutor: Selected Works Dan Graham Dan Graham
← Eleven Sugar Cubes, 1970/2012, colour photograph, 24 parts, each 24 x 36 cm
↙ Two-Way Mirror Curve Bisected by Norwegian Wood Lattice, 2010
→ Lax/Relax, first performance at New York University Loeb Student Center, New York, May 1969
↘ Pavilion for Showing Rock Videos/Films, 2012, two-way mirror glass and stainless steel 250 x 834 x 420 cm 14 136 Tutor: Lesson: 14 137 Tutor: Lesson: Dan Graham Art Schools at Their Dan Graham Art Schools at Their Best and Worst Best and Worst
BEST use of the school’s facilities very limited, so I suggested that the school invite my friend Kasper König, and later Benjamin Buchloh, to oversee 1.) Visiting artists: lectures and studio visits. the NSCAD–NYU Press to make monographic books that would involve 2.) Class trips. such artists, musicians and dancers as Simone Forti, Yvonne Rainer, Dara 3.) Availability of video, film and audio equipment with technicians. Birnbaum, Steve Reich, Michael Asher and myself, as well as republishing 4.) Practical training in areas such as graphic design. the previously out-of-print early reviews and articles of Don Judd. The 5.) Good libraries. school had previously invited visiting artists to come for short stays of two or three days, so I initiated a course where I would do a three-week WORST stint to be followed by three-week stints by a series of visiting artists who had never taught before. At the end of the year, I would do another 1.) The emphasis, since the 1980s, on making art as a specialist three weeks of teaching (Jeff Wall, Michael Asher, Dara Birnbaum and professional ‘career’ rather than as a passionate experiment. Martha Rosler were the first artist-teachers I invited for this course). 2.) The obsession with the artist as a future ‘art star’. From the position of the visiting-artist teacher at an art school, I see 3.) The obsession with making an academic rationale for art, teaching as both a great place to earn some cash and to have very focused a good example being the overuse of the word ‘problematize’. conversations with young artist students, whose works are often more 4.) Teaching only the contemporary art that is found in the art inspiring when in first bloom than when later refined in a gallery setting. magazines in the library. I have also enjoyed talking about other shared passions like rock music. I especially enjoy learning from the cultural context and personal My personal observation is that most of my favourite artists have either biography of foreign students. Finally, the art school setting is a way for come out of areas other than art, or like myself, never went to either art artists who are friends but rarely see each other any more to spend fun school or university – being self-taught. In my case, I initially wanted time together again. to be a writer. When I accidentally started the John Daniels Gallery, I pursued being an artist-writer due to my admiration of ‘young’ artist- writers whom I showed in my gallery. These were Don Judd, who made Assigned Reading his living writing art reviews, Dan Flavin, who had a monthly column in Artforum, and Sol LeWitt, who had studied architecture and then Benjamin, Walter. ‘Das Kunstwerk im Zeitalter Seiner Technischen worked both in a major architect’s office and as a magazine graphic Reproduzierbarkeit’ in Illuminationen: Ausgewahlte Schriften. Frankfurt designer. He shared my love of literature and also wrote occasionally. am Main: Suhrkamp, 1961. Translated by Harry Zohn as ‘The Work of After my gallery failed, I supported myself through writing about Art in the Age of Mechanical Reproduction’ in Illuminations. New York: cultural phenomena such as rock music or television. Because of my Harcourt, Brace & World, Inc., 1968 published articles on art, art schools invited me to do lectures or limited teaching. I invited myself to a short residency at Nova Scotia Clark, T. J. Image of the People. London: Thames & Hudson, 1973 College of Art (NSCAD) in Halifax in the late 1960s to try out video and performance art projects, utilizing the school’s film and video Dick, Philip K. Ubik. New York: Doubleday, 1969 equipment and my students as participants in these projects. The shared communication and feedback in the small group setting in this art Eshun, Kodwo. Dan Graham: Rock My Religion. Cambridge, MA: school facilitated the realization of those ideas. The MIT Press, 1994 When I first started teaching at NSCAD I wanted the school to be placed into the local community. I used local cable television’s Marcus, Greil. Mystery Train: Images in Rock and Roll Music. New York: public-access stations for student projects. I first announced myLikes: E. P. Dutton, 1975 A Computer Astrological Dating Service through my appearance as a guest on a local TV news programme. Although the school had done a limited Rosenblum, Robert. Modern Painting and the Northern Romantic Tradition: edition of prints by three visiting artists including myself, I thought this Friedrich to Rothko. New York: Harper & Row, 1975
16 150 Tutor: Selected Works 16 151 Tutor: Selected Works Joan Jonas Joan Jonas
← The Shape, the Scent, the Feel of Things, 2006, performance at Dia:Beacon, New York
↙ Organic Honey’s Vertical Roll, 1972, performance at Galleria Toselli, Milan, Italy
↓ Jones Beach Piece, 1970, performance at Jones Beach, New York
→ Reading Dante II, 2009, performance as part of Performa 09 at The Performing Garage, New York
↘ Lines in the Sand, 2002, performance at documenta 11, Kassel, Germany
17 160 Tutor: Lesson: 17 161 Tutor: Lesson: Miranda July In Mid-Air Miranda July In Mid-Air
Dear Reader mystery – you just thought up what you wanted like I might die of alienation if I couldn’t get it of the stage to direct the play while it was happe to do and then you did it. That it was difficult across. So I wrote a play about it. ning, until I suddenly realized this was crazy. My plan was to write ten pieces of advice for and risky was an obvious but irrelevant point. I was determined to make The Lifers When the audience applauded, I knew that this you, ten helpful hints that would be universally The point was freedom. ‘real’; I didn’t want it to be some embarrassing was what I would do for the rest of my life – not useful. The first one was easy, but after that I When I was sixteen, I started a corres student production. I called up the local free write plays specifically, but go out on a limb like stalled. It just seemed so unlikely that this pondence with a man in prison, Franko Jones. weekly and placed an ad for auditions for ‘A this, for an audience. would be a good way to teach anything. I’ve He wasn’t anyone I knew – I found his name New Play by Miranda July’, as if it were just the I wrote two more plays and put them always learned best by watching how other in the back of a magazine that listed ‘Prison latest offering from a well-known cultural figure. on at the same club. I started to act in them; people live: friends, the parents of friends, the Pen Pals’. I was the first person to write to him I held the auditions in a reggae club. I awarded this seemed healthier than creeping up along woman with the giant handbag in line ahead in twelve years, so he was very pleased to hear the role of Franko to a man in his thirties who the side of the stage. They got weirder. I got of me. Everyone has some trick you can steal, from me, a teenage prep-school student living was a drug and alcohol rehab counsellor. The punker – more experimental, less overtly nar or mistake you can avoid. I’ll tell you my origin in Berkeley, California. This was the first thing part of me was played by a twenty-five-year-old rative. But unlike really punk or arty girls, I story. Take what’s useful – never mind the rest. I had ever done that had nothing to do with Latina woman. We rehearsed in my parent’s attic always wanted to be understood. Each scene Mostly, the job of making things comes down my friends or family or anyone I knew. Our and performed the play, twice, at 924 Gilman was very meaningful to me, and I wanted to to why – a very personal why that will never be correspondence, which spanned three years, Street, the local all-ages punk club. do more than shock people or simply vent. completely understood, but surges through you, shook me up and scared me. It was exciting. The play itself was a bit conservative; In a scene from the (horribly named) Sink making you itchy and curious and nervous and I had to establish boundaries and explain I was influenced by local repertory theatre, You Up, I leaned against the graffiti-covered wildly overconfident. You can feel it right now who I was – and really see, for the first time, and the sound design was somewhat elaborate wall of the club and chatted with another girl; as you read this, humming in your chest, curling just how different a life could be from mine. for the scale of the production – I used lots of we pretended to be punk kids, just hanging in your thighs. You might even want to skip this But we had things in common. We were both sound effects. One was a recording of prisoners out – but every once in a while we abruptly and just get to it. lonely. We both daydreamed a lot and felt real banging their brooms against their cell doors screamed our real, anxious feelings to each My parents ran a small independent life was happening elsewhere. We both thought during a prison riot; Franko had recorded it live. other at the top of our lungs, talking double- publishing company. It was a family affair, and the other was exotic and treasured each other’s The sounds were played by a girl I had a crush time, before returning to the bored chatting. their hard-working, do-it-yourself ethic was letters and tapes. We both desperately wanted to on. A couple of months later, she would become The two conversations ran parallel until the imprinted on me for life. A giant mountain of be seen and understood. my first love. screaming friends agreed, on the count of empty cardboard boxes always filled one room; This relationship, this secret, was At the actual performance, I watched three, to break out of the chitchat by touching we packed them with books and lugged them burning up inside me. I was desperate to the play with horror. It was terrible to have no each other. I liked to be very literal about to the post office. Having a career was no great describe it in some new and better way. I felt control. In fact, I started to creep up to the side abstract things.
Myself aged 6 A birthday card Flyer for from Franko The Lifers
Campion, Jane, dir. Passionless Moments, 1983, film stilll featuring Rebecca Stewart
1 2
37 Sample Tutors: Biographies and pages Liam Gillick, Neo Rauch Selected Works and Christopher Williams
11 104 Tutor: 11 105 Tutor: 11 106 Tutor: Selected Works 11 107 Tutor: Selected Works Liam Gillick Liam Gillick Liam Gillick Liam Gillick
BORN / Aylesbury, Buckinghamshire, UK, 1964 / LIVES AND WORKS: New York
TRAINING: • BA, Goldsmiths College, University of London, 1984–87 • Diploma, Hertfordshire College of Art, UK, 1983–84
TEACHING POSTS: • Lecturer at Columbia University, New York, 1997–present • Lecturer at Center for Curatorial Studies, Bard ← The Desperate Edge of Now: The Documentary College, Annandale-on-Hudson, NY, 2008–present Films of Adam Curtis, e-flux, New York, 2012 Raised Laguna Discussion Platform (Job #1073), KEY WORKS: • 2013 ↓ Prototype Conference Room (Whitechapel • Complete Bin Development, 2012 Version), 2002 and 2008, permanent • Exterior Day Setting, 2012 installation, Whitechapel Gallery, London Linked Projection, • 2010 → Prototype Design for a Conference Room • Aix Pavilion, Chateau la Coste, Aix-en-Provence, 2010 (with joke by Matthew Modine arranged by Markus Weisbeck), • Fairmont Pacific Rim, Vancouver, 2009 1999, DAVID, Frankfurter • Odradek Wall, 1998–2011 Kunstverein, Frankfurt Am Main ↘ Edgar Schmitz, 2005, installation view, • Vincent Award, nomination, Stedelijk Museum, Amsterdam, Netherlands, 2008 AWARDS: ICA, London • Turner Prize, nomination, Tate Britain, London, 2002 • Paul Cassirer Kunstpreis, Berlin, 1998
2014: Esther Schipper, Berlin // 199A to 199B, Le Magasin, Grenoble, RECENT SOLO November 1 – December 21 (Liam Gillick AND TWO-PERSON France // 2013: Taru Naso, Tokyo // and Louise Lawler), Casey Kaplan, New York // For the Doors that are EXHIBITIONS: Welded Shut, Kerlin Gallery, Dublin // Margin Time 2 and Laguna Discussion Platform, Austin Museum of Art, TX // Highland Institute of Contemporary Art, Loch Ruthven, Scotland // Five Structures and a Shanty, Gallery IHN, Seoul, South Korea // 2012: From 199A to 199B: Liam Gillick, Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY // Casey Kaplan, New York // Scorpion or Felix, Galerie Eva Presenhuber, Zürich // Maureen Paley, London // 2011: Air de Paris // Galerie Micheline Szwajcer, Antwerp, Bel- gium // Museum Stzuki, Lodz, Poland // 2010: Esther Schipper, Berlin // Everything Good Goes, Meyer Kainer, Vienna // Discussion Bench Platforms/ A ‘Volvo’ Bar + Everything Good Goes, Casey Kaplan, New York // One long walk … Two short piers … , Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH, Bonn, Germany // 2009: How Will You Behave: A Kitchen Cat Speaks, 53rd Venice Biennale, Italy // Three Perspectives and a Short Scenario, MCA, Chicago // Wall Diagrams from the 1990s and early 2000s, Budweis House of Art, Czech Republic // Two Short Plays, Eastside Projects, Birmingham, UK // 2008: Three Perspectives and a Short Scenario, Witte de With, Rotterdam, Netherlands; Kunsthalle, Zürich, and Kunstverein, Munich, Germany // The State Itself Becomes a Super Whatnot, Casey Kaplan, New York // 2007: The State Itself as a Super Commune, Galerie Micheline Szwajcer, Antwerp, Belgium // 2006: Briannnnnn & Ferryyyyyy, Liam Gillick and Philippe Parreno, Kunsthalle Zürich // 2005: A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, Paris // Another 2004 Again, Baltimore Museum of Art, MD // 2004: Liam Gillick, Aspen Art Museum, CO // Övningskörning (Driving Practice), Milwaukee Art Museum, WI // 2003: Communes, Bars and Greenrooms, The Powerplant, Toronto, Canada // Projects 79: Literally, MoMA, New York // 2002: The Wood Way, Whitechapel Gallery, London //
2013: 9 Artists, Walker Art Center, Minneapolis, MN // One Foot in the RECENT GROUP Real World Unknown Forces, EXHIBITIONS: , Irish Museum of Modern Art (IMMA), Dublin // Tophane-i Amire, Istanbul // Contemporary Artists of the Donegal Diaspora, Regional Cultural Centre, Letterkenny, Ireland // 2012: Take Off Your Sil- ver Spurs and Help Me Pass the Time, Galerie Nikolaus Ruzicska, Salzburg, Austria // Abstract Possible: The Stockholm Synergies, Tensta Konstall, Stockholm // Busan Biennale, South Korea // Gesamtkunstwerk, 21er Haus, Belvedere, Vienna // 2011: Abstract Possible, Museo Tamayo, Mexico City, Mexico // Dublin Contemporary: Irish Biennale, IMMA, Dublin // Modern British Sculpture, Royal Academy of Arts, London, and Museum Stzuki, Lodz, Poland // 2010: 8th Shanghai Biennale, China // The Promises of the Past, Centre Pompidou, Paris // High Deals & Crazy Dreams, Vera Munro, Hamburg, Germany // Interference: Fields for listening and Praxis, The studio at Moderna Museet, Stockholm // It is it, Espacio 1414, Puerto Rico //
27 254 Tutor: 27 255 Tutor: 27 256 Tutor: Selected Works 27 257 Tutor: Selected Works Neo Rauch Neo Rauch Neo Rauch Neo Rauch
BORN / Leipzig, East Germany, 1960 / LIVES AND WORKS: Leipzig, Germany
TRAINING: • Masters Student, Hochschule für Grafik und Buchkunst, Leipzig, East Germany, 1986–90
• Student of Painting, Hochschule für Grafik und Buchkunst, Leipzig, East Germany, 1981–86
TEACHING POSTS: • Professor, Leipziger Hochschule für Grafik und Buchkunst, Leipzig, 2005–09 (Honorary Professor, 2009–present) • Assistant, Hochschule für Grafik und Buchkunst, Leipzig, Germany, 1993–98
KEY WORKS: • Die Müllerin, 2013 • Abendmesse, 2012 Das Blaue, • 2006 • Leporello, 2005 • Quiz, 2002
AWARDS: • Stiftungspreis der ökumenischen Stiftung Bibel und Kultur, Stuttgart, Germany, 2010 • Kunstpreis Finkenwerder, Hamburg, Germany, 2005 • Vincent van Gogh Biennial Award for Contemporary Art in Europe, Bonnefantenmuseum, Maastricht, Netherlands, 2002 • Art Award, Leipziger Volkszeitung, Leipzig, Germany, 1997
RECENT SOLO AND 2014: David Zwirner, New York // 2013: Neo Rauch: Gespenster, Galerie Neo Rauch: The Obsession of the Demiurge TWO-PERSON EIGIN + ART, Leipzig, Germany // – Selected Works 1993–2012, BOZAR – Palais des Beaux-Arts, Brussels // EXHIBITIONS: Neo Rauch: The Graphic Work/Das grafische Werk – Part 2, Grafikstiftung Neo Rauch, Aschersleben, Germany // 2012: Neo Rauch: Abwägung, Kunstsammlungen Chemnitz, Germany // Neo Rauch: The Graphic Work/Das grafische Werk,Grafik - stiftung Neo Rauch, Aschersleben, Germany // 2011: Neo Rauch: Heilstätten, David Zwirner, New York // Neo Rauch, Museum Frieder Burda, Baden-Baden, Germany // Neo Rauch: Begleiter. The Myth of Realism, Zachęta National Gallery of Art, Warsaw // Neo Rauch and Rosa Loy: Hinter den Garten, Essl Museum, Klosterneuburg, Austria // 2010: Neo Rauch: Begleiter, Museum der bildenden Künste Leipzig and Pinakothek der Moderne, Munich, Germany // 2009: Neo Rauch: Schilfland,Galerie EIGEN + ART, Berlin // 2008: Neo Rauch, David Zwirner, New York // 2007: Neo Rauch at the Met: para, Metro- politan Museum of Art, New York // 2006: Neo Rauch, Musée d'art contempo- rain de Montréal, Canada // Neo Rauch: Neue Rollen, Kunstmuseum Wolfsburg, Germany // 2005: Neo Rauch, Centro de Arte Contemporáneo de Málaga, Spain // Neo Rauch: Renegaten, David Zwirner, New York // Neo Rauch: Works 1994– 2000 – The Leipziger Volkszeitung Collection, Honolulu Academy of Arts, HI // 2004: Neo Rauch: Works on Paper 2003–2004, Albertina, Vienna //
2014: Andreas Gursky, Neo Rauch, Jeff Wall, Kestnergesellschaft, Hanover, RECENT GROUP The Big Picture: Desiderio, Fischl, Rauch, Saville, Tansey, EXHIBITIONS: Germany // Wilkinson Gallery, New York Academy of Art // Kunst und Alchemie – Das Geheimnis der Verwandlung, Stiftung Museum Kunstpalast Kulturzentrum Ehrenhof, Düsseldorf, Germany // 2013: Gegenlicht. German Art from the George Economou Collection, The State Hermitage Museum, St Petersburg, Russia // 2012: Contemporary Painting, 1960 to the Present: Selections from the SFMoMA Collection, SFMoMA, San Francisco // Looking Back for the Future, Kunsthalle Zürich // Müde Helden/Exhausted: Ferdinand Hodler – Aleksandr Dejneka – Neo Rauch, Hamburger Kunsthalle, Hamburg, Germany // Nightfall, MODEM Centre for Modern and Contemporary Arts, Debrecen, Hungary // Paintings from the Rubell Family Collection, Fundación Banco Santander, Boadilla, Spain // Sammlung Kunstmuseum Wolfsburg. Ausgewählte Werke von Carl Andre bis Sergej Jensen, Kunstmuseum Wolfsburg, Germany ↖ Abendmesse Sweethearts: Artist Couples, (Evensong), 2012, oil on canvas, // Pippy Houldsworth Gallery, London // 300 x 250 cm, private Cccollection Traumwelten – In the Court of the King of Dreams, Kunsthalle HGN, Duder- stadt, Germany // 2011: 4th Moscow Biennale: Rewriting Worlds, Russia ↑ Bon Si, Ordinary Madness: Contemporary Works from the Collection, 2006, oil on canvas, 300 x 420 cm, // 2010: Monique Zajfen Collection / The Broere Carnegie Museum of Art, Pittsburgh, PA // Charitable Foundation (The Vincent Award)
← Vater (Father), 2007, oil on canvas, 200 x 150 cm, private collection
→ Nest, 2012, oil on canvas, 300 x 250 cm, collection de Heus-Zomer, Barneveld
35 328 Tutor: 35 329 Tutor: 35 330 Tutor: Selected Works 35 331 Tutor: Selected Works Christopher Williams Christopher Williams Christopher Williams Christopher Williams
BORN / Los Angeles, 1956 / LIVES AND WORKS: Cologne & Düsseldorf, Germany, and Amsterdam, Netherlands
TRAINING: BA and MFA, California Institute of the Arts, Valencia, CA, 1978 and 1981
TEACHING POSTS: • Professor in Photography at the Kunstakademie
Düsseldorf, Germany, 2008–present
• Bergische Bauernscheune, Junkersholz, Leichlingen KEY WORKS: September 29th, 2009, 2010 • Untitled (Study in Brown) Dirk Schaper Studio, Berlin, April 30, 2009, 2009 • Kodak Three Point Reflection Guide, © 1968, Eastman Kodak Company, 1968, (Meiko laughing), Vancouver, B.C., April 6, 2005, 2005 • Tokuyo Yamada Hair designer Yukiko Saito Shinbiyo Shuppan Co., Ltd. Minami-Aoyama, Tokyo April 14, 1993 (Nr. 1), 1993, 1993 ← Fig. 2: Loading the film (ORWO NP15 135-36 ASA 25, Guatemala (from Angola to Vietnam*) Blaschka Manufactured by VEB Filmfabrik Wolfen, Wolfen, • German Democratic Republic) Model 227, 1891 Genus no. 1660, Family, Orchidaceae Exakta Varex IIa Lycaste Skinneri (Batem.) Lindl., 1989, 1989 35 mm film SLR camera Manufactured by Ihagee Kamerawerk Steenbergen & Co, AWARDS: • Grant, John Simon Guggenheim Memorial Foundation, New York, 2005 Dresden, German Democratic Republic • Grant, J. Paul Getty Trust, Los Angeles, 2004 Body serial no. 979625 (Production period: 1960–1963) 2014: Christopher Williams, Galerie Mezzanin, Vienna // The Production Line Carl Zeiss Jena Tessar RECENT SOLO AND of Happiness, The Art Institute of Chicago, IL, and touring to MoMA, New 50mm f/2.8 lens TWO-PERSON York // Whitechapel Gallery, London // 2013: Christopher Williams, Volker Manufactured by VEB Carl Zeiss Jena, Jena, German For Example: Dix-Huit Leçons Sur La Société EXHIBITIONS: Bradtke, Düsseldorf, Germany // Democratic Republic Industrielle (Revision 18), David Zwirner, London // ... (Revision 17), Serial no. 8034351 (Production period: 1967–1970) Galerie Gisela Capitain, Cologne, Germany // 2012: The Production Line of Model: Christoph Boland Happiness, Kabinett für aktuelle Kunst, Bremerhaven, Germany // 2011: ... Studio Thomas Borho, Oberkasseler Str. 39, (Revision 15), Museum Morsbroich, Leverkusen, Germany // ... (Revision 14), Düsseldorf, Germany House of Art / Gallery of Contemporary Art, České Budějovice, Czech Repub- June 25, 2012, 2012 (Revision 13), lic // ... Museum Dhondt-Dhaenens, Deurle, Belgium // ... inkjet print on cotton rag paper, 44.5 x 55.9 cm (Revision 12), Andrea Fraser/Christopher David Zwirner, New York // 2010: Williams, (Revision 11), Galerie Christian Nagel, Antwerp, Belgium // ... ↑ Untitled (Study in Yellow and Green/East Berlin) Staatliche Kunsthalle Baden-Baden, Germany // ... (Revision 10), Bergen Kun- Studio Thomas Borho, Oberkasseler Str. 39, sthall, Norway // 2009: ... (Revision 9), Galerie Gisela Capitain, Cologne, Düsseldorf, Germany (Revision 8), Mathias Poledna, Germany // ... Capitain Petzel, Berlin // July 7, 2012, 2012 Christopher Williams, (Re- Bonner Kunstverein, Bonn, Germany // 2008: ... inkjet print on cotton rag paper, 36.4 x 45.7 cm vision 7), (Revision 6), David Zwirner, New York // 2007: ... Kunsthalle (Revision 5), Take Zürich // ... Galleria d’Arte Moderna, Bologna, Italy // ← Bergische Bauernscheune, Junkersholz, That, (Revision 4), Haubrokshows, Berlin // 2006: ... David Zwirner, New Leichlingen, September 29th, 2009, 2010 (Revision 3), York // ... Museu de Arte Contemporanea de Serralves, Porto // archival pigment print on cotton rag paper, 43.8 x 55.9 cm (Mis)Understanding Photography: Works and Manifestos, 2014: Museum RECENT GROUP Propaganda für die Wirklichkeit, Folkwang, Essen, Germany // Museum Mors- → Clockwise from Manufacturer Name (Outer Ring) EXHIBITIONS: broich, Leverkusen, Germany // Take It or Leave it: Institution, Image, Michelin zX Ideology, The Hammer Museum, Los Angeles // What is a Photograph?, In Treadwear 200 ternational Center of Photography, New York // 2013: Il Palazzo Enciclo Traction A pedico/The Encyclopedic Palace, 55th Venice Biennale, Italy // Confusion Temperature B in the Vault, Museo Jumex, Mexico City // Life with Pop: A Reproduction Clockwise from Tire Size (Inner Ring) of Capitalist Realism, Kunsthalle Düsseldorf, Germany // Magnetic North, 135 SR 15 Ratio 3, San Francisco // Official Welcome– New Works of the Foundation 723 E2 0177523 for the Acquisition of Contemporary Art, Hamburger Bahnhof, Berlin // Tubeless Tradition. A selection from the Center for Research on Old Textiles (CS- Radial X ROT), Marres, Maastricht, Netherlands, and touring to Grazer Kunstverein, Made In France Graz, Austria // 2012: Ändere dich, Situation!, Stadtgalerie Schwaz, TN 2148 20-2044 Schwaz, Austria // A Blind Spot, Haus der Kulturen der Welt (HKW), Berlin Tread: 1 Polyester Ply // The Deutsche Börse Photography Prize, The Photographers̓ Gallery, + 2 Steel Plies London // Fremde überall/Foreigners Everywhere: Contemporary Art from Sidewall: 1 Polyester Ply the Pomeranz Collection, Jewish Museum, Vienna // Ghosts in the Machine, DOT FH PI AID X0607 New Museum, New York // Poule!, Fundación/Colección Jumex, Ecatepec, Canada and U.S. Codes Only Mexico // Stand still like the hummingbird, David Zwirner, New York // Max Load 355 Kg (780 Lbs) Max Press. 350 kPa (51 PSI) V-1 Photography by the Douglas M. Parker Studio, Glendale, California December 27, 2007 – January 2, 2008, 2008 gelatin silver print, 61 x 50.8 cm