For the Love of God
 
"Now we understand much more clearly why people from all over the world want to come to New York and to America. It's called freedom." - former NY Mayor, Rudy Giuliani
 

 

 

 

 

 

 

 

 

 

 

 

 

Kara Walker, A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and
overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens
of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant
, 2014.

 

Creative Time

 

 

 

 

 

 

 

 

 

 

 

 

 

"Durant stages his archive as a spatial unconscious where repressed contents return disruptively and different practices mix entropically. Of course the return of the repressed is not easily reconciled with the slide into the entropic, but Durant intimates a third model that comprehends these other two: the framing of a historical period as a discursive episteme almost in the sense of Michel Foucault, with 'interrelated elements [placed] together in a field.' Durant is drawn to two moments within the archive of postwar American culture in particular: late modernist design of the 1940s and '50s (e.g., Charles and Ray Eames) and early postmodernist art of the 1960s and '70s (e.g., Robert Smithson). Today the first moment appears distant, but as such it has become subject to various recyclings, and Durant offers a critical perspective on both the original and its repetitions. The second moment is far from closed: it includes 'discourses that have just ceased to be ours,' and so might indicate 'gaps' in contemporary practice - gaps that might be converted to beginnings (again, this is the attraction of this threshold for some young artists)." - Hal Foster in An Archival Impulse

   
Sam Durant, Char #1, 1995.
Sam Durant, Chair #3, 1995.

 

 

 

 

 

 

 

 

 

 

"Allusions to 'utopian' and 'dystopian' events in rock culture also collide as recordings from Woodstock and Altamont play through speakers buried in dirt mounds. These conflicting signs erupt together in this archival space, yet they also appear entropic there: different terms converge and opposite positions blur in a devolution of vanguard art, counter- cultural music, and state power. In this way Durant not only sketches a cultural-political archive of the Vietnam era, but also points to its entropic slide into semiotic melange, into media myth." - Hal Foster in An Archival Impulse
Sam Durant, Proposal for Monument at Altamont Raceway, Tracy, California, 1999.
Death of Meredith Hunter at the Hands of Hell's Angels during Free Concert at Altamont Raceway

 

 

 

 

 

 

 

 

 

 

Sam Durant, Proposal for Monument in Friendship Park, Jacksonville, Florida, 2000.
Wood, fiberlass, aluminum, stereo, turntables, speakers, record albums, trash can, etc
variable dimensions.

 

 

 

 

 

 

 

 

 

 

Sam Durant, Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., 2005.
MDF, fiberglass, foam, enamel, acrylic, basswood, balsa wood, birch veneer, and copper;
30 monuments: dimensions vary, architectural model 48” x 150” x 16".

 

 

 

 

 

 

 

 

 

 

Sensation 1997 - 1999
1997 Royal Academy of Art, London
1998 Hamburger Bahnhof museum, Berlin
1999 National Gallery of Australia - canceled when the gallery's director decided the exhibition was "too close to the market."
1999 Brooklyn Museum of Art, New York

 

 

 

 

 

 

 

 

 

 

British businessman and the co-founder of advertising agencies Saatchi & Saatchi and M&C Saatchi.
 
Known for his vast art collection and patronage of
YBAs = Young British Artists
 
(Also known for chocking his now ex-wife, celebrity cook Nigella Lawson, while arguing at an outside eatery.)
 

 

 

 

 

 

 

 

 

 

 

Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991.

 

 

 

 

 

 

 

 

 

 

1991 Saatchi commissioned for £50,000
Because the original carcass was badly preserved, in 1993 the gallery gutted the shark and stretched the skin over a fiberglass mold
 
Another shark was caught off Queensland (a female that was 25 to 30 years old) and eventually replaced the decayed original
 
2004 Saatchi sold for £7 million
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Damien Hirst, A Thousand Years, 1990.

 

 

 

 

 

 

 

 

 

 

Damien Hirst, The Little Piggy Went to the Market, This Little Piggy Went Home, 1996.

 

 

 

 

 

 

 

 

 

 

Damien Hirst, Some Comfort Gained from the Acceptance of the Inherent Lies in Everything, 1996.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Marc Quinn, Self (blood head), 1991.

 

 

 

 

 

 

 

 

 

 

Dead Dad
Ron Mueck, Dead Dad, 1996 - 1997.

Ron Mueck, Dead Dad, 1996 - 1997. (detail)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A Girl
Two Women
Ron Mueck, A Girl, 2006.
Fibreglass, silicon, polyurethane foam, acrylic fibre, paint, mixed media, 110.5 x 501 x 134.5 cm.

Ron Mueck, Two Women, 2005.

 

 

 

 

 

 

 

 

 

 

Jake and Dinos Chapman, Great Deeds Against the Dead, 1994.
Francisco de Goya, Great Deeds Against the Dead, 1810.

 

 

 

 

 

 

 

 

 

 

Jake and Dinos Chapman, Great Deeds Against the Dead, 2003.