Installation view of the exhibition, Black Pussy, at David Zwirner in New York, dated 2007.
Installation view of the exhibition, Black Pussy, at David Zwirner in New York, dated 2007.
Installation view of the exhibition, Black Pussy, at David Zwirner in New York, dated 2007.
Jason Rhoades
Upcoming Exhibition at David Zwirner
October 2019
New York
Installation view of Tijuanatanjierchandelier, by Jason Rhoades, at the 52nd Venice Biennale in 2007.

Jason Rhoades
October 24—December 7, 2019

This fall, David Zwirner will present an exhibition devoted to Jason Rhoades’s immersive, large-scale installation Tijuanatanjierchandelier. This monumental work—one of the last installations made during the artist’s lifetime—exemplifies Rhoades’s singular investigation of contemporary culture and his career-long interest in pushing the limits of convention.

Referencing the border cities of Tijuana, Mexico, and Tangier, Morocco, Tijuanatanjierchandelier explores the rise of tourism, consumerism, and globalization that have affected the production and consumption of goods among first- and third-world cultures. This visually striking installation, composed of imposter handbags, sombreros, Moroccan hanging lights, and maracas—among other souvenirs and trinkets—is reminiscent of a bazaar or marketplace. The refuse from global culture is intermingled with Spanish and English euphemisms for the vagina, spelled out in iconic neon signs that are at once offensive, transgressive, and absurd. The central hanging elements are crafted to resemble chandeliers, a luxury consumer good. The contents of the sculpture conflate a crude blend of sex, consumerism, and the commercialization of culture as souvenir.

Tijuanatanjierchandelier was first exhibited in Malaga, Spain, at the Centro de Arte Contemporaneo, in 2006, and was presented at the 52nd Venice Biennale the following year.

Image: Installation view, Jason Rhoades, Tijuanatanjierchandelier, 52nd International Art Exhibition - La Biennale di Venezia, Think with the Senses - Feel with the Mind. Art in the Present Tense, curated by Robert Storr, 2007. Photo by A. Burger

 

Kerry James Marshall and Jason Rhoades at the New ICA Miami
2017

December 1, 2017–February 26, 2018

Work by Kerry James Marshall and Jason Rhoades was included in The Everywhere Studio, a major group exhibition inaugurating the new permanent home of the Institute of Contemporary Art in Miami.

The exhibition, which explored the importance of artists' studios from the post-war period to the present day, included a photograph by Marshall titled Black Artist (Studio View) (2002) and Rhoades's installation Mixing Desk and Chair / Yellow Ribbon in Her Hair (2002).

Designed by the Spanish firm Aranguren + Gallegos Arquitectos, ICA Miami's new 37,500-square-foot location in the city's Design District provides double the exhibition space of its former building, with the addition of a 15,000-foot sculpture garden.

Solo Exhibition at The Brant Foundation Art Study Center, Connecticut
2017
A sculpture by Jason Rhoades, titled The Grand Machine / THEAREOLA, dated 2002.
A sculpture by Jason Rhoades, titled The Grand Machine / THEAREOLA, dated 2002.
A sculpture by Jason Rhoades, titled The Grand Machine / THEAREOLA, dated 2002.
Jason Rhoades
The Grand Machine / THEAREOLA, 2002

November 12, 2017–April 1, 2018

The Brant Foundation Art Study Center presented an exhibition by Jason Rhoades (1965-2006) featuring a selection of works from The Brant Collection and other significant works from throughout his career. By bringing together iconic installations and rarely seen sculptures, the exhibition offered an insightful look at Rhoades's powerful and persuasive oeuvre. The artist is known for his highly original, large-scale sculptural installations, of which the significant examples My Brother/Brancuzi (1995), The Grand Machine / THEAREOLA (2002), and Untitled (from the body of work: My Madinah: In pursuit of my ermitage…) (2004) will feature in this exhibition. A selection of videos pertaining to the works on view will also be presented.

Until his untimely death in 2006 at age 41, Rhoades carried out a continuous assault on aesthetic conventions and the rules governing the art world, wryly subverting those conditions by activating them within his practice. He conceived his works as part of an ongoing project in which the installations were continuously altered and supplemented. Underpinned by a unique combination of humor and conceptual rigor, his practice redefined and expanded the space in which artworks are both made and exhibited. With a firm belief in the ultimate freedom of expression for artists, Rhoades circumvented notions of taste and political correctness in a candid pursuit of the creative impulse itself.

In a review of the exhibition in Forbes, Clayton Press writes, "Rhoades was an adventurer, who might be called a 4-H Club romantic. The 4-H slogan is 'Learn by Doing.' Rhoades did . . . The complexity of Rhoades's installations is exceptional, often consisting of seemingly countless components. Large installations are filled with smaller ones. Smaller ones are composed of groups and units . . . For The Brant Foundation Art Study Center to undertake this exhibition demonstrates its serious commitment to scholarship."

Related Event:

Wednesday, February 14, 5–7 PM
Open House at The Brant Foundation

Unlimited at Art Basel
2017
Installation of Rhoades's Sutter's Mill

The gallery presented Sutter's Mill, an installation by Jason Rhoades, in Art Basel Unlimited 2017.

Sutter's Mill (2000) is Rhoades's reconstruction of Gold Rush pioneer John Sutter's still-extant water-powered sawmill in Coloma in California, near the artist's childhood home. Using aluminum pipes from Rhoades's 1999 Perfect World installation at the Deichtorhallen Hamburg, the life-size structure was first presented at David Zwirner in New York in 2000. Per the artist's instructions, the installation in Art Basel Unlimited will be constantly dismantled and rebuilt by trained handlers during the course of the fair. Next to the model of the mill, various items including replacement pipes, protective headgear, and polishing cloths are laid out on wooden stands to indicate that work is always in progress.

As the art historian Eva Meyer-Hermann notes, the mill is "a symbol not only of artistic production (signified by the gold), but also of a creative process that in principle will never reach a conclusion and that will also never be available to the recipient in a neatly packaged form." Sutter's Mill was included in the critically acclaimed exhibition Jason Rhoades, Four Roads, which travelled from the Institute of Contemporary Art in Philadelphia to the Kunsthalle Bremen in Germany and the BALTIC Centre for Contemporary Art in Gateshead in England in 2013-2015.