December 1, 2017–February 26, 2018
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.
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."
Wednesday, February 14, 5–7 PM
Open House at The Brant Foundation
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.
Chandelier 37, 2006
Neon Glass: Chimba, el Aguero, La Cosa Sambrosa, La Mata de Sifilis, pucha, El timbre; three transformers, orange cord with three-plug, rope, armature wire, glass metal lantern, four fabric lamps, dream catcher, seven doll money boxes, gun belt, purse, metal mask, two rattles, wooden box, glass lead butterfly, and glass lead dragonfly
86 5/8 × 114 1/8 × 102 3/8 inches (220 × 290 × 260 cm)
Jason Rhoades (1965-2006) is known for his highly original, large-scale sculptural installations that incorporate industrial and everyday materials, and are inspired by Los Angeles car culture and his rural upbringing in Northern California, among other sources. Until his untimely death in 2006 at age 41, he carried out a continuous assault on aesthetic conventions and the rules governing the art world, wryly subverting those conditions by integrating them within his practice. He conceived his works as part of an ongoing project in which the installations were continuously altered and supplemented. In these works, dream catchers, oriental carpets, neon signs, power cords, building materials, and his own newly fabricated products were assembled and re-assembled in different configurations and also enlisted as part of performances and happenings within the installations. 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.
Chandelier 37 is a unique work that was first shown as part of Rhoades's largescale installation Tijuantanjierchandelier at the Centro de Arte Contemporáneo in Málaga, Spain, in 2006, and also presented at the 52nd Venice Biennale in 2007. These exhibitions incorporated references to four cities: Tijuana, Mexico; Tangiers, Morocco; Los Angeles, California; and Málaga, Spain, each with a loaded history of illegal immigration issues.
Visually striking, the colorful, complex "chandelier" is made up of an assortment of objects with no immediately discernible relationship, but which each nonetheless hold significance within Rhoades's larger oeuvre. Immersing the viewer in loose-hanging wires, myriad souvenir-like objects, used garments, religious memorabilia, and neon-illuminated signs that spell out slang terms for female genitalia, this work embodies the artist's exploration of the crossovers and idiosyncrasies between religious, sexual, and consumer experiences.
Installation view of Black Pussy
Installation view of Black Pussy
Trim (Idol 75)