Richard Dupont_SELFIE by Secci

RICHARD DUPONT SELFIE

edited by Eduardo Secci Texts by MARCO bazzini

RICHARD DUPONT SELFIE

richard dupont selfie 25 settembre 30 dicembre 2014 Firenze Eduardo Secci Contemporary

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ÂŠ 2014 Eduardo Secci Contemporary

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Translations NTL Nuovo Traduttore Letterario Printing Bandecchi e Vivaldi First published in Italy in 2014 Eduardo Secci Contemporary s.r.l. soc. unip Via Maggio 51/R 50125, Firenze T. 055661356 www. eduardosecci.com

Firenze

sommario contents

6 selfie secondo according to richard dupont Marco Bazzini

21 OPERE WORKS 84 biografia BIOGRAPHY

Selfie secondo according to Richard Dupont

Nel mese di Ottobre 2013 su una delle più note e utilizzate applicazioni con cui scattare e condividere immagini, Instagram, erano oltre 140 milioni le foto postate con l’hashtag #me. Un numero impressionante e a distanza di un anno sicuramente cresciuto in maniera esponenziale che riesce a testimoniare soltanto una parte del fenomeno del Selfie, ovvero, di quella necessità di autorappresentarsi, qui e ora, che ha contagiato molte persone in ogni angolo di mondo. Una necessità primariamente narcisistica che nasce da quel continuo de-

Marco Bazzini In the month of October 2013, on one of the best-known and most widely-used photo capture and sharing applications, Instagram, more than 140 million photos with the hashtag #me, were posted. This is an impressive number and one year later, it has certainly grown exponentially. It bears witness to just one part of the Selfie phenomenon, in other words, the need for self-portrayal, here and now, that has been transmitted to so many people in every corner of the world. This primarily narcissistic need grows from the continual desire to refine

siderio di affinare e migliorare la nostra immagine verso gli altri. Nello stesso anno, a certificare la sua ormai piena accettazione, selfie è entrata come nuova occorrenza nell’Oxford Dictionary: “fotografia che una persona ha fatto di se stessa, normalmente con uno smartphone o una webcam, e poi ha pubblicato su uno dei social media”. Da questa possibilità di poter sempre e in ogni luogo accedere a un veloce e sempre pronto autoscatto, si è originato un flusso continuo di volti e facce, accomunate dalle stesse stereotipate espressioni, ora raccolto essenzialmente sul web, dando così vita alla più grande galleria in cui è esposta l’ossessione più tipica del nostro tempo: il voler presentarsi più come “vorremmo essere” che come siamo in realtà. D’altronde una cifra del contemporaneo è il continuo riarticolare la nostra identità, un’esigenza cui siamo chiamati per generare nuove narrazioni del sé 8

and improve our image of ourselves in the eyes of others. The same year, 2013, to certify its full acceptance, the word selfie became a new entry in the Oxford Dictionary: “a photograph that one has taken of oneself, typically one taken with a smartphone or webcam and uploaded to a social media website”. With this possibility of having ready access to a shot of oneself, anytime, anywhere, there has been a continuous stream of faces and visages, united by the same stereotyped expressions, now collected mainly on the web, creating the largest gallery in which the most typical obsession of our time can be exhibited: the desire to show ourselves as “we would like to be” rather than the way we are in reality. On the other hand, a feature of contemporary life is our continuous re-stating of our identities, a need that requires us to generate new narratives of

e del sé con gli altri. Tuttavia, questa ridefinizione del sé dovrebbe avvenire nel passaggio da un’esperienza all’altra, attraverso il nostro rapporto con il mondo, facendo “fare palestra” anche al nostro cervello e non soltanto al nostro corpo, come ci dicono le neuroscienze. La nostra vita comincia, si sviluppa e finisce cercando di scoprire chi siamo, combattendo per afferrare e affermare la nostra identità. Un’affermazione che non avviene semplicemente con la manifestazione continua e sempre nuova della nostra immagine. L’identità non è soltanto questione di scatti o di voler apportare modifiche al proprio corpo anche con le più aggiornate tecniche della medicina chirurgica. Alcuni commentatori e studiosi riconducono, forse troppo velocemente, il fenomeno del selfie al genere dell’autoritratto fino a individuarne la paternità nelle polaroid di Andy Warhol, non a caso anch’esse caratterizzate da una tec9

the self and the self with others. However, this redefinition of the self should occur while moving from one experience to another, through our relationship with the world, through mental as well as physical “workouts”, as neuroscience tells us. Our life begins, develops and ends in the quest to discover who we are, struggling to grasp and affirm our identity. This affirmation does not occur simply with an ongoing and always fresh photographing of our image. Identity is not merely a question of snapshots or wanting to change one’s body with the most cutting edge surgical techniques. Some commentators and scholars connect, perhaps too quickly, the phenomenon of the selfie to the self-portrait genre to identify authorship in the Polaroids of Andy Warhol. Not coincidentally, these are also characterized by a technique that allowed the snapshot to be visualized almost instantly

nica che permetteva la pressoché istantanea visione dell’immagine (in questa relazione forse influenzati anche dal formato quadrato ripreso proprio da Instagram e da altre applicazioni di fotografia digitale). Ma siamo sicuri che la questione stia proprio così? Giacché la capacità di autorappresentarsi è problema ben più complesso del fare un’artificiale immagine di sé o del dare una semplice certificazione di presenza sulla pubblica piazza elettronica. Gli artisti conoscono bene il monologo interiore e l’intima pulsione necessari per ritrarsi. E di ciò ne abbiamo giusta e ineguagliabile testimonianza a Firenze dove da 350 anni, ovvero, da quel 1664 in cui Leopoldo dei Medici inizia l’eccezionale e sistematica collezione, gli Uffizi conservano e raccolgono la più vasta raccolta al mondo di autoritratti di pittori e scultori; un cospicuo corpus di opere che dalla modernità giunge fino ai nostri giorni, dove questo genere sembra 10

(perhaps also influenced by the square format used by Instagram and other digital photography applications). But are we sure that this is how it is? The capacity for self-portrayal is a far more complex problem than that of making an artificial image of oneself or simply certifying one’s presence in the cyber piazza. Artists are familiar with the inner monologue and inner drive required for self-portrayal. And we have excellent and unparalleled testimony of this in Florence, where for 350 years, or from 1664, when Leopoldo de’ Medici in 1664 began his outstanding and systematic collection, the Uffizi has been preserving and collecting the largest collection in the world of self-portraits by painters and sculptors. This substantial corpus of works ranges from modernity to the present day, when this genre seems to have found a new focus and new forms

aver ritrovato una nuova attenzione e nuove forme superando la tradizionale iconografia del mezzo busto. Un genere frequentato dagli artisti, quello dell’autoritratto, che ha superato tutti i tempi, ha segnato una costante nella storia dell’arte e, che ben più di una moda, sa raccontare la vera e propria evoluzione della ricerca dell’io in ogni epoca. Se nel ritratto appare essenziale che quanto dipinto debba essere somigliante al soggetto, nell’autoritratto è tollerato un ampio grado d’incertezza perché questo è prima di tutto un prodotto d’immaginazione e di memoria. Entrambi potrebbero essere paragonati a una mappa che sappiamo non rispecchiare bene le caratteristiche complete del territorio che presenta, o meglio rappresenta. Soltanto che il ritratto è più simile alla mappa che teniamo in mano e guardiamo per orientarci, mentre l’autoritratto corrisponde alla mappa di noi stessi prodotta dal cervello. In questo caso non c’è 11

beyond the traditional iconography of the half-length portrait. The self-portrait is a genre frequented by artists. It has endured over time, marking a constant feature in the history of art and, far more than a fashion, recounts the real evolution of research into the ego in each period. While in the portrait, it is crucial that the painting resemble the subject, in the self-portrait, a large degree of uncertainty is tolerated, because this is, first and foremost, a product of imagination and memory. Both could be compared to a map that we know does not properly and completely reflect the features of the territory that it is showing, or better, representing. Except that the portrait is more similar to the map that we hold in our hand and look at to get our bearings, while the self-portrait corresponds to the map of ourselves produced by the brain. In this case, there is no distinct ego that reads, observes and, if necessary, produces;

un io distinto che legge guarda e, eventualmente, produce; tutto avviene dentro di noi, “il mio cervello – scrive la filosofa e neurobiologa Patricia S. Churchland – fa ciò che fanno i cervelli e non c’è un io distinto che legge le mappe del cervello.” Se oggi queste mappe è possibile guardarle, e in un futuro poterlo fare ancora meglio, è grazie allo sviluppo della tecnologia digitale in campo biomedico con cui è possibile correlare la nostra attività cerebrale scansionata, in cui si colorano differentemente alcune aree, con la nostra esperienza soggettiva. Una possibilità che offre maggior trasparenza rispetto al nostro corpo percepito oscuro e impenetrabile ma che però produce anche una nuova e inedita chiusura in quanto la scansione sarà direttamente la nostra esperienza soggettiva, con buona pace per coloro che continuano a credere, anche secondo la tradizione filosofica e non solo religiosa, nel ruolo dell’anima come origine del pensiero, percezione, speranze, 12

it all happens within us. “My brain - writes the philosopher and neurobiologist Patricia S. Churchland- does what brains do and there is no distinct ego that separates the maps of the brain.” If it is possible to look at these maps today, and in the future make them even better, it is thanks to the development of digital technology in the biomedical field with which it is possible to correlate our scanned brain activities, which are differently coloured in some areas, with our subjective experience. This is one option that offers greater transparency with respect to our body perceived as dark and impenetrable but which also produces a new and unprecedented closure, inasmuch as the scan will be our direct subjective experience, with all due respect for those who continue to believe, also according to philosophical and not only religious tradition, in the role of the soul as the source of thought, perception, hopes, dreams, de-

sogni, decisioni e sentimenti, come a suo tempo aveva ritenuto Cartesio cadendo in errore. In una tale prospettiva l’idea dell’autoritratto quale accesso privilegiato dell’anima, almeno secondo l’opinione comune recuperata da un’idea romantica, non si adatta più alla nostra epoca. In questo grande gioco del rappresentare se stessi appena descritto, dal selfie alle nuove tecnologie come la tomografia computerizzata, passando ancora una volta per l’autoritratto, che da sempre accompagna la nostra storia, Richard Dupont entra a tutto tondo e compie un passo laterale, così come si richiede a un artista. L’approfondita e articolata analisi del suo corpo, o di altri frammenti anatomici dello stesso come le mani, che caratterizzano i suoi lavori esulano dall’effetto di una ricerca che aspira alla diretta rassomiglianza del soggetto per fare prima di tutto un’opera che ritrova la sua autonomia formale e una memo13

cisions and feelings, as in Descartes’ error. From this perspective, the idea of the self-portrait as a privileged access to the soul, at least according to the common opinion retrieved from a romantic idea, is no longer suited to our era. In this great game of self-portrayal just described above, from the selfie to the new technologies like computerized tomography, and again to the self-portrait that has always accompanied our history, Richard Dupont enters full on and takes a step sideways, as is required of an artist. The in-depth and detailed analysis of his body, or other anatomical fragments of it such as his hands, that characterize his works, go beyond the effect of a research that aspires to a direct resemblance to the subject to, first of all, make a work that finds its formal autonomy and a memory. In his case, the digital and liquid work, easily manipulated with software, since 2001 has been based on a single matrix that

ria. Nel suo caso quella digitale, liquida e facilmente manipolabile attraverso i software, che dal 2001 è all’origine di tutto il suo percorso come unica matrice, dopo averla acquisita tramite l’intera scansione del suo corpo realizzata presso una base militare statunitense. Un modo diverso di prendersi carico del proprio corpo, che avviene nello stesso anno in cui termina il progetto della mappatura del genoma umano, e quindi quando si assume la piena consapevolezza da parte della comunità scientifica che l’informazione biologica è codificabile in maniera digitale, manipolabile e potenzialmente riproducibile. Dupont sembra cogliere immediatamente la possibilità di poter vedere e misurare il nostro corpo in maniera totalmente differente rispetto al passato e non perde occasione per aprire dei nuovi spazi in cui s’incrociano dispositivi avanzati di elaborazione digitale e tensioni creative. La nozione di corpo creata sulla nuda referenza 14

he acquired after having his body scanned at a United States military base. A different approach to one’s own body, this was done in the same year that the project for mapping the human genome ended, and therefore at the time that the scientific community became fully aware that biological information could be digitally coded, manipulated and potentially reproducible. Dupont seems to immediately seize the possibility for seeing and measuring our body in a way that is totally different from that of the past. He never misses an opportunity to open up new spaces where advanced digital processing and creative tensions intersect. The notion of a body created on the bare reference of images made using post-ocular technology, or the ability to look beyond the capacities of the eye, fixing an image of it, introduces the idea of an organism and makes the body an object. But the body-thing we know through these imaging

d’immagini nate dalla tecnologia post-oculare, ovvero il poter guardare oltre la capacità dell’occhio fissandone un’immagine, introduce l’idea di organismo e fa del corpo un oggetto. Ma il corpo-cosa che conosciamo attraverso questi dispositivi di imaging non è un’altra realtà ma la stessa presente in un’altra modalità. Una modalità che Dupont coglie per porre in questione le fantasie e le filosofie dominanti che fissano il nostro essere e danno origine alle nostre identità. La possibilità che il nostro si trova davanti, grazie al suo corpo-cosa digitale, è quella di potersi smontare e rimontare, di funzionare come un’eterna dissolvenza, di scomporsi e ricomporsi. Ma è anche la modalità per continuare 15

devices is not another reality, but the same reality in a different mode. Dupont uses this mode to call into question the prevailing fantasies and philosophies that establish our being and give us our identities. The possibility that ours has, and that is right in front of us, thanks to its digital body-thing, is that of being disassembled and reassembled, of functioning as an eternal dissolving process, decomposing and recomposing itself again. But it is also the way to continue to experiment around sculpture, once again using the most advanced technologies such as 3D printer with which he makes most of his works. His idea of sculpture is based on coming into being, mutation and malleability,

a sperimentare intorno alla scultura avvalendosi ancora una volta delle più avanzate tecnologie come la stampante 3D con cui realizza buona parte delle sue opere. La sua idea di scultura è basata sul divenire, sulla mutazione e sul duttile, caratteri che ritrova nei software che utilizza, così come nei materiali. In Bifurcated (2007) un corpo senza testa appare nelle sue estremità dilungato, delineato da piani sghembi e aperture curvilinee. Se non fosse per la cultura cinematografica di cui siamo intrisi tanto da farcelo apparire come un personaggio uscito da qualche film di fantascienza, potrebbe sembrare anche una figura manierista per quella sua bizzarria nelle forme. Forme che sembrano lasciarsi andare, accettare la sfida del materiale come succede nelle grandi teste della serie Going Around by Passing Through (2013-2014) che pendono dalla parete, e che non sono riconoscibili come invece è la testa di Medusa che 16

characteristics of the software he uses, as well as the materials. In Bifurcated (2007), a headless body appears in its drawn out extremity, outlined by twisted planes and curved openings. If it were not for the cinema culture that pervades us to the point of making it look like a character straight out of some science fiction movie, it could also seem like a Mannerist figure for the bizarreness of its shapes. These forms seem to let themselves go, to accept the challenge of the material as is the case in the large heads of the series Going Around by Passing Through (2013-2014) that hang from the wall, and are not recognizable like the head of Medusa hanging from the raised arm of Perseus in Benvenuto Cellini’s Mannerist masterpiece, in the Loggia dei Lanzi in Florence. In this case, Dupont, as well as incorporating the iconographic tradition of the

penzola dal braccio alzato del Perseo nel capolavoro manierista di Benvenuto Cellini, visibile a Firenze sotto la Loggia dei Lanzi. In questo caso Dupont oltre a riprendere la tradizione iconografica dell’uomo scorticato, che si ritrova anche in un disegno di Gaspare Becerra, autore delle tavole dell’ “Anatomia del corpo umano” di Juan Valverde de Amusco, e prima nel michelangiolesco San Bartolomeo della Cappella Sistina, sembra ritornare all’Häutung (1984) di Joseph Beuys o alle esperienze della seconda metà degli anni sessanta di Richard Serra, Robert Morris e Bruce Nauman quando appendendo diversi materiali, tra questi feltro e gomma, lasciavano che assumessero una loro naturalità di forma. Non era altro che un modo per continuare a indagarla e arricchirla di altre desinenze. Una modalità, quella dell’appendere a parete materiali morbidi, che appartenne anche a Oldenburg e ai suoi oggetti, basti pensare a Soft Ladder, 17

skinned man, which is also found in a drawing by Gaspar Becerra, author of the panels “Anatomy of the Human Body” by Juan Valverde de Amusco, and before that in Michelangelo’s St. Bartholomew in the Sistine Chapel, seems to return to the Häutung (1984) by Joseph Beuys or the mid-Sixties experiments by Richard Serra, Robert Morris, and Bruce Nauman, when hanging various materials, including felt and rubber, allowed them to take on their natural shape. It was nothing more than a way to continue investigating and endowing them with other desinences. The method of hanging soft materials on the wall was also used by Oldenburg for his objects. One only has to think of Soft Ladder, Hammer, Saw and Bucket (1967). In an interview with Rosalind Krauss in 1973, Oldenburg talked about his objects’ resemblance to himself, his skin,

Hammer, Saw and Bucket (1967). In un’intervista con Rosalind Krauss del 1973 Oldenburg racconta della somiglianza che i suoi oggetti hanno con lui, con la sua pelle, con il suo corpo. Ogni oggetto di Oldenburg può essere quindi inteso come un autoritratto. Così come lo è per Dupont. Non c’è bisogno di riconoscere il viso nell’autoritratto contemporaneo, anzi sua caratteristica sembra quasi quella di occultare volto e testa. Ruolo importante lo giocano i frammenti e tra questi le mani che da sempre crediamo siano un’altra espressione in cui poter leggere i sentimenti. Nella serie di disegni intitolati Biometry (2014), ancora una volta Dupont non fugge dalla storia ma la attualizza enfatizzando sul foglio di carta effetti da pittura astratta con quella fine retinatura dal colore nero, rosso, blu e viola che è propria della geometria del perimetro del corpo derivante dalla scansione. Un effetto che evoca la tridimensionalità e che 18

his body. Each one of Oldenburg’s objects could therefore be understood as a self-portrait. It is the same for Dupont. There is no need to recognize the face in the contemporary self-portrait. On the contrary, one of the main characteristics seems to be that of concealing the face and head. An important role is played by these fragments and by the hands, which we have always believed to be another expression in which feelings can be read. In the series of drawings entitled Biometry (2014), once again Dupont does not flee from history but makes it concrete by emphasizing abstract painting effects on paper, with that fine mesh in black, red, blue and purple, characteristic of the geometry of the scanned body’s perimeter. This evokes the three-dimensional effect that once again refers to the body-object

ancora una volta rimanda all’oggetto corpo o, in alternativa, alla sua immaterialità su uno schermo. Schermo come limite, superficie, confine tra noi e il mondo, è la nostra epidermide, che se stampata con le nuove tecnologie si trasforma in paesaggi lunari o in superfici dal forte aspetto materico avversando, però, ogni imperfezione come avviene in DEM (2013) o in The Last Invocation (2013). Fare arte, come fare scienza, non significa abbandonare la presenza, il modo di mondanizzarsi, ma adottare nel mondanizzarsi un’ottica diversa per meglio analizzare i fenomeni. Con un unico selfie, Dupont procede non nel realizzare la semplice riproduzione di se stesso ma nel dispiegare differenti tracce, a partire da se stesso, che rappresentano una possibile evoluzione culturale che influenza il senso dell’identità e dell’io nella nostra società.

or, alternatively, to its immateriality on a screen. The screen provides a limit, a surface, the boundary between us and the world. It is our skin, and when printed with the new technology, turns into lunar landscapes or areas with a strong material aspect, but contrasting every imperfection as is the case with DEM (2013) or The Last Invocation (2013). Making art, like doing science, does not mean abandoning the presence, the way of making things mundane, but in making them mundane adopting a different perspective to better analyze phenomena. With a single selfie, Dupont manages to achieve not simply a reproduction of himself, but the development of different lines, starting with himself, lines that represent a possible cultural evolution that affects the meaning of identity and ego in our society.

OPERE WORKS

Biometry 110 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 112 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 111 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 114 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 113 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 115 oil on handmade Indian paper 79 x 58 cm 31" x 23"

30 Biometry 118 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 119 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 117 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 116 oil on handmade Indian paper 79 x 58 cm 31" x 23"

32 Biometry 121 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 120 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 122 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 123 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 124 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 115 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 126 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 127 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 128 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 129 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 130 oil on handmade Indian paper 79 x 58 cm 31" x 23"

42 Biometry 131 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 132 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 133 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 134 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 136 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 135 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 137 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 138 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 143 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 140 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 139 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 142 oil on handmade Indian paper 79 x 58 cm 31" x 23"

50 Biometry 141 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 144 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 148 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 146 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 145 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 150 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 149 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 147 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 151 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 152 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 153 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 154 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 156 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 157 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 155 oil on handmade Indian paper 79 x 58 cm 31" x 23"

60 Biometry 158 oil on handmade Indian paper 79 x 58 cm 31" x 23"

Biometry 159 oil on handmade Indian paper 79 x 58 cm 31" x 23"

DEM 2, 2013 Vacuum formed Kydex 109 x 161 x 8 cm 43" x 63.25" x 3" Edition of 4 (+2AP)

DEM 1, 2013 Vacuum formed Kydex 109 x 161 x 8 cm 43" x 63.25" x 3" Edition of 4 (+2AP)

Sacco 1, 2013 milled high density urethane, paint 173 X 173 x 8 cm 68" X 68" x 3"

Sacco 2, 2013 milled high density urethane, paint 112 x 173 x 10 cm 44" x 68" x 4"

The last Invocation 2013 Found and altered vacuum formed rubber relief map (framed) 159 x 157 x 10 cm 62.5â&#x20AC;? x 62" x 4"

Going Around by Passing Through 2 2013 Silicone rubber 183 x 51 x 41 cm 72" x 20" x 16"

Degraded Mask 1, 2014 cast polyurethane and pigment 71 x 71 x 15 cm 28" x 28" x 6"

Degraded Mask 2, 2014 cast polyurethane and powder pigment 94 x 69 x 13 cm 37" x 27" x 5"

Untitled (bifurcated) 2007 cast pigmented archival polyurethane resin 71 cm - 28 inches tall ed. 3

78 Going Around by Passing Through 2013-2014 milled high density urethane 102 x 46 x 36 cm 40" x 18" x 14"

Going Around by Passing Through 10 2013 Silicone rubber 183 x 51 x 41 cm 72" x 20" x 16"

BIOGRAPHY Richard Dupont

Born _ October 1968, New York City.

Nitsch Project Room, New York, NY. Comedy and Tragedy,

Lives and works in New York City.

curated by David Hunt, Marvelli Gallery, New York, NY. Why Were

Education

Drawing Project, curated by David Salle. Klemens Gasser & Tanja

You Born? Charest Weinberg Gallery, Miami, FL. The Exquisite Corpse

Grunert, Inc., New York, NY. 1991 _ Princeton University Departments of Visual Art and Art and Archeology, AB.

2009 _ Herd Thinner, curated by David Hunt, Charest Weinberg Gallery, Miami, FL. New Prints Spring 2009, International Print Center, New

Selected Solo Exhibitions

York, NY. Traveled to Columbia College, Chicago

2013 _ Tracy Williams, Ltd. New York, NY. Carolina Nitsch Project

2008 _ New Prints Autumn 2007, International Print Center, New York,

Room, New York, NY.

NY. Traveled to Columbia College, Chicago, IL.

2011 _ Carolina Nitsch Project Room, New York, NY. MC Gallery,

2006 _ Six Degrees of Separation, Stux Gallery, New York, New York, NY.

Seoul, Korea. Middlebury College Museum of Art, VT.

2004 _ Me, Myself and I, (guest curators: Paul Laster and Renee 2009 _ Independent Special Project for The Armory Show, New York, NY.

Riccardo), Schmidt Center Gallery at FAU, Boca Raton, FL (catalogue). Cindy Bernard, Richard Dupont, Judy Ledgerwood, Tracy

2008 _ Lever House, New York, NY. Carolina Nitsch Project Room,

Williams, Ltd., New York, NY. 85

New York, NY. Hudson Valley Center for Contemporary Art (HVCCA), Peekskill, NY.

2003 _ Druid: Wood as Superconductor, Space 101, Brooklyn, New York, NY. OnLine (co-curated by Charlie Finch, George Negroponte

2007 _ Tracy Williams, Ltd., New York, NY.

and Robert Storr), Feigen Contemporary, New York, NY. The Burnt Orange Heresy, Space 101, Brooklyn, NY.

2005 _ Art Positions, Solo Project, Art Basel Miami, Miami, FL. Tracy Williams, Ltd., New York, NY.

2002 _ Bootleg Identity, Caren Golden Fine Art, New York, NY. Proper Villains (curated by David Hunt), Untitled (Space),

Selected Group Exhibitions

New Haven, CT (catalogue).

2013 _ Amor Fati (Curated by Anna Erickson and Wills Baker) Pioneer

2001 _ Colaboratory, Gale Gates Gallery, New York, NY. Superimposition,

Works, Brooklyn, NY. Out of Hand (Materializing the Post-Digital)

(curated by David Hunt), Caren Golden Fine Art, New York, NY.

Museum of Arts and Design, New York. Memory Theatre. Memorial Art

Projects

Gallery, Rochester, NY. Prints and Paper (prints and works on paper from the Richard Massey Collection) Curated by Peter Makebish. The Richard

2013 _ “Going Around By Passing Through” Public sculpture installed

Massey Foundation for the Arts and Sciences, NY.

on Coulumbus Circle in front of The Museum of Arts and Design (MAD), New York in cooperation with MAD and NYC DOT. On view

2012 _ Cerebral Spirits: Stalking the Self Curated by Suzanne

October 2013 through April 2014

Anker. William Paterson University Art Museum, NJ. Systemic. Carolina Nitsch Project Room, New York, NY. 2x2: ESKFF at Mana

2010 _ Roy Newell, The Private Myth. Curated by Richard Dupont,

Contemporary, Jersey City, NJ.

Carolina Nitsch Project Room, New York, NY.

2010 _ Ways of Seeing: E.V Day, Richard Dupont and Alyson Shotz,

Selected Writings

Carolina Nitsch Project Room, New York, NY. Size DOES Matter, curated by Shaquille O’Neal, The Flag Art Foundation,

2013 _ Out of Hand (Materializing The Postdigital) Edited by Ronald

New York, NY. Ten Years: Carolina Nitsch Editions 2000-2010, Carolina

T Labaco, Museum of Arts and Design (MAD), Published by Black Dog

Publishing. Richard Dupont. BIOPIC. Modern Painters, April 2013

Schaeffner, Yves. “Out of Hand in New York: Strong Impressions” LA PRESSE, November 18, 2013

2010 _ Roy Newell, The Private Myth, Curated by Richard Dupont,

Haden-Guest, Anthony. “Altered States” The Art Newspaper, November, 2013

Published by Carolina Nitsch. 2012 _ Jung, il-joo. “Richard Dupont” Public Art (Korea), January, 2012 2009 _ New Prints 2009 / Autumn, Essayist Richard Dupont

Braithwaite, Hunter “Surveiling The Relics” World Sculpture News,

International Print center, New York, Published by IPCNY.

Winter 2012 Yablonsky, Linda. “Close Encounters” ArtNet Magazine, May, 2012

Selected Catalogues and Books

Thome, James. “Systemic: Seven Artists Tackle Organizational and Cultural Systems” Cool Hunting, July, 2012

2013 _ Out of Hand (Materializing The Postdigital) Museum of Arts

Sutton, Benjamin. “One-Line Reviews: Our Staff’s Pithy Takes on

and Design. (MAD) Published by Black Dog, Publishing 2013

“Beasts of revelation,” “ Post-Op,” and other Summer Exhibitions” ArtInfo, August, 2012

2012 _ Richard Dupont Middlebury College Museum of Art, Published by Atlantic Conference Press

2011 _ Woodward, Christian. “College Art Museum a Treasure to Community” Addison County Independent, Dec. 2011

2011 _ Richard Dupont, Published by Carolina Nitsch

Perkins, Douglas. “Being Richard Dupont”. Blogs.middlebury.edu, Nov 14, 2011

2008 _ Richard Dupont In Direction, Published by Carolina Nitsch.

Haden-Guest, Anthony. “Losing His Head” The Art Newspaper, Sept. 2011

Richard Dupont Terminal Stage, Published by Charta 2008.

Haden- Guest, Anthony. “Fair Residues” Spears WMS August 15, 2011 Trigg, Sarah. Secrets of the Artist’s Studio: Unexpected Talismans of the

Bibliography

Artistic Process, from Rashid Johnson’s Cup to Carol Bove’s Forbidden Vault. ARTINFO, July 19, 2011

2013 _ Rosenberg, Karen. “Excursions in a Digitally Fabricated

Trigg, Sarah. “Richard Dupont” www.thegoldminerproject.com June 16, 2011

Landscape” The New York Times, Oct. 24, 2013

Milchman, Kari. “The Many Faces of Richard Dupont” City Arts

Sheets, Hilarie M. “Artists Take Up Digital Tools” The New York

(Cover), May 18, 2011

Times, October 25, 2013

Heyman, Marshall. “Heady Artwork.” The Wall Street Journal, May 10,

Morais, Betsy. “A Mad, Mad Science Fair” The New Yorker, October 22, 2013

2011, p. A22

Heyman, Marshall. “To Learn About Art, Party With the Artists” The

Fang, Alexander. “Fandom for Phantom.” MoMA Inside Out, March 3, 2011.

Wall Street Journal, August, 2013

“FAPE Donates American Art Collection for the New U.S. Mission to

Tully, Kathryn. “What Do Artists and Hedge Fund Managers Have In

the United Nations in New York City”, PR Newswire-US Newswire,

Common?” Forbes, August, 2013

March 30, 2011

Dupont, Richard. BIOPIC. Modern Painters, April, 2013 Thorne, James. “Interview: Richard Dupont” Cool Hunting, May 2, 2013

2010 _ Wolin, Joseph R. “Art: Reviews, “Size Does Matter.” Time Out

Rapaport, Brooke Kamin. “Unmasked” International Sculpture Center

New York, April 8-14, 2010

Blog, June 1, 2013

Friedman, Yael. “The Art of Shaq.” The Economist, April 2010

Creahan, Daniel. “Amor Fati” AO Art Observed, September 12, 2013

Carlson, Nika. “Shaq Attack.” www.planet-mag.com, March 4, 2010

Heuhauser, Alan. “Towering Sculptures to Rise Above Columbus Circle”

Robinson, Walter. “A Little More Miami.” www.artnet.com, January, 2010

DNAinfo New York, Sept. 2013

Haden-Guest, Anthony. “The Inside Outsider Artist.” www.thedailybeast.

Cooper, Ashton. “The Museum of Arts and Design Plans Two Giant

com, January 14, 2010

Public Sculptures for Columbus Circle”

Behringer, David. “Roy Newell: An interview with Richard Dupont.”

Blouin ArtInfo, Sept. 27, 2013

www.thetwopercent.com, January 20, 2010

Strasnick, Stephanie. “Brancusi & Brian Waves: 3-D Printing Goes to the

Robinson, Walter. “Armory Arts Week.” www.artnet.com, March 1, 2010

Museum” ARTnews, Oct. 2013 Jones, Justin. “The World’s Most Tech-Savvy Art” The Daily Beast,

2009 _ Wainwright, Jean. “Richard Dupont in the VIP Lounge.” www.

October 24, 2013

theartnewspaper.com, April 15, 2009

Orrell, Rita Catinella. “Hands-on Design, With Digital Help”

Yung, Susan. “Armory- the personal touch prevails.” www.thirteen.org,

Architectural Record, Oct. 18, 2013

March 7, 2009

Stinson, Liz. “15 Amazing Designs That Were Impossible to Make 15 Years Ago” WIRED, November, 2013

2008 _ Robinson, Walter. “Artnet News.” www.artnet.com, Dec. 10, 2008

Putnam, Caurie. “New MAG Exhibit Is an Artful Time Machine”

Wooldridge, Jane. “The Art Basel Cheat Sheet: What you have to see.”

Democratic and Chronicle, Oct. 26, 2013

Miami Herald, Dec. 15, 2008

Kaminski, Christina. “Parting Shot: Richard Dupont.” Chronogram,

2002 _ Crowd Magazine (Issue 2) summer

Nov. 24, 2008

Levin, Kim: “Voice Choices: Bootleg Identity.” The Village Voice, July 23, 2002

Knafo, Robert. Video “Richard Dupont.” New Art TV, September, 2008

Finch, Charlie. “Life Is More Important Than Art.” www.artnet.com,

Giancarlo Biagi, “Nude? Yes, Please!” Sculpture Review, Summer, 2008

June-July, 2002

Parry, Roland Lloyd. “Buyers keen to make a multiple choice.” The Art Newspaper Art Basel Weekend Edition, 6-8 June, 2008

2001 _ Conley, Kevin. “Goings On About Town: Art: Richard Dupont.”

Chambers, Christopher Hart. “The Machines have Not Taken Over: A

The New Yorker, November 19, 2001

Conversation with Richard Dupont.” Sculpture, June, 2008

Kerr, Merrily. “David Hunt’s Superimposition,” NY Arts, September, 2001

Green, Elliott. “Richard Dupont, Lever House Gallery.” ARTnews, June, 2008

Levin, Kim. “Voice Choices: Superimposition.” The Village Voice,

Richard Dupont: Terminal Stage, Edizioni Charta, Milan, 2008

July 31, 2001

“Naked Ambition,” Vogue, May, 2008

Cotter, Holland. “Art in Review: Superimposition, Caren Golden Fine

Scott, Andrea. “Goings On About Town: Richard Dupont.” The New

Art.” The New York Times, July 6, 2001

Yorker, April 14, 2008 Kunitz, Daniel. “Richard Dupont’s Naked Launch.” The Village Voice,

Selected Museum and Public Collections

April 2, 2008 Kealoha, Ami. “The Lever House Art Collection.” www.coolhunting.com,

The Museum of Modern Art, New York

April, 2008

The Whitney Museum of American Art, New York

Pollak, Lindsay. “Nine Nudes.” www.bloomberg.com, March 28, 2008

Museum of Fine Arts Boston

Finch, Charlie “Starwalkers.” www.artnet.com, March 18, 2008

The New York Public Library Print Collection

Robinson, Walter. www.artnet News, March 4, 2008

The Cleveland Museum of Art

Orden, Erica. “One Man, Nine Times.” The New York Sun, March 13

The Brooklyn Museum

Kealoha, Ami. “Episode 99: Richard Dupont.” www.coolhunting.com,

The Yale University Art Gallery

February, 2008

The Hammer Museum

Hirsch, Faye. “Print Fairs Thrive.” Art in America, January, 2008, p. 35

The San Francisco Museum of Modern Art The Tang Museum

2007 _ Finch, Charlie. “Duped.” www.artnet.com, November 16, 2007

The Neuberger Museum of Art

Mendelsohn, Adam E. “Richard Dupont in Conversation with Adam E.

The Pennsylvania Academy of the Fine Arts

Mendelsohn.” The Saatchi Gallery Daily Magazine, August 10, 2007

The Williams College Museum of Art The Vera List Center, New School

2006 _ Young, Stephanie. “Richard Dupont, We Can Build You.” Vellum,

The Chazen Museum of Art, University of Wisconsin

Fall/ Winter, 2006

The Richmond Center for Visual Arts

Hall, Emily. “Reviews: Richard Dupont.” ArtForum, January,

The Pickler Art Gallery, Colgate University

2006, pp. 224-225

The RISD Museum of Art The Art, Design and Architecture Museum, University

2005 _ Chwast, Seymour. “Goings on about Town-Art listing, Richard

of California, Santa Barbara

Dupont.” New Yorker, October 17, 2005

The University of California, Berkeley Art Museum

“Sculpture and Digital Art Combine.” The Villager, September 14 -20,

and Pacific Film Archive

Volume 75, Number 17, p. 32

The University Museum of Contemporary Art, University

Robinson, Walter. “Weekend Update.” www.artnet.com, September 16,

of Massachusetts, Amherst

2005

The Frances Lehman Loeb Art Center

Kunitz, Daniel. “Les Beaux Corps.” ArtReview, September, 2005, pp. 92-95

The Zimmerli Art Museum, Rutgers University

Westcott, James. “In the Studio: Richard Dupont.” www.artinfo.com,

The Mills College Art Museum

September 1, 2005

The Middlebury College Museum of Art The Estee Lauder Collection

2003 _ Pollack, Barbara. “OnLine.” ARTnews, September, 2003

The Lever House Art Collection

Levin, Kim. “Voice Choices: OnLine.” The Village Voice, August 6-12, 2003

The Richard Massey Foundation Collection

Paumgarten, Nick. “Art and Entropy.” Modern Painters, Spring, 2003

The Flag Art Foundation Collection

Kerwin, Jessica. “Body of Work.” W Magazine, April, 2003

JP Morgan Chase Art Collection

Johnson, Ken: “Art in Review: “Richard Dupont.” The New York Times,

The Progressive Collection

Feb. 7, 2003

The Sprint Collection

Levin, Kim. “Voice Choices: Richard Dupont.” The Village Voice, Feb 5, 2003

The Skaaden Arps Collection

Kerwin, Jessica. “Body of Work.” Woman’s Wear Daily, January 21, 2003

Kunst en Complex Foundation, Rotterdam