Richard Artschwager! by Show On Show

Richard Artschwager!

Whitney Museum of American Art New York

Yale University Art Gallery New Haven

Distributed by Yale University Press New Haven and London

Jennifer R. Gross

With contributions by Cathleen Chaffee | Ingrid Schaffner | Adam D. Weinberg

Richard Artschwager!

vi Foreword Adam D. Weinberg

viII Acknowledgments 1 Absolutely Original Jennifer R. Gross

67 The Shifting Locations of Richard Artschwager Cathleen Chaffee

101 Richard Artschwager: Different Ways to Blow the Whistle

Contents

Adam D. Weinberg

149 Recollection (Artschwager) Ingrid Schaffner

188 Chronology 190 Exhibition History 214 Bibliography 229 Checklist of the Exhibition 234 Lenders to the Exhibition 236 Index

Foreword

Throughout this volume Richard Artschwager is variously described as “an outsider,” “an inveterate oddball,” “idiosyncratic,” and as using “design materials with a high ick factor to create paintings and sculptures that have continued to strike just the right notes of offbeat realism and abstraction.” Indeed, since he arrived on the scene in the late 1950s Artschwager’s work has resisted stylistic definition. Even today, almost fifty years after his early exhibitions at Leo Castelli Gallery in 1964 — where his work was presented with that of Christo, Andy Warhol, Roy Lichtenstein, and Frank Stella — his art, having been extensively exhibited, collected, and written about in the United States and abroad, continues to fly in the face of prevailing modes of art making. This is especially surprising given the “anything goes” permissiveness of today’s art world. One only needs to look at Artschwager’s loopy, intensely colored oil pastel In the Driver’s Seat (2008; p. 183) with its humorous, nonsensical subject of a distended, mannequin-like yellow figure seated in a blue hoop — that one may assume is a steering wheel — levitating in a bright green, yellow, and blue landscape as proof of his singularity. As this drawing suggests, despite the wackiness of the world he presents, Artschwager is in control. Given the hallucinatory eccentricity of his output and materials, such as Formica, Celotex, and rubberized horse hair, one might assume that Artschwager is a Surrealist on an excursion through dream worlds. However, his art, like his craftsmanship, is decidedly precise and strategic in its explorations moving afield the territories of Pop, Minimalism, Photo-Realism, and appropriation. The artist navigates his way through and beyond prevailing styles, heightening our awareness of those styles and differentiating himself from them. By poking fun at them and himself, Artschwager reminds us that styles are constructs created by the internal logic of each artist’s work and the shared characteristics among groups of artists. For example, Description of Table (1964; p. 111) and Construction with Indentation (1966; p. 103), both with theatrical faux surfaces constructed from Formica on plywood, not only mimic the forms of minimal objects by artists like Donald Judd but also problematize the “truth to materials” edict and ridicule uselessness. Artschwager is a court jester taken seriously by his contemporaries even as his work critiques, derides, subverts, and extends their practices. All this to say that Artschwager is insistently himself as proposed by Richard Artschwager!, the title of the exhibition and this book. He is an artist who has deftly evaded being co-opted by the styles of others — a particularly remarkable achievement given the longevity of his career and the prominence of his work. For decades the Whitney Museum of American Art has brought Artschwager into our fold having first exhibited his work in 1966 in Contemporary American Sculpture: Selection I and in the Annual Exhibition 1966: Contemporary Sculpture and Prints. That same year, the Whitney acquired its first Artschwager sculpture, Description of Table, thanks to our patrons Howard and Jean Lipman, who are largely responsible for building the Museum’s post–World War II sculpture collection. Today, the Whitney possesses the largest holdings of his art by any museum — a collection recently and significantly augmented by Emily Fisher Landau. In 1988, then Whitney curator Richard Armstrong curated the first comprehensive survey of the artist’s work, Richard Artschwager. Now, in association with Yale University Art Gallery, we are honored to present a retrospective organized by Jennifer R. Gross, Seymour H. Knox, Jr., Curator of Modern and Contemporary Art at that institution. While this exhibition confirms Artschwager’s place as a central figure in the history of twentieth-century American art, it also reminds us that the construct we call the history of art comprises

distinctive voices of individual artists who are as important for their differences as they are for their connections to each other. And few are as distinctive in this period as Richard Artschwager. My most profound thanks are due to Richard and Ann Artschwager who have worked closely with Jennifer Gross to create a distinctive survey, which embodies the artist’s unique sensibility at critical moments in his career. Together they identified works and helped secure loans essential to the success of the exhibition. Jennifer, who travelled the world to view nearly every major Artschwager object from which to make a selection, is to be lauded for her perseverance, passion, and insight. Her love of all things Artschwager, including a deep understanding of the artist’s history and connection to the art of his time has made for an exhibition that does more than simply relate a story, but brings its originality to life. I am also grateful to Jock Reynolds, Henry J. Heinz II Director of Yale University Art Gallery, whose commitment to Artschwager’s accomplishments assured a successful collaboration between our two museums. We are delighted to share this exhibition with the Hammer Museum in Los Angeles, and I extend my warm thanks to Ann Philbin, Director, for sharing our enthusiasm for Artschwager’s work. I am greatly indebted to those who share the Whitney’s commitment to exhibitions of this scope and ambition. The unstinting support of the Broad Art Foundation, Allison and Warren Kanders, Alice and Tom Tisch, and Mr. and Mrs. Harrison Augur was essential to the realization of this retrospective. Without the generosity of the Andy Warhol Foundation for the Visual Arts, it would have been impossible to produce this remarkable catalogue. This volume also benefited from the kindness of other supporters, including Maura and Mark H. Resnick, Anna Marie and Robert F. Shapiro, and a Yale University Art Gallery endowment created with a challenge grant from the National Endowment for the Arts. Lenders always play a vital role in the success of retrospectives and Richard Artschwager! is no exception. More than sixty lenders in the United States and abroad graciously agreed to share their works with viewers — a testament to the artist’s legacy and his importance today. Adam D. Weinberg Alice Pratt Brown Director Whitney Museum of American Art

vii

Acknowledgments

viii

The evolution of Richard Artschwager’s remarkable oeuvre since his retrospective at the Whitney Museum of American Art in 1988 attests to this artist’s unflagging creativity and sustained prescience as an observer of contemporary culture. It has been a rewarding privilege to work with Richard and his wife, Ann, and to undertake an in-depth study of more than five decades of his work in preparation for the exhibition and this catalogue. It is a tribute to the Whitney’s longstanding commitment to individual artists that it will be the first venue for this retrospective, a natural extension of a long history of presenting Artschwager’s work since 1966. As this exhibition came together, the Yale University Art Gallery was in the midst of a significant renovation and expansion. The Whitney stepped in to lead the organization, tour, and publication, facilitating a unique partnership. My foremost gratitude is extended to Adam D. Weinberg, the Whitney’s Alice Pratt Brown Director, for his passionate and unflagging support of this project from its inception. His zeal for Artschwager’s work is inspirational and has been formative to my research and reflections on the form the exhibition should take. I am deeply appreciative of his encouragement and mentorship as well as the scholarship he contributed to this volume. Jock Reynolds, Yale University Art Gallery’s Henry J. Heinz II Director, supported the collaboration with the Whitney as well as my research in the midst of the Yale University Art Gallery’s ambitious expansion, signaling his unwavering commitment to the vital role of contemporary art in our culture. His enthusiastic admiration for Artschwager’s work laid the foundation for similar reactions from countless artists, collectors, and institutional colleagues as we moved forward with the project. The ownership of art is a form of cultural stewardship, and the exhibition would not have been possible without the generous commitment of its lenders. I am extremely grateful for the private collectors and public institutions that have been willing to share their works with the general public. My work as an outside curator was greatly facilitated by the Whitney’s extremely professional and hardworking staff. Chief Curator and Deputy Director for Programs Donna De Salvo embraced this enterprise wholeheartedly and lent her sage experience working within the Whitney’s Marcel Breuer – designed building. Christy Putnam, Associate Director for Exhibitions and Collections Management, juggled the scheduling and execution of the tour with calming cheer and nimble institutional navigation. Lauren DiLoreto, Exhibitions Coordinator, and Kate Hahm, Assistant Exhibitions Coordinator, more than ably attended to every detail of the exhibition and tour. Mark Steigelman, Design/Construction Manager, guided the exhibition into form. I am grateful for the able assistance of Justin Romeo and Jennifer Leventhal of the Director’s Office for their deft skill and humor. My gratitude is also due to the following group of people for their able and generous assistance: Caitlin Bermingham, Assistant Head Preparator; Anita Duquette, Manager, Rights and Reproductions; Rich Flood, Marketing and Community Affairs Officer; Seth Fogelman, Senior Registrar; Meg Forsyth, Graphic Designer; Molly Gross, Senior Publicist; Kiowa Hammons, Rights and Reproduction Assistant; Matthew Heffernan, Assistant Registrar; Nick Holmes, General Counsel; Jeffrey Levine, Chief Marketing and Communications Officer; Carol Mancusi-Ungaro, Associate Director for Conservation and Research; Kathryn Potts, Associate Director, Helena Rubinstein Chair of Education; Matthew Skopek, Assistant Conservator; Stephen Soba, Communications Officer; Carrie Springer, Senior Curatorial Assistant; John Stanley, Chief Operating Officer; Emilie Sullivan, Associate Registrar;

Farris Wahbeh, Manager, Cataloguing and Documentation; Margie Weinstein, Manager of Education Initiatives; and Alexandra Wheeler, Deputy Director for Development. Beth Huseman, Interim Head of Publications at the Whitney, made the creation of this book a pleasure. She was ably assisted in the endeavor by Brian Reese, Publications Assistant. Sue Medlicott and Nerissa Dominguez Vales enabled an innovative yet beautifully apt book. The skilled work of photographers Ben Blackwell, Jason Mandella, Chris Gardner, and Tim Thayer has allowed many wonderful Artschwager works to find their proper place in the history of his oeuvre. David Frankel wove the catalogue texts into a compelling collection of different approaches to Artschwager’s work; David’s challenging questions always encourage better scholarship. Daphne Geismar turned the exhibition catalogue into an object of desire that honors the practice of the artist it presents. Her work sets the standard for the design of art books today. The colleagues whom Jock Reynolds and I work with to realize ambitious projects at the Yale University Art Gallery are Pamela Franks, Deputy Director for Collections and Education; Jill Westgard, Deputy Director for Museum Resources and Stewardship; Jessica Labbe, Deputy Director for Finance and Administration; and Laurence Kanter, Chief Curator and Lionel Goldfrank III Curator of European Art. They have each lent a guiding hand to this enterprise. Susan Matheson, Molly and Walter Bareiss Curator of Ancient Art, who was the Art Gallery’s Chief Curator when the exhibition was first developed, provided steadfast encouragement. Brian McGovern, Assistant Director for Museum Resources and Stewardship, assisted with funding support. John ffrench, Director of Visual Resources, and his department’s staff were instrumental in providing photographic assistance for the catalogue. Tiffany Sprague, Director of Publications and Editorial Services; Lynne Addison, Registrar; and Amy Dowe, Senior Associate Registrar, shared sound advice and experience during the planning of the catalogue and exhibition tour. Their assistance is deeply appreciated. Numerous undergraduate and graduate students have helped us with their excellent research and writing on the works included in the exhibition. Bahij Chancey, Megan Conroy, Helen Goldenberg, Nicholle Lamartina, Elisabeth Thomas, Lara Weibgen, and Sophia Somin Yoo all made vital contributions to the realization of the exhibition and catalogue. Their passion for knowledge was a source of perpetual encouragement as we sought to bring Artschwager’s work to a new generation of admirers. I would particularly like to thank Cathleen Chaffee, Horace W. Goldsmith Assistant Curator of Modern and Contemporary Art, and Amy Canonico, Museum Assistant for Modern and Contemporary Art, for their tireless efforts that brought this project to fruition. They made a complex journey truly enjoyable, and their thoughtful scholarship and fresh insights into Artschwager’s work, along with their attention to detail, have been instrumental in forming the structure the exhibition and catalogue have taken. At the Hammer Museum in Los Angeles, Ann Philbin, Director; Anne Ellegood, Senior Curator; Brooke Hodge, Director of Exhibition Management and Publications, and their colleagues enthusiastically came on board for the exhibition. Portland McCormick, Director, Registration and Collections Management at the Hammer, capably handled the receipt and care of works in Los Angeles. The Hammer Museum shares Yale’s vision for bringing contemporary exhibition programming to the students and artists in their community, and it is always a pleasure to work with them.

Special thanks are due to Bob Monk, Director of Gagosian Gallery, who has been generous with his assistance and genuine passion for this exhibition. He has been a knowledgeable resource, and he and his staff have been most helpful in locating and navigating the loans for the tour. I would like to thank all those who assisted the research for the exhibition by sharing their knowledge and enabling access to artwork and archives: Naomi Abe at the Museum of Contemporary Art, Los Angeles; L. Clifford Ackley at the Museum of Fine Arts, Boston; Brooke Alexander and Owen Houhoulis, Brooke Alexander Gallery; Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation; Wendy Hurlock Baker at the Archives of American Art; Michael Baunach; Cindy Buckner at the Grand Rapids Art Museum; Andrew L. Camden; Barbara Castelli; Eileen Cohen; Katrien Damman; Gabriella De Ferrari; Leah Dickerman and Jen Schauer at the Museum of Modern Art, New York; Dr. Stephan Diederich and Kathrin Kessler of the Museum Ludwig, Cologne; Jessica Duffett at Leo Castelli Gallery; Carol Eliel and Tiffany Daneshgar at Los Angeles County Museum of Art; Peter Freeman, Laura Front, Vicki Gambill at the Broad Foundation; Gary Garrels and John Zarobell at the San Francisco Museum of Modern Art; Pia Gottschaller; Rebecca Hart at the Detroit Institute of Arts; Rhona Hoffman; Linda Janger; Frances Katz; David Kiehl, Curator and Curator of Prints, Whitney Museum of American Art; Catherine Kord; Laura Malone; Donald B. Marron; Sarah Miller; Marsha Miro; Bernhard Moser; Jillian Murphy, Gagosian Gallery; Heidi Naef at the Schaulager; Albert Oehlen; Mary-Ellen Powell at the Weisman Foundation; Sabine Roeder at the Krefeld Museum; Pamela Sanders; Jan Schall and Lissa Cramer at the Nelson-Atkins Museum of Art; Dieter Schwarz, Director, Kunstmuseum Winterthur; Michael Semff at the Staatliche Graphische Sammlung, Munich; Rebecca Tilghman and Ian Alteveer at the Metropolitan Museum of Art, New York; Ron Warren, Mary Boone Gallery; Daniel Weinberg; Barbara Weiss; Queenie Wong of Sonnabend Gallery; Donald Young; and Del Zogg, formerly of the Museum of Fine Arts, Houston; Jed Bark, Bark Frameworks; and James Barth, Handmade Frames, Inc. At David Nolan Gallery, Katherine Chan and Susannah Palmer responded to an endless tide of factual inquiries and their cheerful assistance is always appreciated. Particular thanks are due to Silke Sommer, whose invaluable labor in assembling a catalogue raisonné of Artschwager’s work based on archives organized by Ingrid Schaffner was essential to the expedient realization of the catalogue and exhibition. I first came to know of Richard Artschwager’s work in the 1980s when I worked downstairs and across the street from Leo Castelli and Mary Boone where he exhibited his work and through Ingrid Schaffner, then a freelance art writer who has become a much admired curatorial colleague and friend. At that time, she was also Artschwager’s office assistant and would speak of his work with great esteem. These conversations planted the seed for my own curiosity about his art, and I am tremendously grateful to Ingrid for this introduction. David Nolan nurtured that seed with his own enthusiasm and exhibitions of Artschwager’s drawings through the succeeding decades. His efforts led me to look more closely at Artschwager’s oeuvre and I realized that it was time for a scholarly reexamination of it within the context of a retrospective. Thank you, Miss Schaffner and Mr. Nolan. Ann Artschwager has been a tireless supporter of her husband’s work and life, and now of this project. She opened her home, archives, and store of memories to us and patiently answered countless questions. In addition, she provided everything from photographic documentation to delicious, sustaining meals while we worked.

x acknowledgments

I am deeply grateful for her assistance and profoundly respect her devotion to Richard and his work. Richard Artschwager continues to make great things happen for those of us with our eyes on his art. The privilege of studying his process in the preparation of this exhibition has left me in awe of his singular vision and discipline in pursuing it with unrelenting focus. My journey has left me dazzled by the beauty of his work and challenged by his somber reflection on, and observation of, the human experience. Yet the greater knowledge I have gained of his work ultimately leaves me as mystified and intrigued as when I first encountered it more than twenty-five years ago. I look forward to looking at it more, and thinking about it even harder, as much as I anticipate seeing what he is going to make next. Jennifer R. Gross Seymour H. Knox, Jr., Curator of Modern and Contemporary Art Yale University Art Gallery

Jennifer R. Gross

Absolutely Original

To find our way toward seeing the world from the perspective of Richard Artschwager, we might start by making an imaginative journey away from his work and toward the places from which this enigmatic artist first learned to look at things. Such an excur sion would help us to remember that the playing field of culture is grounded not only in the landscape of galleries and museums but also in a visual context much more commonplace and out in plain sight — that everything of interest is, as Artschwager has said, “all right there.”1 This exercise is a rather simple endeavor, not metaphysical but rooted in physical knowledge — knowledge of the mesas outside Las Cruces, New Mexico, where the artist grew up. Looking out toward the unbounded horizon in that topog raphy, we are conscious that each of us is but a small mark or molecule in the uni verse. This expansive framework, and its shifts in scale determined by context and perspective, left a permanent impression on Artschwager, establishing his sense of how his art lives in the world. As he sees it, both art and life, like cacti that shimmer in and out of focus on the desert horizon, exist through our visual affirmation. This maximal view of the world is counterbalanced by the disciplined training in close looking administered by both of Artschwager’s parents. His mother, Eugenia, a painter, taught him to draw and to “focus on the edges.”2 His father, Ernst, was a sci entist who wrote his doctoral dissertation on the anatomy of the potato,3 studying the microscopic mutation of material as fact. He was also an amateur photographer. Artschwager, by his own account, grew up focused on the structural underpinnings of all organic and inorganic phenomena. He learned at an early age to know and value his world one image after another, from snapshot to camera pan, a habit he has come to believe is integral to his capacity to recognize art when he sees it: I was taught to look under stones, in dusty corners, at what is directly in front of me — that’s the hard part. What is art? Coming from my background, je-ne-sais-quoi is not very much evidence. . . . I’m lost to metaphysics . . . I don’t know much about art but I’ll know an art if I see one. I’m thinking like Archie Bunker here. . . . So I try . . . casting a wide net, salvaging any object, image or event that captures my attention.4 Artschwager’s voracious commitment to looking as a means of valuing the world is what has motivated his practice as an artist for over half a century. His sculptures,

paintings, and drawings are evidence of his expedition into the unpredictable waters of aesthetics, applying the skills he learned as a biology student at Cornell University.5 The result is an oeuvre that is confrontational and confounding, whimsical and exqui site. It started in the late 1950s with paintings of the New Mexico landscape and has come full circle in recent drawings that embrace the same panoramic horizons. This time, however, as Artschwager has reached the age of eighty-eight, his purview is a window not onto the world but beyond it. His art is now illuminated with color and firmly sourced in his imagination, and in the pleasure of exercising the innate capacities as a maker that he has honed over a lifetime. He has fulfilled his stated artistic ambition in life, “to be original.”6 Besides Artschwager’s unrelenting capacity to surprise us, what stands out about his career as we look at it retrospectively is that he has maintained his unique position as an outsider, prophetically anticipating how his culture would see things a few years or decades in the future. His grisaille paintings on Celotex, while their sources in media imagery once made them seem detached, today appear hauntingly nostalgic and beautiful. The hard-edged forms of his sculptures from the 1960s, with their wood-grain-evoking Formica surfaces indexing photography, presaged twenty-first-century eyes all stoked up on technology and fast looking. When they first appeared, they were often perceived as obdurate and unfamiliar; today they seem to assert a genuine human pathos, coming into focus just on the near side of the shimmering disconnect between our lives in real time and our visual, emotional, and intellectual investment in the unrelenting tide of images delivered to us by the Internet, images that have become, for many of us, our primary connection to the world. Addressing this slippage between what is real and physical and our expecta tion, determined by media culture, of something more real is what Artschwager, in his 1990 essay “Art and Reason,”7 described as the disengagement between our

2. Untitled, 1962 Acrylic on canvas 45 1/2 × 61 in. (115.6 × 154.9 cm)

1. Bushes III, 1972 Acrylic on Celotex, with metal frame 44 1/2 × 54 in. (113 × 137 cm)

gross: absolutely original

social and our physical experience of space, and has been at the heart of all his artis tic endeavors. If you ask Artschwager about his work, he will time and again refer you to “Art and Reason.” The essay shows that this seeming outsider practitioner has been working into the box of art history all along — if from the outside, the real world. In a 2002 interview, when asked whether he felt vision in our culture had fundamentally changed, he replied with a reference to this essay: Yes, but I’m not talking about the apparatus, I’m talking about our being in a primarily social, as opposed to primarily physical, space. Our physical space has been eroded to the point of being endangered, it survives where there are few people and lots of space and where a person or persons can reside in pleasurable solipsism — watching, listening, not editing or throwing anything away. . . . Social space is language-bound and language is always subject-predicate, a Procrustean abridgment of the Event which, for instance, allows no excluded middle. . . . Just think back to that time when people lived in the country. One didn’t look at red and green lights — in other words, particles — in order to cross the street but rather at the full field of vision. And so it is with Matisse. When you sweep your eyes over it, you’re seeing it as it was intended to be seen. It’s so simple.8 The career trajectory of this late bloomer is well rehearsed in the literature.9 Artschwager’s life reads like a great American novel, a John Steinbeck epic from the first half of the twentieth century, in which, however, the “aw shucks” protagonist rides off over the horizon of the twenty-first looking less like an everyman and more like an enigmatic, sharp-eyed character invented by Cormac McCarthy. Around the age of forty, almost twenty years after he served in World War II and was wounded in the Battle of the Bulge, Artschwager had an epiphany that making good objects, functional furniture — the craftsman’s profession by which he had kept his family fed and his mind and hands ably occupied — was not the same as making good in his head. Since the production of useful furniture had become a boring reality, he began to push the envelope of taste and tradition as he knew it. Speaking of his motivations in the studio while making this transition, Artschwager has stated, “I had learned that by then — things that are unthinkable, check ’em out. That’s the chief way for finding originality if originality is the target.”10 In 1960, Artschwager sent off a few letters and slides to a handful of art dealers who hung a shingle in New York at the time. Unconnected and middle-aged, he achieved a success that would be the dream of every young artist when Ivan Karp, who was working for Leo Castelli, immediately wrote back proposing to include him in a group exhibition. The ingenue artisan-turned-artist became an international sen sation in less than three easy steps. Artschwager would stay with Castelli for the next twenty-five years. What is compelling about this chronology to an art historian is not its reality as a career fantasy but the fact that it threw Artschwager, the mature craftsman, into a hothouse of young scene-makers such as Lee Bontecou, Jasper Johns, Roy Lichtenstein, Marisol, Robert Rauschenberg, Frank Stella, and Andy Warhol, and this in the formative years of the contemporary art market. These were legendary years at the Castelli Gallery, and Artschwager bubbled along, making and exhibiting idiosyncratic work that seemed to adapt like a chameleon to every current art dia logue without ever submitting to any particular school of thought.11

gross: absolutely original

Artschwager’s presence in the art world blurred all the set categories. His pictures and objects sobered up Pop, lightened up Minimalism, and made Conceptual art something other than just a thinking man’s game. How could someone remain so methodically committed to the formal values of sculpture and painting during three decades when they were considered déclassé, yet also keep his insouciant finger so firmly on the pulse of an art culture that was being thoroughly upended by media culture? He has maintained this in-advance and slightly out-of-sync position in the art world ever since. Artschwager’s paintings and sculptures were motivated by questions raised in his own head both about art and about living in the present, about the moments and values reflected in the newspaper he read at the kitchen table each morning. In time, his work would come to examine that kitchen table, the chair he sat on, and the plate off of which he ate. For Artschwager, this subjective axis was where art just might appear, its issues addressed by what he could make with his own hands and reckon with his own eyes. As for the viewer’s engagement with this process, Artschwager made clear in his studio notebook that he was not indifferent to the broader impact of his observations: “The art is what happens to the spectator by prior arrangement of the artist.”12 If you follow his thinking from work to work over the years, it is uncanny how many times, and on how many levels, his decisions touched the broader art dialogue while the journey remained clearly his own. An anecdote Artschwager tells about how, at the age of forty, with a young family to support, he found the license to commit his life to making what he calls “useless objects”13 could come from a playbook coauthored by Timothy Leary and Marshall McLuhan: he was inspired by watching a children’s cartoon show on tele vision, a chance encounter that determined his life’s work. There was a television program that gave me whispered instructions. It was a children’s morning program of animated cartoons, moderated by a police man. He told about his son who would spend his time in the garden, nailing boards together. Any kind of boards, just nailed together. Because of this inscrutable anti-social behavior the father, in anger and in sorrow, decided not to send his son to summer camp. Well, it happens I had a lot of scrap of 1/4-inch plywood. What came out was a nailed stack of plywood about the size of a human figure, weighing about 400 pounds, hung from the ceiling by a chain. This was one of the private works whose making filled up my spare time.14 That nailed stack of plywood was Portrait Zero (fig. 3), made around 1961 and still standing as one of Artschwager’s most concisely brilliant reductions of his lifelong formal painterly and sculptural concerns. This is a sculptural image of painting, a com posite of image surrogates that occupy the realm of neither painting nor sculpture but hang in midair like an aesthetic piñata begging the recognition and misapprehen sion of Clement Greenberg. This is Artschwager’s first work to introduce the picture plane into the physical space occupied by sculpture. It is supreme, as in Suprematist, as in wouldn’t Vladimir Tatlin, El Lissitzky, and Kazimir Malevich be envious of its economy and direct assertion of an ideal of an art constructed of common means? But if we heed Artschwager’s narrative, it is art completely inspired by television as a source of fictional truths. The voice in his living room became the id in his head, a rousing alternative to the voices of art world harpies such as curators, critics, art his torians, or even other artists. The medium that in the 1960s would change America

4. Road to Damascus, 1960 Charcoal on paper 19 × 25 in. (48.3 × 63.5 cm)

by exposing covert social and political agendas had confirmed Artschwager’s thoughts about subject matter, form, and the importance of making art as a mode of cultural claim-staking, as though he were on special assignment for Mr. Rogers. Road to Damascus (1960; fig. 4), made around the same time as Portrait Zero, is one of Artschwager’s first mature drawings. It presents a man who appears to be seated with his arms under a table so broad that it fills the sheet of paper end to end, its edge reading as a horizon. Pinioned behind the table, the man looks as though

gross: absolutely original

3. Portrait Zero, 1961 Wood, screws, and rope 45 1/4 × 26 1/4 × 5 1/2 in. (114.9 × 68.7 × 14 cm) 5. Jasper Johns (b. 1930) No, 1961 Encaustic, collage, and Sculp-metal on canvas, with objects 68 × 40 in. (172.7 × 101.6 cm) Collection of the artist

he were under interrogation. Even more startling than the positioning of this figure is the fact that the artist has erased his eyes out of their sockets and off the page. The erasures read both as voids and as signs of force, as though his eyes had been blown away. The work’s title evokes the biblical story of the alpha apostle Paul, confronted by a vision of Christ on his way to Damascus. This persecutor of Chris tians was temporarily blinded by the encounter and experienced a complete change in his perspective on the world and in his sense of his life’s calling. While remaining a religious zealot, Paul became a follower of Christ rather than his foremost denouncer. It is intriguing that Artschwager, who is not religious, should have attached a narrative of radical spiritual conversion to this early work. He appears to be refer ring to his own epiphany, the moment in which he became blind to the finely crafted furniture he was making and the truer vision it led him to in his work. Artschwager had come to the realization that art lay as much in the seeing as in the making — that it lay in one’s perspective on things, not just in craft. While he would continue to be an object-maker whose attention to detail was “fanatical,”15 he was determined that his future efforts would be applied to things to be looked at, to what he identified as the “useless” realm of art. The image in Road to Damascus of a solitary, limbless figure pinned down by a boundless horizon also exemplifies the intimidatingly honest and empathetic tenor that would underlie Artschwager’s artistic practice from that moment on. While scientific in his formal inquiries, Artschwager has never given up a primarily humanistic approach to making art. Although he has fiercely fought to keep out inflections of the personal “I” — shunned in the wake of Abstract Expressionism, which was thought to have overdone them — his work has always been excruciatingly human, an accounting of the sobering isolation inherent in the individual’s con frontation with the world. Like the stoic work No (1961; fig. 5) by his peer Jasper Johns, to whom he has admitted a debt,16 Artschwager’s art harbors the universal vulner abilities and banal realities of the human journey.

Formally speaking, Artschwager became a systematic plodder, working like a scientist, moving from one artwork to the next by asking basic questions about what he was seeing. His early painting Baby (1962; fig. 6) shows how direct this pro cess could be at times. The subject of the work is a clichéd image of a sweet-faced infant. When Artschwager first moved to New York, in 1949, he had supported him self with a range of odd jobs, including an extended term as a baby photographer for the Stork Diaper Service. He exhumed the experience through this painting, step ping away from the camera and disposing of the disconnection between experience, process, and result that is inherent to its use. At the same time, he also addressed the unrecognized artist’s problem of how to make his art noticed: Baby wittily capi talizes on the art world adage that it is always dangerous to let a baby into an exhibi tion opening, since no one will look at the show. More seriously, Artschwager made his picture an image of something we are already drawn to, something we want to see. We look at the painting because its desirable subject draws us toward it. Over the next two decades the artist would apply this logic to every historical paint ing genre, to religious subjects, history, still life, landscape, and abstraction, pri marily appropriating compelling images such as architectural icons, disasters, consumer goods, and media personalities from popular sources such as magazines, news papers, and television. Artschwager consistently reinforced a pattern of intimate looking by making his paintings on the textured surface of Celotex, the commercial ceiling-tile material that would determine his signature painting style.17 This choice of support achieved

6. Baby, 1962 Acrylic on Celotex, with metal frame 49 1/4 × 41 5/16 in. (125.1 × 105 cm)

7. Arizona, 2002 Acrylic on fiber panel on Celotex, with metal frame 26 × 22 in. (66 × 55.9 cm)

8. Untitled, 1963 Formica and wood 10 1/4 × 6 1/4 × 3 in. (26 × 15.9 × 7.6 cm)

gross: absolutely original

the ambition, common among artists working in the early 1960s, to exclude gestural expression from their work, since the board’s textured surface perpetually inter rupted and diffused his mark-making. It is one of the idiosyncrasies of his paintings that their images are harder to make out up close than from a distance. Artschwager does not use projection to create these works but grids the source images up old- school style and then replicates the resulting near-abstract segments one by one. As these small marks, and the rough surface of the Celotex, disrupt the cohesiveness of the composition, the image recedes as we approach it, denying us any more clarity about what we are looking at, or about the means by which the picture was composed, than is delivered at first glance. This lack of control in the viewer’s experience of the paintings has a parallel in the artist’s experience of working on their uneven surfaces, but that is part of Artschwager’s aspiration in using Celotex.18 His most complex compositions — the col lapsing facades of the imploding Traymore Hotel in Atlantic City, for example, captured in the “Destruction” series of 1972, and the large-scale interiors of the same period — are particularly stupefying. One is not quite sure how the array and flurry of marks ulti mately coalesce into images. That they do, at a distance, is a remarkable artistic feat. The first Celotex panels Artschwager used were relatively smooth, but over the decades he moved to more disruptively crosshatched and rosette-patterned Celotex boards. More recently he has painted on handmade paper made with bagasse (sugarcane fiber), and even on rough, loose-weave fiber panels. These supports dif fuse and rupture the images even further, making it almost impossible to reflexively experience a work such as Arizona (2002; fig. 7) as a painting. While teasing our visual expectations, these images primarily assert themselves as objects. Reinforcing this experience, Artschwager has always used the framing of his paintings to empha size their physical presence in our world. Many of the frames are made of a reflective silver metal that mirrors its viewers and the room around them, asserting the coextension of these realities. Others are physically bulky, baroquely painted or textured, or mannered in their proportions. Their awkwardness is a reminder that these are images that will not accommodate aesthetic expectations easily. From the beginning of his career as an artist, Artschwager set out to remove all the narrative and decorative value added to art, draining it of its perfunctory functions as ornamentation and a vehicle for meaning. In this aspiration his paintings of the 1960s bear a strong kinship to Gerhard Richter’s of the same decade. The two artists are acquaintances, and have often been linked as contemporaries who came to painting against a common cultural backdrop.19 They also shared a fascination with the ordinary, or rather with the incomprehensibility, the ungraspable unreality, of the ordinary. These artists’ prodigious oeuvres suggest a like endeavor to nor malize the compulsiveness of their desire for visual comprehension and the longing to seize temporal reality. Using photographs as their source material and working without color, they found similar means to reengage painting beyond the conversa tions around abstraction and Pop art. Their refusal of color confirmed an interest in painting as a surface without the distractions of emotion and representation; gray removed sensation from the pictures, and as Richter wrote, “It evokes neither feel ings nor associations; it is really neither visible nor invisible. Its inconspicuousness gives it the capacity to mediate, to make visible, in a positively illusionistic way, like a photo graph. It has the capacity that no other color has, to make ‘nothing’ visible.”20 Artschwager’s Seated Group (1962; fig. 9) provides a compelling juxtaposi tion to Richter’s work of the same decade (fig. 10). As Richter often did, Artschwager

10. Gerhard Richter (b. 1932) Cathedral Square, Milan, 1968 Oil on canvas 108 1/4 × 114 3/16 in. (275 × 290 cm) Park Hyatt Collection, Chicago

drew the image, of a group of people seated around a conference table, directly from a newspaper photograph and rendered it in black, white, and gray. Where Richter would have blurred the image, capturing it more as surface than as represen tation, Artschwager abstracted his scene from its source photograph by using flat, blocky washes of opaque acrylic to reduce it to its most minimal legibility. Seated Group shows us a sculptor’s eye on painting: it is flat, but irresolutely so, the medium melding with the uneven Celotex on which it lies. In abstracting the image as he did, Artschwager created a kind of antipainting, an image that falls short of delivering the experience of painting. But it also falls short of delivering the experience of sculpture: the table, for example, is necessarily rendered two-dimensionally rather than as a sculptural form, a limitation Artschwager tries to overcome by depict ing it as a hovering shape in the foreground, so that it comes close to being experi enced as a physical object positioned between the space depicted and the space occupied by the viewer. The artist’s long-term solution to this frustrating limitation of painting as a visual field would eventually be to remove this optical effect from his work: he would perfect a drawing technique whose marks could be read across the surface of the painting but would not coalesce into a pictorial space with a foremiddle-, and distant-ground. His way of making images is akin to the way the ink marks in a newspaper photograph — an ultimately abstract series of dots — coalesce on the surface of the page into a representational whole.

10 gross: absolutely original

9. Seated Group, 1962 Acrylic on Celotex, with painted wood frame 42 × 60 in. (106.7 × 152.4 cm)

11. Handle I, 1962 Wood 48 × 30 × 4 in. (121.9 × 76.2 × 30.5 cm)

Richter and Artschwager parted ways early on in the questions they brought to painting. Richter was wholly committed to making paintings about painting, his blurring of the photographic representation a by-product of his assertion of a paint ing’s abstract reality. Artschwager, on the other hand, as a sculptor, made his first move toward reconciling the visceral disconnect between painting and sculpture by making pictorial objects. One was Handle I (1962; fig. 11), an empty frame made of a kind of stair railing, he called “a picture” that “directed the viewer to grab it.”21 Another was Triptych (1962; fig. 13), a work in the form of a portable altarpiece — a beautiful hybrid of virtuosic woodwork inlaid with Formica. Artschwager had found the crux of his life’s work, to make hybrid objects that would blur the realms of painting and sculpture. As he wrote, “Sculpture is for the touch, painting is for the eye. I wanted to make a sculpture for the eye and a painting for the touch.”22 As Artschwager was making these objects in the pictorial realm, he began to create objects that stood on the floor. He did this by working off his experience as a furniture-maker, wanting to restore to visibility the familiar forms that he had lost the ability to see and appreciate when they were made in wood. He also wanted to pull sculpture back toward the two-dimensional field of vision, to focus on its sur face. The solution came like a sign sent from mid-twentieth-century America’s indus trial heaven: just as Celotex had provided a neutralizing plane for images to reside on, Formica was a picture of reality that could be used as a sculptural surface. Also like Celotex, this material masked the subjectivity in Artschwager’s process.23 His dis covery of it was no less radical for his sculpture than tube paints had been for the work of the field-roaming Impressionists. Funny and tacky, creepy and alluring, Formica brought photography to bear on sculpture, just as photographs already featured in the Celotex paintings. It could be adapted to the physical contour of any underlying flat, geometric structure, all the while foregrounding the optical experience of representation. It played off the inter est in opticality in art that followed in the wake of Pop art’s slick-surfaced images, at the same time that it anticipated questions about art’s physical status and its denial of temporal experience — a subject that would soon become a theoretical focal point in art engendered by English translations of Maurice Merleau-Ponty’s writings on phenomenology, published in 1962.24 In 1963, within the same year Donald Judd and Robert Morris had their commercial-gallery debuts at New York’s Green Gallery and Anne Truitt presented her signature steles at the André Emmerich Gallery, Artschwager was making works such as Portrait II (1963; fig. 12) and Swivel (1964; fig. 15), minimal Formica sculptures whose scale and shape were modeled after domestic furniture and that occupied space in a homely manner. Unlike the minimal geometric forms made by these artists, Artschwager’s work was decidedly anthropocentric, rife with pathos.25 While these sculptures certainly embodied formal considerations, their affable scale and kitsch commercial-grade surfaces wittily winked at the intellectual austerity of their contem porary counterparts in the New York art world. These works were followed by Tower (1964; see fig. 53), an upright human-scaled plinth mounted on steps, on both sides, with a window cut through it at eye height. The work invited viewers to step up and directly confront the gaze of the viewer who ascended the stairs on the oppo site side. Counter II (1965; fig. 14) similarly invited viewers to become physically engaged by passing through a turnstile — one that humorously resembled a cow’s udder — only to find themselves standing in the space they had already occupied, but did not see as coextensive with their experience of art.26

13. Triptych, 1962 Acrylic on wood and Formica 38 × 54 × 2 1/4 in. (96.5 × 137.2 × 5.7 cm)

12. Portrait II, 1963 Formica on wood 68 × 26 × 13 in. (172.8 × 66 × 33 cm)

12 gross: absolutely original

14. Counter II, 1965 Formica on wood, with metal turnstile 71 1/4 × 36 × 21 in. (181 × 91.4 × 53.3 cm)

14 gross: absolutely original

15. Swivel, 1964 Formica on wood 40 1/2 × 26 × 14 3/8 in. (102.6 × 66.4 × 36.5 cm)

16. Logus (Blue Logus), 1967 Formica on wood 35 × 45 1/2 × 48 in. (88.9 × 115.6 × 121.9 cm)

Discovering in making these sculptures that Formica’s patterns functioned ably as pictorial abstraction, Artschwager embarked on a series of works that capitalized on this trait. In works such as Logus (Blue Logus) (1967; fig. 16) he applied Formica to the forms of familiar objects — here, a sound amplifier — while in Triptych (With Nude) (Diptych IV) (1966; fig. 17) he juxtaposed the abstraction provided by the material with images painted on Celotex. The cinematic fracturing of the temporal experience of painting evidenced in this work led to further multipanel paintings; Triptych V (1972; see fig. 157) and Garden (1973; fig. 18) used the inherent rhythm of the serial format to examine and play out the assertive stasis integral to the object hood of painting. The “Destruction” series, based on newspaper images of the 1972 demolition by implosion of the Traymore Hotel, an Art Deco architectural icon in Atlantic City, is an extended attempt to transfer the photographic moment into real time through an optical engagement with painting. Artschwager started with a centered, close-up view of the Traymore in a vertical format, seen in Destruction I (see fig. 19). Then, in Destruction II (see fig. 20), he moved to a more distant, slightly off-center view and a horizontal format, encouraging one’s eye to move across the scene. This was followed by a two-panel depiction featuring a visual stutter in which part of the build ing is repeated in both panels, creating a sequential rhythm as the building begins to implode. Destruction IV (see fig. 22) is a single-panel depiction of the implosion in full force. In Destruction V and VI (see figs. 23, 24) Artschwager returned to the

17. Triptych (With Nude) (Diptych IV), 1966 Acrylic on Celotex and Formica on wood 45 × 38 × 12 in. (114.3 × 96.5 × 40.6 cm)

18. Garden, 1973 Acrylic on Celotex, with metal frames Seven panels: 46 × 25 1/4 in. (117 × 64.2 cm) each

18 gross: absolutely original

two-panel format, experimenting with crosshatched and rosette-patterned Celotex. This added texture, coupled with the bifurcation of the image, slows the eye’s pas sage across the panels, creating a physical experience of diffused time as the viewer’s eye and mind together endeavor to apprehend the moment. In making the “Destruction” series Artschwager learned that while a two-panel sequence physically affirmed a sense of time, the diffusion of optical experience was more crucial to a temporal experience of painting. He would continue to experiment with this knowl edge up until his most recent paintings, which are set on a kind of fiberboard that suspends each stroke of the acrylic medium on the strands of its support. It was in the year after Artschwager completed the original suite of “Destruc tion” paintings that Susan Sontag published her groundbreaking book of essays On Photography.27 Sontag’s account of our culture’s addiction to images seemed to explain the immediacy of the media images that Artschwager had been exhum ing; she wrote plainly and perceptively of the disengagement between physical and social experience with which Artschwager had already been wrestling for a decade in his art. Sontag described a society malnourished by its ravenous visual consumption, and the alienation that accompanied the cursory knowledge of the world brought on by that aesthetic disorder.28 This kind of remove is a condition of our time, as Walter Benjamin had made clear in his 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” first published in English in 1968.29 Photography had enabled a comfortably superficial knowledge of the world, creat ing the opportunity for an unnaturally homogenous relationship to actual things. And Artschwager had been “quoting” this unfamiliarity with the world in his paint ings and sculptures of such things, making real our recognition of them as art. As Artschwager neared the completion of the first decade of his art-making inquiry, he embarked on a completely new endeavor, the creation of an art form that existed beyond its own objecthood. In 1967 he accepted a teaching position at the University of California, Davis. There he developed the conceptual commodity

19. Destruction I, 1972 Acrylic on Celotex 36 × 31 in. (91.4 × 78.7 cm)

20 gross: absolutely original

20. Destruction II, 1972 Acrylic on Celotex 23 × 29 in. (58.4 × 73.7 cm)

21. Destruction III, 1972 Acrylic on Celotex, with metal frames 74 × 88 in. (188 × 223.5 cm) overall

gross: absolutely original

22. Destruction IV, 1972 Acrylic on Celotex, with metal frame 40 × 48 in. (101.6 × 121.9 cm)

23. Destruction V, 1972 Acrylic on Celotex, with metal frames 39 3/4 × 46 1/4 in. (101 × 117.5 cm) overall

24 gross: absolutely original

24. Destruction VI, 1972 Acrylic on Celotex, with metal frames 40 × 46 in. (101.6 × 116.8 cm) overall

for which he is probably best known, an elongated dot that he named the “blp.” The blp was radical: in and of itself it was completely useless, but by its proximity to other things it made them “see-able.” Artschwager hailed the blp for the new ideal in art it represented. It could not have had a more mundane origination, generated as it was from a childlike drawing exercise: “I was trying to see the minimum number of brushstrokes or lines to make something that is recognizable as a cat. I think I got it down to seven or eight, and, in the process of making these black marks . . . somehow the black dot traveled, as a thing unto itself, not round but elongated. It turned into a ‘blp,’ and there it was.”30 Years later Artschwager would link this discovery to a method of looking at things peripherally that he had learned from the drawing exercises set for him by his mother: “My mother taught me the elements of drawing. You first draw from the model things that have edges rather than surfaces. . . . That’s how you make the jump from where you can grab something that you imag ine or you receive something with all your senses to [put] it on something flat.”31 Artschwager reproduced the blp in a number of sizes and placed it in many public contexts 32 (see figs. 70 – 75, 77 – 82). The original blps were flat pieces of wood with rounded edges, but in this form, with their edges sharply delineated, they were too discrete as points of focus. The third radical material discovery of Artschwager’s career — rubberized hair — allowed him to push farther the kind of see ing that the blp made possible. He had wanted to diffuse the shape’s edges, and experimented with making it in hair and bristle. Rubberized hair, though, had the added bonus of actualizing the fetishism of seeing that underlay his sensual, obsessive art-making practice. Over the ensuing decades, the blp would migrate from the regular world back into Artschwager’s art. In paintings such as Tintoretto’s “The Rescue of the Body of St. Mark” (1969; see fig. 67), it became an abstract signifier of human presence replacing the figures in Tintoretto’s original composition. Two decades later, in Brush Blp (1988; fig. 26), it is an endearingly playful abstract presence. Artschwager soon returned to New York from California, and while he resumed making paintings and sculptures he would continue to blp-ify the world throughout his career. His discovery of the blp also caused him to consider other forms of punctuating the exhibition space, using sculptural reliefs related to Exclamation Point (1966; see fig. 122) and Quotation Marks (1980; fig. 25). In the mid 1970s he gave up his workshop studio space and returned to a concentration on the familiar and rewarding practice of drawing. Now, within his own working notebooks, he discovered the six subjects that would become his imaginative obsession: until 1980, the prin cipal drawn and printed protagonists in Artschwager’s pictorial / spatial drama would be “Door,” “Window,” “Table,” “Basket,” “Mirror,” and “Rug.” As he described his discovery of these objects that would so occupy him,

a studio, many objects) on this theme, creating a world of surreal banality through which he thoroughly investigated the boundaries of a room inhabited by familiar things. He reveled in the breadth of perspective facilitated by his extreme familiarity with these subjects using ink, graphite, collage, acrylic, and charcoal and develop ing a wide range of mark-making techniques, from fingerprinting to squiggling to rub bing in addition to straightforward drawing. The series suggests that it is on the surfaces of things that Artschwager finds the electric, sensual connection he has with the world, and that it is on paper that the taut interface between his observation and his hand is perfectly consummated. This method of imagining, seeing, and knowing through drawing did not remain on the page, however, but migrated to painting and sculpture, as Artschwager worked to bridge the gap between two-and three-dimensional systems of experi ence. The kind of schematic drawing on Formica that appears in Table (1977; fig. 27), for example, was applied in 1979 to Bookcase III (see fig. 136), a three-dimensional bookcase, with removable Formica books, that has a drawing of a bookcase on its reverse side, shadowing its sculptural actuality with a spare two-dimensional identity. The series achieved a climax of sorts in one of Artschwager’s most eccentric sculp tures, Pyramid (Table / Window / Mirror / Door / Rug / Basket) (1979; see fig. 127), a three- dimensional pyramidal construction onto which Artschwager collapsed schematic drawings, melding them into a strange hybrid in real space without freeing them from their function as drawn images.

25. Untitled (Quotation Marks), 1980 Formica on painted wood 13 × 11 × 2 in. (33 × 27.9 × 5.1 cm) each Edition of 25

27. Table, 1977 Ink on Formica 30 × 23 in. (76.2 × 58.4 cm)

26. Brush Blp, 1988 Bristle and wood 13 × 24 × 16 in. (33 × 61 × 40.6 cm)

After the “blps,” I didn’t know where to go next — so I went back into the studio. I leafed through my notebook, in which I had made some sketches, with the idea to work up a study for a painting. I flipped to a drawing of an interior, a room I had once occupied, and made a list of the six objects that were in it. I decided to take this as an instruction to make one drawing, then another, and another, and so on. The instruction endured and I “played” those six objects like I play the piano — I guess you could say that it was some kind of fugal exercise.33 The series unfolded like a scientific experiment with controlled variables. Artschwager would eventually make almost a hundred images (and later, when he resumed having

26 gross: absolutely original

While Artschwager’s obsession with these subjects would subside, their ability to provoke his imagination continued well into the 1980s, as evidenced in such beautiful works as the painting Basket, Mirror, Window, Rug, Table, Door (1985; fig. 28), in which his six characters float gingerly as collaged elements in an austere prisonlike room, torqued into the illusion of three-dimensionality by a per spectival center point set on a disturbingly high horizon line. “Door,” “Window,” “Table,” “Basket,” “Mirror,” and “Rug” would lead to the haunting domestic scenes and objects that have preoccupied Artschwager into the twenty-first century. Where the earlier works feature a kind of visual chicanery, though, the later ones are weighted with the unrelenting drone of mundane living. Hefty tables and chairs, and an unyielding tide of blank table settings, harbor sober reflections on the trauma inherent in boredom and on the somber press of mortality. The paintings often show ghostly human figures from bird’s-eye perspectives, as in White Table and Thruway (both 1988; see figs. 138, 139), while freakish, cloy ing objects like Double Dinner (1988; fig. 29) and Lunch for Two (2007; see fig. 163) embody a universal fear of fixed confrontation. The cast of these works is that of a hazy bad dream, a location from which we observe the uneventful continuum that Marcel Proust called our “improbable everyday lives.”34 For Proust such places were accessible through the temporal order of recollection; for Artschwager and his view ers, they are attained by the manner in which his works pry into our subconscious, their uncanny shifts in scale, and their disturbing subversion of aesthetic reward through material provocation, engendering a visceral anxiety. Rather than redeem the homely and trite, as Walt Whitman and John Frederick Peto did, Artschwager expresses the humble American experience as disappointing, alienating, and harsh.

28. Basket, Mirror, Window, Rug, Table, Door, 1985 Acrylic on Celotex, with painted wood frame 53 3/4 × 56 1/4 in. (137.2 × 143.5 cm)

29. Double Dinner, 1988 Formica, painted wood, and rubberized hair 36 × 85 × 27 1/2 in. (91.4 × 215.9 × 69.9 cm)

gross: absolutely original

30. Journal II, 1991 Formica and acrylic on wood Two panels: 56 × 172 in. (142.2 × 436.9 cm) left; 80 × 51 in. (203.2 × 129.5 cm) right

30 gross: absolutely original

The forced calm of such observations was interrupted by Artschwager’s crea tion of a series of objects that updated his early work Portrait Zero, and its mul tiple picture planes, with a consideration of the invisible influence of time on matter. Journal II (1991; fig. 30) is a relief that hinges in the corner of a room, spreading out on both adjoining walls. Its left side is a sweep of rays, painted with a wood-grain pattern in grisaille, that rush into the room’s corner, where they appear to hit with force. There they transform into an assembly of planks, constructed not of wood but of Formica and rendered in color, that splays out on the wall to the right. A literal image of creation as a burst of moving atoms coming into form as matter, or alter nately, read right to left, of matter transmuting into energy, the work draws our attention to the fact that the matter we see is only one of its moments in time, only a temporary arrangement of its molecules. The means by which Artschwager chose to engage this imposing concept, usually relegated to the stewardship of physicists and philosophers, is the highly accessible tool of comic innocence. In manifesting the aural resonance of comic book onomatopoeia, with its pows, blams, and splats, the work has a witty, exaggerated literalness, even while it physically embodies the abrupt disconnect between our intellectual and our physical experience of the world. Journal II inspired a number of shattering, splattering table and chair reliefs, such as Splatter Chair I (1992; see fig. 118), which punctuated Artschwager’s instal lations of this period with visual force. Along with these dramatic pieces, and in keep ing with the oversize expectations of the 1980s art market, works such as Organ of Cause and Effect III (1986; see fig. 128) and Door II (1992; see fig. 130) took on a theat rical scale. If in the 1960s Artschwager’s work had been perceived as kitsch, taste less, even vulgar, in the 1980s the consumer aspirations of the art world seemed to have caught up with him. His exhibitions with his dealer of these years, Mary Boone, had the aura of stage sets, and the sense of intimate reflection in his work of the previous decade was replaced by a sharp irony. In The Cave (If you lived here, you’d be home now) (1992; fig. 31) and other pieces Artschwager returned to the subject of the glamorous interior, now seen within frames and through mullions stylized with an exaggerated grisaille finish. He also continued to paint domestic interiors, but now they were animated by molten decorative patterning and infusions of color from pieces of Formica inset into the Celotex surface. Works such as Sitting and Not (1992; fig. 32) and Taj Mahal II (1997; see fig. 140) explore how imagination helps to bridge the gap between what we know and what we see. The mullions reinforce the viewer’s exclusion from images that emulate the luxury domestic settings familiar in advertising and travel and home-design publications. In 1981, in the Hayden Gallery at the Massachusetts Institute of Technology (MIT), Artschwager created his first large-scale interactive sculptural installation, Janus III (Elevator) (see fig. 34), a chrome-and-Formica elevator cab with its own interior lighting. Visitors could enter, press buttons for up or down, and hear an audio track of rushing sound, like that of a moving elevator. He created variations on this work over the next few years, exhibiting them at the Whitney Museum of American Art, New York, in 1988 and at the Ludwig Museum, Cologne, which acquired the piece in 2002. In the 1980s and ’90s, Artschwager took his furniture-inspired sculpture out of the museum and gallery context and into the world through a series of outdoor commissions, mediating human scale in built public environments. These austere, func tional seating groups, made primarily in granite, were often complemented by live trees and natural settings, which counterbalanced their somber presence with living

31. The Cave (If you lived here, you’d be home now), 1992 Acrylic and Formica on Celotex, with painted wood frame 85 3/4 × 85 1/2 in. (217.8 × 217.2 cm)

32. Sitting and Not, 1992 Acrylic and Formica on Celotex, with painted wood frame 75 × 59 in. (190.5 × 149.9 cm)

gross: absolutely original

form. One of the earliest of them was an architectural intervention in the 1987 exhi bition Skulptur Projekte, at the Westfälisches Landesmuseum in Münster, Germany. Here, on the ground against the facade of the building, Artschwager placed an unti tled work, a planter / bicycle rack, which was experienced as a decorative element that mediated between the structure and the world (fig. 33). The rise of percent-for-art projects and corporate commissions in the 1980s provided Artschwager with a rapid sequence of public projects through which he explored shifts in scale and the visitor’s experience of place. His best-known public project is Sitting / Stance (1988), a suite of seating groups with lighting elements at Battery Park City in downtown Manhattan. This vein of large-scale sculpture cul minated in Generations (1990; fig. 36), at the Elvehjem Museum of Art, Madison, Wisconsin (now known as the Chazen Museum of Art). Artschwager’s design for the plaza in front of the museum integrated the building and its context by incorporat ing lighting, plantings, and sculptural elements. In the early 1990s, inspired by an invitation to exhibit at the Portikus exhibi tion space in Frankfurt, Germany, Artschwager again embarked on a wholly new body of work. The exhibition consisted of fourteen wooden shipping crates — finely crafted crates, but crates nonetheless. This show and subsequent installations of these works looked like an exhibition of painting and sculpture that had yet to be unpacked (fig. 35). In some instances the crates operated like blps, installed high on a wall or in a corner, where they animated the visitor’s awareness of the gallery space. These moments of punctuation were counterbalanced by their primacy as real, hermetic, homogenous objects that closed down the expectation of “art” created by the gallery setting. If Formica had functioned for Artschwager as a series of photographic representations of common objects, these crates functioned as embodiments of art’s state of being. As Ingrid Schaffner perceptively wrote in the exhibition’s catalogue, “Conflating creative and collecting impulses, Artschwager’s crates speculate upon past and future conditions of his own art.”35

33. Untitled, 1987 Concrete and two trees Outdoor sculpture commission for Skulptur Projekte, at the Westfälisches Landesmuseum, Münster, Germany

34. Janus III (Elevator),

1981 / 1983 / 1996 / 2002 / 2005 Formica, electronic parts, wood, plastic, and metal 90 9/16 × 98 7/16 × 98 7/16 in. (230 × 250 × 250 cm)

35. Installation view of Artschwager’s one-person exhibition at Mary Boone Gallery, New York, 1994

gross: absolutely original

The fashioning of the crates in wood was in a sense Artschwager’s attempt to retire his sculpture practice before he began to focus on his next large body of paintings, those inspired by Post-Impressionism. He further closed down the inquiry into photographic representation that he had begun with his use of Formica; he now addressed photography straight on, laminating it onto furniture forms in 2000 – 2 (see fig. 94).36 And at the same time that he was finalizing his relationship to photog raphy, Artschwager returned to the use of rubberized hair to create a new series of pictorial / sculptural hybrids. These shallow figural reliefs — Crouching Man II (2002; see fig. 92), for example — created an optical illusion of three-dimensional form, adding to the already extensively blurred boundary between painting and sculpture in his work. In the late 1980s, Artschwager began to oversee a large studio workshop for the first time since the 1950s. This change in production enabled him to explore issues of replication, and he began to remake a number of his paintings and sculptures, sometimes without adapting them in any significant way, sometimes reenvisioning them as variations on earlier subjects. While he had often in the past made works that were variations on earlier pieces, his projects at this time seem to bookend his career, closing off his work subject by subject, form by form, as though he were con firming to himself that he had not left any question unresolved. One example is the painting Generations III (2003; fig. 37), his reapproach to Baby of 1962 (see fig. 6). Where the image in Baby is relatively crisp, Generations III shows that over the years Artschwager has steadily and deliberately moved toward an even greater diffusion of his source material. This acute manipulation seems to be his solution to the spatial problem that he outlined in “Art and Reason”: the shift in visualization processes of the last fifty years. He continues to try to lever viewers toward a fresh point of obser vation from which they might engage with his work. Generations III denies us visual possession of the object and its “information,” disengaging our knowledge reflexes and creating the opportunity for us to use our powers of observation anew. This image of a newborn is on the one hand indistinct and on the other hand startling

37. Generations III, 2003 Acrylic on fiber panel on Celotex, with metal frame 36 3/8 × 25 in. (92.4 × 63.5 cm)

36. Generations, 1990 Stainless steel with lights, pine trees, and painted metal tree at the Chazen Museum of Art, University of Wisconsin, Madison

and raw, and reads as though, like its subject, it were coming into being even as we looked upon it. In the 1990s, Artschwager also returned to the source material of current events as documented in the newspaper. In 1995, he cut out a newspaper photograph of a group of young military recruits and gridded it out as the study for a painting. The photograph accompanied an article titled “A Life of Solitude and Obsessions,” published in the New York Times on May 4, 1995. The figure at the center of the image was the Oklahoma City bomber Timothy McVeigh, but the title could equally aptly be applied to the artist’s own life. The painting made from this image, Natural Selection (1995; fig. 38), clearly recalls Artschwager’s early painting Sailors (1966; fig. 39), where the faces of seemingly innocent recruits belie the potentially sinister

gross: absolutely original

39. Sailors, 1966 Acrylic on Celotex, with metal frames 50 × 45 in. (127 × 114.4 cm) overall

activity that they have either been conscripted into or have freely decided to engage in. Consideration of the two paintings side by side reveals a change not only in the social function of news reporting but in its reception. Just as the palette of the paint ings has shifted from light to dark, so had the manner in which news photography was viewed: the readers of the newspaper used for Natural Selection had become more fearful than trusting of their public servants. The photograph had become an unreliable informant, not because photography itself had changed, but because the beliefs projected onto it had become more cynical and complex. As a trained scientist, Artschwager did what he did best — he looked closer. An untitled work of 1996 is a solo portrait of McVeigh, undertaken as if to examine what evil might look like up close, and what might be the limits of an image’s ability to present identity (fig. 40). It was followed in 2003 by three portraits, further studies in the illegibility and subjectivity of representation. Their subjects were the then incumbent U.S. President George W. Bush (see fig. 170); the terrorist Osama bin Laden (see fig. 169); and Artschwager himself (see fig. 168). The portraits were painted on bagasse panels mounted on Celotex, a surface that scumbled the paint and sub sequently the image more than Celotex alone.37 It is interesting that the image Artschwager saw in the bathroom mirror every morning was one he believed comparable to the images of polarizing public figures that he saw in the newspaper each day. All these representations were

40. Untitled, 1996 Acrylic on Celotex, with aluminum frame 22 1/2 × 20 1/2 in. (57.2 × 52.1 cm)

38. Natural Selection, 1995 Acrylic on Celotex, with aluminum frame 28 1/2 × 34 1/2 in. (72.4 × 87.6 cm)

38 gross: absolutely original

41. Bowl of Peaches on Glass Table, 1973 Acrylic on Celotex, with metal frame 19 1/2 × 25 in. (49.5 × 63.5 cm)

43. Exclamation Point (Chartreuse), 2008 Plastic bristles on a mahogany core painted with latex 65 × 22 × 22 in. (165.1 × 55.9 × 55.9 cm)

42. Rights of Man, 1991 Acrylic on Celotex, with painted wood frame 47 3/4 × 62 in. (121.2 × 157.5 cm)

gross: absolutely original

way.38 In Light Bulbs (2007; see fig. 176) color floods the room, and it would proceed to dominate his work in the first decade of the new millennium. Artschwager had already been working with the idea of painting staged settings in a series of paintings made from still life setups in his studio: he positioned a group of objects on a table, draped them with a tablecloth, and from them made paintings that looked like fantastic images of New Mexico. He liked the images’ ambivalence about whether they conveyed landscapes or still lifes; they embraced the ambiguity inherent in our experience of art and life. These setups enabled Artschwager to move more readily toward his imagination in the Post-Impressionist – informed paintings, which the infusion of color imbues with an aura of the uncanny.39 This late assertion of color has been a real game-changer for Artschwager. In works such as Table (Somewhat) (2007; see fig. 171) he has revisited his original Formica tables, now using bright, highly keyed color. This recent series of sculptures capitalizes on the cultural verity of facsimiles of high-end modern design that now permeate our everyday lives, in ready-made products by manufacturers such as IKEA. In this context Artschwager’s objects are completely familiar, even as they glow with artifice. Their faux surfaces and abstracted forms now present a ubiquitous ver nacular aesthetic. Similarly, Artschwager’s brilliant Exclamation Point (Chartreuse) (2008; fig. 43) is wildly different from the group of Formica and black wood exclama tion points that he made in the 1960s. Infused with phosphorescent color, its edges bristle with energy. Exuberant expressions of joy and optimism, such works have the vigor of a twentysomething right out of art school. Assertive and wholly new, they reveal a constant vision attuned to the tenor of the present. Over the last five years, Artschwager has been focusing on drawing, work ing in oil pastel, charcoal, and graphite and primarily using the landscape format of his very first artworks from the 1950s. Allowing his imagination to take flight,

equally mysterious, equally abstract. The face of things had no meaning; meaning came from the observer, not from the observed. Sad, happy, hateful, bemused — the content of the image was projected by each of its viewers out of the knowledge of the world they claimed for themselves. George W. Bush, Osama bin Laden, and Richard Artschwager, ordinary guy, all looked like what they were expected to look like from the observer’s point of view. Art proved to be a vehicle of the imagina tion, completely disconnected from reality in terms of meaning but not in terms of experience. As an antidote to the reflection entailed in this series, Artschwager moved toward making his most recent body of paintings around 2004. These works were imbued with further meditations on mortality, but he now permitted himself to flood the compositions with painted color, as well as to inset pieces of brightly colored Formica. Color had haunted his work in occasional appearances since the early 1970s — as the gold orb, for example, that represents a peach in Bowl of Peaches on Glass Table (1973; fig. 41) and an egg yolk on a plate in Rights of Man (1991; fig. 42). Now he was finally able to fit color into his practice in more than a tentative

gross: absolutely original

44. Plowed Field and Grove, 1962 Acrylic on Celotex 40 × 50 3/4 in. (101.6 × 128.9 cm) 45. Watermelon, 2008 Oil pastel on paper 25 1/8 × 38 in. (63.8 × 96.5 cm)

across the radiant pages of these remarkable works. The watermelon shape that first inhabited Plowed Field and Grove (1962; fig. 44) has now come indoors, off the dusty horizon. Floating in space like a blp, it animates the austere room that Artschwager has spent decades filling with his imagination (fig. 45). With an eye honed through a lifetime of serious looking, he is staring down the unknown road ahead. Macadam (2008; fig. 46) is an image of a wide road leading out over the edge of a horizon, and In the Driver’s Seat (2008; see fig. 178) shows a solitary man liberated from gravity, steering himself out into the future. As Artschwager has stated, his perspective is that of a lonely romantic, unsure whether anyone else can join him on his journey: “This is what I am involved with, the mechanics of looking at things, but the romance of it is that it is a lost way of looking at things.”40 And perhaps this is the fate of the scientist turned artist — to have a perspective uniquely his own, embodied in an oeuvre that is absolutely original.

Notes

1 Richard Artschwager, conversation with the author, at his home in Hudson, New York, August 2011.

2 Artschwager, quoted in Bonnie Clearwater, Richard Artschwager: “Painting” Then and Now (North Miami, FL: Museum of Contemporary Art, 2003), p. 26. The artist remembers his mother stating, “The edge of a picture is where the pic ture stops and the wall begins.” His education in art continued in 1949 – 50 after he moved to New York, where he took drawing classes at night and studied for a brief period in the studio of the French expatriate Amédée Ozenfant.

3 See Artschwager, in Chuck Close, “Richard Artschwager, New York City, May 9, 1995,” an interview in The Portraits Speak: Chuck Close in Conversation with 27 of his Subjects, ed. Joanne Kesten (New York: A.R.T. Press, 1997), p. 554.

4 Artschwager, in Louise Neri, “How Things Get

5 “I was interested in science and in art. Around

Done,” an interview in Frieze 66 (April 4, 2002): 77. the time our friendship got serious, a woman said to me: ‘You have to choose, focus on one. You can always change.’ And so, I went to art because it’s unpredictable, and science, except in rare cases, is uncovering what’s already there.” Artschwager, in John Yau and Eve Aschheim, “Richard Artschwager in Conversation with John Yau and Eve Aschheim,” an interview in The Brooklyn Rail, July / August 2008, p. 35.

6 Ibid.

7 Artschwager, “Art and Reason,” in Parkett no. 23

8 Artschwager, in Neri, “How Things Get Done,”

(1990): 36. p. 79.

9 See, e.g., Clearwater as well as Richard Armstrong, Richard Artschwager (New York: Whitney Museum of American Art, 1988), and Richard Artschwager: Up and Across (Nuremberg: Verlag für moderne Kunst Nürnberg, 2005).

10 Artschwager, in Yau and Aschheim, “Richard Artschwager in Conversation,” p. 36. 11 See Cathleen Chaffee’s essay in the present volume, “The Shifting Locations of Richard Artschwager.” 12 Artschwager, unpublished notebook entry, 1960s. 13 Artschwager, in Peter Noever, ed., Richard Artschwager: The Hydraulic Door Check (Cologne: Walther König, 2002), p. 164. 14 Artschwager, “Autobiographical Fragment,” c. 1973, in Richard Artschwager: Drawings (New York: Nolan / Eckman Gallery, 1993), p. 4. 15 Steve Griffin, “Four Artists,” in 951: an art magazine (November 1975): 16.

46. Macadam, 2008 Oil pastel on paper 25 × 38 in. (63.5 × 96.5 cm)

gross: absolutely original

16 “The event that hit everybody was . . . Jasper Johns. Jasper Johns taking numbers and having the num bers not be just numbers. At the same time that it’s a number it could be a thing. . . . Everybody owes Jasper Johns for that . . . including myself.”

Artschwager, in Yau and Aschheim, “Richard Artschwager in Conversation,” p. 36. 17 Artschwager’s “painting” is technically a form of drawing. Using graphite and other media, he draws his compositions on Celotex or another support, then fixes the image with a wash of varnish that fills in the contours of the support to create a cohe sive surface without painterly inflection. 18 In Yau and Aschheim, “Richard Artschwager in Conversation,” Aschheim remarks, “The surface is almost really interrupting the image.” Artschwager replies, “But there’s nothing to look at. So it’s borderline, and I think I can say that’s intentional. It works,” p. 37. 19 Jörg Heiser explores the connections between Gerhard Richter and Artschwager in “Elevator,” in Noever, ed., Richard Artschwager: The Hydraulic Door Check, pp. 49 – 65. He also writes, “[Sigmar] Polke and Richter found a painterly vocabulary that was less concerned with garish Pop dreams than with the bleakness of a normal bourgeois life and its atmosphere of suppression. This parallel is not an evidence of mutual influence but much rather of the fact that the cultural and technological devel opment of media on both sides of the Atlantic bore similarities. The shift of residential areas to the suburbs and the increasing popularity of (black- and-white) television, magazines, Super 8 as well as amateur photography all greatly influenced the psychological and cultural climate.” p. 55. 20 Richter, letter to Edy de Wilde, February 23, 1975, in Gerhard Richter: The Daily Practice of Painting (Cambridge, MA: The MIT Press, 1995), p. 82. 21 Artschwager, in Griffin, “Four Artists,” p. 17. 22 From Artschwager’s notebooks from the early 1960s, published in Ann Rorimer, Richard Artschwager (Chicago: The Arts Club of Chicago, 2002), p. 3. 23 As Donald Judd wrote, “There is an objectivity to the obdurate identity of a material.” Judd, “Specific Objects,” Arts Yearbook 8, 1965, reprinted in Donald Judd, Complete Writings 1959 –1975 (Nova Scotia: The Press of the Nova Scotia College of Art and Design, 2005), p. 187. 24 Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smith (London and New York: Routledge and Kegan Paul and Humanities Press, 1962). 25 “Anthropocentrism . . . is the presumption of the individual and the centrality of man . . . . This sense of the mimetic compulsion is not a matter of the art object carrying associations to or connoting things in the world, as we might understand resemblance; rather, it has to do with the coming- into-being of the subject in the visual field, on the understanding that that field is something we inhabit and which we cannot view from outside.” Briony Fer, The Infinite Line: re-making art after Modernism (New Haven: Yale University Press, 2004), p. 108.

26 “In my early sculpture . . . I was trying to make something that would get confused with the space you yourself occupy.” Artschwager, in Griffin, “Four Artists,” p. 16. 27 Susan Sontag, On Photography (New York: Farrar, Straus and Giroux, 1973). Artschwager would continue to revisit the destruction of buildings, through fire or implosion, as a subject in his paint ings on into the 1990s. 28 “The omnipresence of photographs has an incalcu lable effect on our ethical sensibility. By furnishing this already crowded world with a duplicate one of images, photography makes us feel that the world is more available than it really is.” Ibid., p. 3. 29 Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” 1936, in Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1968). 30 Artschwager, in Yau and Aschheim, “Richard Artschwager in Conversation,” p. 36. 31 Artschwager, in Close, “Richard Artschwager, New York City,” p. 546. 32 See Chaffee, “The Shifting Locations of Richard Artschwager,” in the present volume. 33 Artschwager in Neri, “How Things Get Done,” p. 78. 34 Fer cites Marcel Proust’s evocation of a dreamscape in which, walking outside, he observed people who, “unaware that we were watching them, single-mindedly performed for our benefit the dazzling private theatricals of their improb able everyday lives.” See Fer, The Infinite Line, p. 85. The Proust passage comes from his essay “Bedrooms,” 1909, Eng. trans. in By Way of Sainte- Beuve (London: Chatto and Windus, 1958), p. 29. 35 Ingrid Schaffner, “Archipelago Bop,” in Archipelago (Frankfurt: Portikus, 1993), p. 27. 36 See Chaffee, “The Shifting Locations of Richard Artschwager,” in the present volume. 37 Around this time, the kind of Celotex that Artschwager used went out of production. To achieve a surface he found satisfactory, he experi mented with a number of different surfaces, then turned to a paper made of sugarcane fibers, or bagasse, mounted on a form of Celotex that con tinued to be manufactured. 38 “I didn’t know how to fit [color] in. When I put in color . . . you really give up something impor tant.” Artschwager, in Ann Temkin, “Richard Artschwager,” an interview in Contemporary Voices: Works from the UBS Art Collection (New York: The Museum of Modern Art, 2005), p. 30. 39 On these works, see Schaffner, “Recollection (Artschwager),” in the present volume. 40 Artschwager, in Neri, “How Things Get Done,” p. 79.

47. Untitled, 1952 Oil on canvas 18 × 24 in. (45.7 × 61 cm)

49. Lefrak City, 1962 Acrylic on Celotex, with painted wood frame 44 1/2 × 97 1/2 in. (113 × 247.7 cm)

48. Untitled, 1962 Acrylic on Celotex, with wood frame 47 11/16 × 49 5/8 in. (121.1 × 126.1 cm)

50. Bread, 1966 Acrylic on Celotex, with metal frame 22 1/8 × 25 1/8 in. (56.2 × 63.8 cm)

51. Untitled (Diptych), 1963 Acrylic on Celotex and wood 13 × 17 × 7 1/4 in. (35.6 × 40.6 × 18.4 cm) each

52. Expression and Impression, 1963 / 1987 Formica on wood 49 1/2 × 28 1/4 in. (125.7 × 71.8 cm) each

53. Tower, 1964 Acrylic and Formica on wood 78 × 24 1/8 × 39 in. (198.1 × 61.3 × 99.1 cm)

54. Johnson Wax Building, 1974 Acrylic on Celotex, with metal frame 47 1/2 × 59 1/2 in. (120.7 × 151.1 cm)

56. New Housing, 1964 Acrylic on Celotex, with Formica frame 41 1/2 × 37 1/4 in. (105.4 × 94.6 cm)

55. Whitney Museum, 1964 Acrylic on Celotex 58 × 50 in. (147.3 × 127 cm)

57. Diptych, 1967 Formica on wood 47 × 84 3/8 in. (119.4 × 215.3 cm)

58. Untitled (Book), 1964 Formica on wood 9 3/4 × 21 3/8 × 14 1/4 in. (24.8 × 54.4 × 36.2 cm)

59. Portrait of Holly Solomon, 1967 – 6 8 Acrylic on Celotex mounted on masonite, with metal frame 60 1/4 × 40 in. (153 × 101.6 cm)

60. Triptych IV, 1968 Acrylic on Celotex and Formica on wood, with metal frames 59 1/2 × 96 in. (151.1 × 243.8 cm) overall

61. Rocket, 1970 Acrylic on Celotex, with aluminum frame 46 1/2 × 21 1/8 in. (118.1 × 53.7 cm)

62. Five Scratches, 1969 Charcoal on paper 25 1/4 × 18 7/8 in. (64.1 × 47.9 cm)

63. Train Wreck, 1968 Acrylic on Celotex, with aluminum frame 46 1/2 × 42 3/4 in. (118.1 × 108.6 cm)

64. Plaque, 1968 Rubberized horsehair 19 1/2 × 24 × 2 1/2 in. (57 × 61 × 5 cm)

65. Untitled, 1969 Rubberized hair 28 × 28 × 6 1/2 in. (71.1 × 71.1 × 16.5 cm)

67. Tintoretto’s “The Rescue of the Body of St. Mark”, 1969 Acrylic on Celotex, with metal frame 46 1/2 × 51 1/4 in. (118.1 × 130.2 cm)

66. Hair Sculpture — Shallow Recess Box, 1969 Rubberized horsehair 11 × 30 3/4 × 7 3/4 in. (27.9 × 78.1 × 19.7 cm)

Cathleen Chaffee

The Shifting Locations of Richard Artschwager

Before his participation in one of the iconic exhibitions of the 1960s — Primary Structures: Younger American and British Sculptors, at the Jewish Museum, New York, in 1966 — Richard Artschwager’s work had been strongly associated with the object-based practices of Pop art.1 In 1965, for example, an Artnews reviewer of one of his shows, enumerating the controversial popular associations of his work, had criticized him for “recreating all that is most offensive in the motel-Howard-Johnson- funeral-parlor syndrome. [Artschwager’s] exhibition was experienced as though in a dream which managed to get on film in a movie made around 1910.”2 Along with Barbara Rose’s 1965 discussion of his work in her widely read essay on Minimalist tendencies, “ABC Art,”3 Primary Structures influentially if tenuously remapped the same Formica works that had been read through this Pop lens onto the nascent Minimalist trend. In retrospect, the representational quality of Table with Pink Tablecloth (fig. 68) and Rocker (both 1964), both of which Artschwager showed at the Jewish Museum, made him one of the exhibition’s more idiosyncratic inclusions. These imagistic sculptures — representations of ready-mades — are far from syncing with later, more strictly codified characterizations of Minimalism’s sparse geometries.4 Just two years later, while Artschwager’s reputation as an object-maker on the Minimalist track chugged along, he dedicated the entirety of his first European one-person exhibition to an invented oblong shape that he called the “blp.” Artschwager locates the emergence of the blp to a teaching residency at the University of California, Davis, in 1967 – 68 (fig. 70).5 His first artworks using punctuation dated to 1966, and at Davis he analyzed the six or so basic marks he had been considering, eventually winnowing them to a dot. He recounts how he “went into some magazines to punctuate various places and events, this time with a felt marker: accidental or intentional lengthening of the mark, which gave a time lapse and orientation.”6 A simple black signifier without an evident referent, the blp is treated in narratives of Artschwager’s career on a par with his discovery of art potential in the modern technological inno vations of Formica and Celotex. The blp, however, was not a “détourned” material but pure invention: an apparently new diacritical mark that functions as an entropic art device and for a time became a brand for Artschwager, as stripes are to Daniel Buren. Like an invention, the blp called for a creation narrative, leading some writers to mistakenly propose that during his army service in World War II Artschwager attentively watched a radar screen for fleeting blips of light.7

70. Blp at the University of California, Davis, 1968

That first entirely blp-filled show took place at Konrad Fischer’s Düsseldorf gallery, a former open-air passageway that only the year before had been fitted with glass doors and turned into an exhibition space (fig. 72). It nonetheless was already seen as one of the most cutting-edge galleries in Germany. Here Artschwager sited a swarm of blps to emphasize the gallery’s odd arched shape and its continuity with the outside world. Throughout the late 1960s and early ’70s, he continued to place blps to focus awareness on the work of others in group exhibitions, on architecture, to alter the plane of viewing, and to set things in motion, challenging viewers to figure out, as he put it, “which is the ornament and which is the thing ornamented” (fig. 71).8 The blps and their photo-documentation transformed everything from art spaces and city streets to interstitial rural environments into the foci of a kind of aesthetic attention that was simultaneously pictorial (photogenic), sculptural, and transient. The hetero geneity of the settings created by what Artschwager called his “essay into high graffiti” lay at the core of their appeal to an art world increasingly attuned to ideational practices, and to the movement of the art object from conventional museum and gallery presentations into the environment, alternative spaces, and the pages of publications (fig. 73).9 During this period, Artschwager appeared keyed into movements with which he otherwise had little kinship: environmental and Conceptual art.10 In 1968, for his second invitation to participate in a Whitney Annual, Artschwager installed a hundred blps made from various materials (wood, horsehair, paint) around the museum, in a work entitled 100 Locations (fig. 75). That same year, for Harald Szeemann’s iconic exhibition Live in Your Head: When Attitudes Become

68. Table with Pink Tablecloth, 1964 Formica on wood 25 1/2 × 44 × 44 in. (64.8 × 111.8 × 111.8 cm) 69. “Strange Primary Structures: Obvious Forms, Boxes and Presences will be the Shape of Art for Some Time to Come,” Life magazine, July 28, 1967. Review of Primary Structures: Younger American and British Sculptors at the Jewish Museum, New York, 1966

chaffee: the shifting locations of richard artschwager

Form. Works – Concepts – Processes – Situations – Information, he showed forty blps inside the Kunsthalle Bern and around the city, and he would soon mail them for distribution around Seattle and Vancouver for the exhibitions 557,087 (1969) and 955,000 (1970), organized by Lucy R. Lippard. Riffing on or rhyming with scatter pieces by Robert Morris and Carl Andre,11 the blps were installed in outdoor locations around Utrecht, The Netherlands, as part of the 1971 exhibition Sonsbeek Buiten de Perken (Sonsbeek Beyond Lawn and Order), a show famous for demonstrating a number of intersecting concerns of Land and Conceptual artists.12 In 1978, Artschwager used the opportunity of an invitation for a solo exhibition at the Clocktower Gallery of the Institute for Art and Urban Resources, New York, to return to a large-scale blp installation ten years on. The show spread blps over three floors of the TriBeCa municipal building, and as if to comment on the telescoping immediacy of the blps’ dispersion, Artschwager rigged the hands of the building’s nonfunctioning clock to race forward and backward simultaneously. It seems logical that it was the blp, rather than Artschwager’s sculptures or paintings, that facilitated his participation in many of these canonical exhibitions featuring dispersed or dematerialized artworks and site-specific installations. Such

74. Hair Blp, 1989 – 90 Rubberized horsehair 13 1/2 × 7 × 1 in. (34.3 × 17.8 × 2.5 cm)

71. Corner Mirror, 1968

shows included curator Kynaston McShine’s Information exhibition, at the Museum of Modern Art, New York, in 1970, as well as Using Walls (Indoors), at the Jewish Museum, New York, the same year, for which Artschwager made a site-specific blp- like painting that rounded a wall’s four corners (see page 196).13 He was also invited to create a work for Art by Telephone (1969; fig. 76), at the Museum of Contemporary Art, Chicago. As curator Jan van der Marck said, that show of instruction-based art gathered artists who “want to get away from the interpretation of art as specific, handcrafted, precious object. They value process over product and experience over possession.”14 This description may have applied to most of the artists in the show but wasn’t a good fit for Artschwager, who has spent most of his career complicating, not vacating, the visual experience of handcrafted artworks. In fact, his work for the show orchestrated the display of just such an object: an Oriental rug that had been stolen from an acquaintance’s home on Artschwager’s telephoned instructions. When the museum’s exhibition label described the rug as stolen, the artist protested, pre ferring, it seems, that this handcrafted object should be unsettling less because it was stolen than because of its uncanny domesticity in relation to the white-box gallery spaces and to the relatively cerebral contributions of the other participating artists.15

76. Artschwager, Arie Galles, Victor Kord, and Jan van der Marck (director of the Museum of Contemporary Art, Chicago, and organizer of Art by Telephone), 1969

72. Installation view of one-person exhibition at Konrad Fischer, Düsseldorf, Germany, 1968

chaffee: the shifting locations of richard artschwager

73. Blp, 1968

75. Installation view of 100 Locations in 1968 Annual Exhibition: Contemporary American Sculpture at the Whitney Museum of American Art, New York, 1968

77. Bristle Corner, 1995 Acrylic bristles and wood 24 × 8 × 8 in. (61 × 20.3 × 20.3 cm) Edition of 12

chaffee: the shifting locations of richard artschwager

78. Untitled (Project for Hamburg), 1978 Gelatin silver print, with paper collage and graphite 13 3/8 × 19 7/8 in. (34 × 50.5 cm)

79. Untitled (Project for Hamburg), 1978 Gelatin silver print, with paper collage and ink 16 × 20 in. (40.6 × 50.8 cm)

80. Locations, 1969 Formica on wood; and five blps made of wood, glass, Plexiglas, mirror, and rubberized horsehair, with Formica box: 15 × 10 3/4 × 5 in. (38.1 × 27.3 × 12.7 cm) Edition of 90

81. Blps at the University of California, Davis, 1968

76 â&#x20AC;&#x192; chaffee: the shifting locations of richard artschwager

82. Blp, 1968

At the same time that Artschwager’s blps were popping up like spring crocuses in Minimal-and Conceptual-oriented exhibitions and galleries, his Celotex paintings based on newspaper photographs surfed a dramatic critical wave as part of the early-1970s Photorealist painting trend.16 As Ellen Lubell described the moment in 1972, “Rarely in the history of art have the mechanical components of an artist’s process of creation become the basis for his / her classification within their particular realm of practice, or simply mattered as greatly as in the current Realist mode of painting.”17 Artschwager did work from photographs, but much as his pictorial sculptures would now seem somewhat incongruous in an exhibition of Minimalism, it’s hard to reconstruct the historical moment when these toothy, melancholy, grisaille depictions of grainy photographs of buildings and overwrought domestic interiors were mentioned in the same breath as the licked, reflection-addled canvases of Robert Bechtle (fig. 83) or Don Eddy. In 1972, however, Artschwager showed the interior Polish Rider IV (1971) alongside the work of Franz Gertsch in Documenta 5, in Kassel, Germany, an exhibition that proposed a prophetic, contentious dialogue between Conceptualism and realism. And paintings related to his Polish Rider III (1971; fig. 89) were included in Directions 2: Aspects of a New Realism, at the Milwaukee Art Center (1969); Radical Realism, at the Museum of Contemporary Art, Chicago (1970); Ekstrem Realisme, at the Louisiana Museum of Modern Art, Humlebaek, Denmark (1973); and Amerikansk Realism, at the Lunds Konsthall, Lund, Sweden (1974), among many others. The work of Photorealists like Ralph Goings or Robert Cottingham prominently featured nostalgic backward glances at simple American pleasures — neon signs, roadside diners, shiny cars. (The economic crises of the early 1970s may have contributed to the appeal of these works.) Artschwager was adopted as a peer and an influence not by these artists but by Chuck Close and Malcolm Morley, whose associations with Photorealism were briefer and who shared an approach to the gridded photographic image that was both more individual and less literal. Writers often tagged Artschwager as the odd man out in Photorealist groupings. In one review, Carter Ratcliff asked whether his interiors might be “the ingenious Artschwager’s eccentric answer to the dead end of photorealism?”18 Rather than focusing on halcyon

84. Polish Rider III, 1971 Acrylic on Celotex, with metal frame 44 1/2 × 49 1/2 in. (113 × 125.7 cm)

83. Robert Bechtle (b. 1932) ’64 Valiant, 1971 Oil on canvas 48 1/8 × 69 5/8 in. (122.2 × 176.8 cm) Yale University Art Gallery, New Haven; gift of Richard Brown Baker, B.A. 1935

chaffee: the shifting locations of richard artschwager

pleasures, or crisp edges, Artschwager’s paintings of this period dove into muddy icons of wealth and privilege, representing the aspirational modernism of new construction in New York City and the baroque home ornamentation of the upper class in repose (see figs. 155 – 158). The construction of self and identity through things was a striking feature of these tactile, phenomenological paintings, as was Artschwager’s choice of source photographs whose formal compositional tropes resonated with old master painting. In his “Destruction” series of 1972, the white haze of rubble that ballooned from a collapsing building undergoing demolition in Atlantic City gave Artschwager a painterly cover to foreground the wide, almost tachiste brushstroke imprinted on his Celotex: a ready-made mechanical touch. In 1972, Gregory Battcock remarked on the malleability of Artschwager’s location in the art world: “Artschwager has never failed to come up with new, insecure and daring representations. In other words his work has always been confusing. They were Minimal when they were supposed to be Minimal. And now they are ‘realist’ when we want them to be ‘realist.’ In a final analysis his works are always both romantic and nostalgic.”19 Battcock’s opinion seemed to reflect a new consensus among critics after the first flush of the Photorealist trend. In his less than ten years as an artist, Artschwager had been successively classed within Pop art, Minimalism, Conceptual art, and Photorealism, movements with fairly clear boundaries that art writers had summarized, then instrumentalized with simple efficiency. In a decade of growing pluralism, the art world was now wondering whether those four camps with which Artschwager had been associated might be the last ones with such clean edges. Arguably, it was at this moment, in the early to mid 1970s, that the efforts to shoehorn Artschwager into one movement or another slackened and his reputation as an inveterate oddball took root. By 1974, Phyllis Derfner could comment that

Artschwager, rather than being Pop or Minimalist, “has always been taken as an eccentric.”20 Five years later, Roberta Smith would write in “The Artschwager Enigma,” an essay that codified a certain reading of his position in the art world, “He’s not abstract or stylish or well-proportioned enough for the Minimalists; he’s too pessimistic and wholeheartedly bourgeois for Pop; and although he is involved with language . . . and at one point was stenciling his ubiquitous round-ended black blps all over the place, he’s too interested in material and process for the Conceptualists. The tone of Artschwager’s work is noncommittal and deliberately enigmatic.”21 As Artschwager himself described his experience during this period, “Every time you make something, it is going to get in somebody’s way.”22 It became commonplace to praise his work while commenting on its lack of place — paradoxically, of course, since Artschwager was consistently and successfully championed by the most powerful art dealers and he exhibited at some of the best museums in the United States and Europe, as well as in five Documenta exhibitions, the Venice Biennale, and regular Whitney Annuals and Biennials. In 1978, Artschwager had a five-month residency in Hamburg, Germany, that resulted in a major one-person exhibition, Zu Gast in Hamburg (Visiting Hamburg), at the Kunstverein Hamburg and then the Neue Galerie – Sammlung Ludwig, Aachen, Germany. He knew the country well — he’d been raised by German-speaking parents and had lived in Germany as a child and Austria as a young adult. More recently he had spent time in Düsseldorf with the curator Kasper König and the art dealer Konrad Fischer, as well as with the few German artists Fischer showed. Interestingly, in Germany and in France, the European countries where Artschwager has exhibited the most widely, his reputation has never been that of an outsider or eccentric. In New York, an artist who had worked professionally as a baby photographer and a craftsman, and who did not have his first one-person show until he was forty, seemed perpetually a step away from center. In Europe, on the other hand, artists often came to artmaking after diverse career paths. Europe was also home to an uncanny, surrealistic sculptural lineage concerned with furniture and its simulation, and the appreciation of furniture itself as a form of fine art has a more significant legacy in France and the Netherlands, for example, than it does in the United States.23 Additionally, Artschwager’s paintings based on photographs, mediated by the thick imprinted relief of his Celotex surface, have far more in common with the works of Sigmar Polke, and their distancing process dots, or of Gerhard Richter, and their blurs of focus, than they ever did with American Photorealism. Back in the United States, Artschwager continued to pursue his own personal associative mind meld. The “Door Window Table Basket Mirror Rug” series, begun in 1974 (see figs. 131 – 34), methodically ran through the seemingly endless relational permutations of a given group of objects with the systematic tenacity of a 1960s arch-Conceptualist like Mel Bochner. That the series was based on a set of easily relatable relationships —a thing and then a thing and then a thing — signaled Artschwager’s fidelity to his known experience. That it was only part of a larger body of work in which resemblance enables transformation marked his deep, lasting ties with Magrittean Surrealism: punctuation marks like the bracket } could simultaneously operate as signs and door handles; cartoon mouse holes could morph into existential looping voids; painterly anamorphoses could cease being illusions and take hold as sculptural realities (see, for example, figs. 30, 88, 130). In the early 1980s, however, such methodical explorations of objects and inhabited spaces may have seemed like a dead end to many in the New York art

chaffee: the shifting locations of richard artschwager

world. With the soaring market for artists like Jean-Michel Basquiat and Francesco Clemente, drawing and sculpture had taken a backseat to expressionistic painting. It was a period dominated by a rage for new monikers and isms, none of which applied to Artschwager: with graffiti art, Neo-E xpressionism, and the Transavantgarde, significant art trends finally arrived that made no room for his practice. Artschwager was also going through a difficult time personally, and the market seemed to respond to an unevenness in his production during the period. He was, for the first time, isolated by his “eccentricity.” Of course, a great deal more was going on in the 1980s art world than queuing to buy a Julian Schnabel painting. Simmering along for the entirety of the decade were landmark exhibitions that sketched out an antithetical repository for that decade’s extravagance. The Pictures exhibition at Artists Space, New York, in 1977, curated by Douglas Crimp, had brought together the core of a larger generation of artists such as Robert Longo and Sherrie Levine, whose cerebral practice took up the photographic image and the history of art in an entirely new way. In 1979, Levine rephotographed a group of Walker Evans’s Depression-era photographs from that year’s Evans exhibition catalogue First and Last and displayed these images as her own (fig. 85). That same year, Haim Steinbach received his first solo exhibition, also at Artists Space, and set wallpaper strips around the room against which he hung shelves as supports for decorative domestic objects: a vase, a piece of crystal, a Chinese figure (fig. 86). The exhibition heralded Steinbach’s career-long investi gation into the intersection of home space and art space, natural objects and simulated surfaces, authentic originals and serial chains. On the West Coast, William Leavitt broke installation art into cinematic chunks, exhibiting paintings on declaratively fake interior fragments (fig. 87). By 1985, Jeff Koons had suspended basketballs

85. Sherrie Levine (b. 1947) After Walker Evans: 11, 1981 Gelatin silver print 8 7/16 × 6 3/8 in. (21.4 × 16.2 cm) Whitney Museum of American Art, New York; purchase, with funds from the Photography Committee

86. Installation view of Haim Steinbach (b. 1944) exhibition at Artists Space, New York, 1979

in an aquarium and posed vacuum cleaners in illuminated display cases for his legendary exhibition Equilibrium at International with Monument, a gallery in New York’s East Village, and a year later the Sonnabend Gallery brought Koons together with East Village artists Peter Halley, Meyer Vaisman, and Ashley Bickerton for the show credited with branding these and other artists as “Neo- Geo,” a vague label that gathered under its umbrella artists who channeled modernist geometric abstraction and those who integrated contemporary consumer objects in their sculpture. Peter Schjeldahl, writing in Art in America in 1986, employed a different name: Simulationism. He described, with not a little irony: the fun of guessing who is and who isn’t a simulationist. Philip Taaffe is one somehow. . . . Allan McCollum and Jack Goldstein are ones in a retroactive or honorary way. Sherrie Levine is one if she wants to be. The Swiss painter John Armleder is so good that the movement would be foolish not to claim him. And so on. The most striking item of the “so on,” incidentally, is the return in force of Richard Artschwager, seen in a mini-retrospective of ’60s work at [the] Mary Boone [gallery] and in group shows hither and yon.24

87. William Leavitt (b. 1941) Manta Ray, 1981 Mixed media installation, with oil on canvas painting 84 × 96 in. (213.4 × 243.8 cm) overall Collection of Dean Valentine and Amy Adelson

chaffee: the shifting locations of richard artschwager

Indeed, Artschwager’s October 1986 show at Mary Boone marked a crucial turning point for the artist.25 While many writers praised the timing of this look back at his 1960s work as revelatory in light of Steinbach’s use of Formica shelves, or Vaisman’s hybrid surrealist ready-mades, Barry Schwabsky described the show as hovering in “that vertiginous zone where aesthetics and marketing intersect,” while allowing that “in the new context Artschwager looks rather less peripheral than he did before.”26 In the framework of the furniture simulations sculpted by artists like Tony Tasset, Kay Larson suggested that Artschwager had “anticipated the late eighties for about a quarter of a century.”27 But John Yau resisted lumping together the disparate practices of artists using furniture, collecting, appropriation, and domestic space. In 1987 he wrote of the Boone show, “There was something all too cunning about the show’s timing and focus. By stressing Artschwager’s pivotal influence and historical importance, the show validated both his and the younger artists’ work. This year the rage is for genealogical proof and historical continuity. . . . young artists have to prove that they are somebody’s heir.”28 Although many saw Artschwager’s 1988 retrospective at the Whitney Museum of American Art, New York, curated by Richard Armstrong, as the logical outcome of his “rediscovery” in light of powerful contemporary trends, the diversity of the work displayed in that exhibition gave lie to any clear or simple lineage. The actual con nection between Artschwager and these younger artists was a mixed bag.29 Vaisman felt that Artschwager’s furniture sculptures and use of previously off-limits materials had opened important doors.30 Artschwager’s mimetic sculpture resonated with Levine’s representational practices, and the sensibility of his work was also an influence on Levine; she has cited the relevance for her of his approach to the uncanny, one that she quotes him describing as “things for the home that are, well, not at home. . . . The thing has got to seem unstable in a stable setting if it’s going to make you stop, reconsider, look.”31 Likewise, Robert Gober’s prison windows and nonfunctional sink sculptures genuinely share the oddly familiar otherness of three-dimensional Artschwager works such as Door } (1983 – 84; fig. 88) and Door II (1992; see fig. 130).32 Steinbach and Koons, on the other hand, based their strategies on their innovative selection, juxtaposition, and display of mass-market consumables and stereotypes,

90. Man Ray (1890 –1976) L’Enigme d’Isidore Ducasse, 1920 (remade 1972) Sewing machine, wool, and string 14 × 23 3/16 × 13 3/16 in. (35.5 × 60.5 × 33.5 cm) Tate, London

91. City of Man, 1981 Acrylic on Celotex, Formica, and Plexiglas, with painted wood frame 77 3/4 × 180 5/16 × 5 1/4 in. (197.5 × 458 × 13.3 cm)

88. Door }, 1983 – 8 4 Acrylic on wood and glass Door: 81 3/4 × 65 × 9 3/4 in. (207.6 × 165.1 × 24.8 cm); bracket: 74 3/4 × 25 × 1 1/2 in. (189.9 × 63.5 × 3.8 cm)

89. Chair/Chair III, 1974 Two metal folding chairs and chain

Ironically, it is the promiscuous, free-radical-like capacity of Artschwager’s work to circulate and bond with diverse movements, its ability to be understood as something else, that has been an overlooked part of its particular appeal. By the late 1980s, after three decades of being an insider’s outsider, Artschwager was enjoying a level of support and critical approval he hadn’t seen since his early years with the Leo Castelli Gallery. And as in his “Door Window Table Basket Mirror Rug” series, his paradoxically varied, even surprising approaches to a specific set of personal concerns remained his work’s core strength. In the 1990s, he looked forward by looking backward, introducing an entirely new body of work that nonetheless drew on some of his earliest sculptures. The “Crates” series summoned up furniture works from the 1960s onward, invoking them in altered forms that simultaneously recalled Man Ray’s veiled sewing machine of 1920 (fig. 90) and René Magritte’s so-called “coffin” paintings of the 1950s, in which figural paintings by Jacques-Louis David and Édouard Manet were transformed into still lifes, their subjects replaced by caskets.34 Subtly but recognizably, the “Crates” took the shape of previous sculptures by Artschwager, like customized travel containers for his abridged pianos or bureaus, but they also functioned as anonymous substitutes —replications with the artist’s original style leeched out, if not effaced. Artschwager introduced these works in his solo exhibition Archipelago at Portikus, Frankfurt (1993), and Armstrong, having moved from the Whitney to Pittsburgh, positioned them like a leitmotif throughout the 1995 Carnegie International exhibition, citing Artschwager’s works as “crucial precursors of . . . many of today’s younger sculptors.”35 These shells populated art spaces as muted ciphers for Artschwager’s own past, and they appeared to excavate art’s institutional underside: the endlessly nomadic lives of art objects in their travels as portable wealth and culture. In his work of the last ten years, Artschwager has further honed his skill at creating a visual sensation of touch, and at distilling the act of paying attention into physical form. With this recent work, the word “enigmatic” seems as accurate as ever, which is to say both true and misleading. The rubberized horsehair that Artschwager first used for some of his blps, then for “Hair Boxes,” used a different tactility to

while Artschwager has only used readymades twice: in Stolen Oriental Rug, the work made for the Art by Telephone exhibition in Chicago in 1969, and in Chair / Chair III (1974; fig. 89), with its twinned and chained folding chairs. And though many writers have suggested that Artschwager’s use of Formica made him a viable precursor for Steinbach, this is only so if resemblance equals affinity. It is only in their shared pre occupation with domestic referents, and their fascination with the construction of identity through objects, that any legitimate relationship between Artschwager, Koons, and Steinbach may be found. Artschwager was not the only artist to find himself in a brighter spotlight in the 1980s, as critics endeavored to parse a suddenly diversified and commercialized art market. In 1985, for example, Elaine Sturtevant’s controversial repetitions of works by Joseph Beuys and Andy Warhol had not been seen in New York for more than a decade, but that year she was “rediscovered” in multiple exhibitions, and in press that mirrored the praise heaped on Artschwager. The success of younger appropriation artists gave her work the illusion of seeming simultaneously less shocking and more accessible than it ever had before.33 The historical citation that marked so many artists’ work in the 1980s had indeed led to a very real vogue for origin stories.

chaffee: the shifting locations of richard artschwager

93. Still Life, 2002 Acrylic on fiber panel on Celotex, with metal frame 12 × 12 in. (30.5 × 30.5 cm)

years. For sculptors as diverse as the Belgian Koenraad Dedobbeleer and the American Rob Pruitt, he is an acknowledged master. Others, such as the Danish / Norwegian team of Michael Elmgreen and Ingar Dragset, take perverse pleasure in re-creating familiar seductive forms only to force viewers to reject the appeal of resemblance. Such artists have replaced some of the sensationalism of the 1980s in New York with a humor that is alternately slapstick and acerbic, much like Artschwager’s own. An artist whose work has been wedded by critics and curators to a prevailing trend will readily count the ways any moniker chafes. It would be difficult to enunciate a definition of Minimalism without referring to Donald Judd, who, however, persistently refused the categorization; Lawrence Weiner, similarly, would just as soon not be referred to as a Conceptual artist. Artschwager, because of his work’s unpredictable appeal, has avoided being limited by a single catchphrase, and instead has enviably enjoyed association with as many trends as there are innovations in his prolific career. As we enter the second decade of the twenty-first century, the art world has largely lost the taste for entrenched position-taking on invented isms, and we might view the critical reaction to Artschwager’s production as paradigmatic; rather than reproach him for detouring oddly from any one trend’s aesthetic, we’ve been trained by Artschwager himself to lightly set aside expectations and look closely at the work. In 1968, when it still seemed appealing and even possible to formally invent art anew with the discovery of each novel movement, Artschwager demurred, writing, “The main obstacle to the elimination of history from art is art itself.”37 The shifting locations of Artschwager’s reputation testify to the tenacious relevance of his own art’s history.

92. Crouching Man II, 2002 Acrylic on rubberized horsehair on Masonite 74 × 46 × 2 1/2 in. (188 × 116.8 × 6.4 cm)

punctuate art spaces and offered him a way to further blur distinctions between painterly and sculptural representation. Since 2000, he has made unseemly rubberized-hair wall reliefs of figures in motion that appear to have been excerpted, or liberated, from the knotty surfaces of his paintings (fig. 92). He again returned to his chair sculptures of the 1960s in order to realize a long-planned project: he replaced the Formica on his familiar shorthand chair forms with black-and-white photographs of his own that represented a chair from all sides, as in Chair (1965 – 2000; fig. 94), or else a chair with a person seated on it, as in Cerise (2002). Years later the Swiss artist Urs Fischer elaborated on this project with his more than fifty silk-screened mirror-boxes, Service à la française (2009; fig. 95). Artschwager’s new chair sculptures, like the blocky “Crates,” intriguingly recalled the artist’s 1968 observation, “If you recognize something, you don’t have to see it so good. Recognizing something is seeing something and remembering it at the same time. Is that seeing twice?”36 With some distance from the clear market urgency of the 1980s, it is tempting to see Artschwager’s influence in the appeal of uncanny simulation, both carefully crafted and ready-made by industry, to many younger artists in recent

chaffee: the shifting locations of richard artschwager

94. Chair, 1965 – 2000 Acrylic and gelatin silver prints on wood 40 1/2 × 20 1/2 × 20 in. (102.9 × 52.1 × 50.8 cm)

95. Urs Fischer (b. 1973) Service à la française, 2009 Screenprints on mirrored chrome steel Dimensions variable Installed in Urs Fischer: Marguerite de Ponty at the New Museum of Contemporary Art, New York, 2009

Notes

1 Donald Judd famously observed in Arts Magazine: “Artschwager’s furniture isn’t as successful as [Claes] Oldenburg’s, but it’s too good to be derivative.” Judd, “Richard Artschwager,” Arts Magazine 39, no. 6 (March 1965): 60.

2 Lawrence Campbell, “Richard Artschwager,” Artnews 64, no. 1 (March 1965): 17.

3 Barbara Rose, “ABC Art,” Art in America 53, no. 5 (October 1965): 68.

4 As early as 1968, Robert Pincus-Witten wrote, “Three years ago Artschwager was an easy mark, the classicist counterweight to Oldenburg’s soft sculpture. His real virtues were clouded in the smog of second generation Pop. Shortly there after, the representational aspects expunged from his work, Artschwager was seen as a reflection of the general surge toward minimal structure. Yet, through this distillation a residue of furniture remained. . . . Artschwager is a hermeticist. The issue is no longer whether or not he is making furniture; rather he is concerned with the semantics of furniture.” Pincus-W itten, “Richard Artschwager,” Artforum 6, no. 7 (March 1968): 58.

5 For a full discussion of the blp, see Ingrid Schaffner, “A Short History of the blp,” Parkett 46 (1996): 26 – 33.

6 Richard Artschwager, in Chuck Close, “Richard Artschwager, New York City, May 9, 1995,” an interview in The Portraits Speak: Chuck Close in Conversation with 27 of His Subjects, ed. Joanne Kesten (New York: A.R.T. Press, 1997), p. 544.

7 See Jean-Christophe Ammann, “As I Imagine,” in Christian Meyer and Peter Weibel, eds., Das Bild nach dem letzen Bild — The Picture after the Last Picture (Vienna: Galerie Metropole, 1991), p. 16.

8 Artschwager, in Susan Sidlauskas, ”Richard Artschwager Interviewed by Susan Sidlauskas, New York City, 1980,” in Sidlauskas, Rooms (Cambridge, MA: MIT Committee on the Visual Arts, 1981), n.p.

9 Ibid.

10 Artschwager’s realignments with Minimalism and then Conceptualism were important to the continuation of his relevance, since Pop art, the movement with which he had most consistently been associated, had by this point already come to be seen as outmoded. This was so obvious that the curator and critic John Russell, on the occasion of his 1969 exhibition Pop Art Redefined at the Hayward Gallery in London, could write of the movement, “‘Pop’ has joined the great pejoratives; the insults that no one forgives, like ‘Cheat!’ in a cardroom or ‘Revisionist!’ in the Kremlin. In terms of today’s cant, a pop artist is a dated vulgarian, a pop collector is a self-advertising nouveau riche, a pop critic is a connoisseur of dead ends and a pop museum director is a man on the way out. Even its supporters would like to rename it, as if ‘pop’ reeked of some distant but ineradicable scandal.” Russell, “Pop Reappraised,” Art in America 57, no. 4 (July – August 1969): 79.

11 This comparison was suggested by Marjorie Welish, who describes Artschwager’s blp as “his own idiosyncratic brand of site art, as he once extended and burlesqued the scatter principle developed by Andre, Morris and others through various placement tactics.” Welish, “The Elastic Vision of Richard Artschwager,” Art in America 66, no. 3 (May – June 1978): 86. 12 The catalogue for Artschwager’s presentation in Utrecht included photo-documentation of the sited blps as well as a 45-rpm record with the ticking of a clock playing on one side and the drip of a faucet on the other. This sound-effect record is a one-off in Artschwager’s career, one that seems to anticipate Jack Goldstein’s more diverse suite of nine seven-inch records with sound effects from 1976, including A German Shepherd, The Tornado, and Three Felled Trees. Goldstein’s disks used cinema sound as a ready-made tool of fiction, creating an auditory parallel to Pictures- generation image appropriation. 13 Artschwager’s statement in the catalogue was prescient for his future work: “Your walls are my walls, and if you wish, my walls are your walls.” Susan Tumarkin Goodman, Using Walls (Indoors) (New York: The Jewish Museum, 1970), n.p. 14 Curator Jan van der Marck, from the jacket of the LP record Art by Telephone (Chicago: Museum of Contemporary Art, 1969), which served as the exhibition’s catalogue. 15 The theft itself caused controversy as the museum was forced to explain in press releases and public meetings that it had not actually received stolen goods, that the person from whom the rug was stolen was a friend of the artist’s, and that Artschwager assumed full responsibility for the project. Artschwager has recounted that the rug was actually temporarily restolen, this time by a stranger, who soon returned it. For some time later, according to Artschwager, he would periodically receive photographs of a nude woman posing on the rug that had been taken during its absence. Unpublished notes in Artschwager’s archives, Hudson, New York. 16 See, for example, Ivan Karp, “Rent is the Only Reality or The Hotel Instead of the Hymn,” Arts Magazine 46, no. 3 (December 1971 – January 1972): 47 – 51. 17 Ellen Lubell, “New York Galleries Reviewed by Ellen Lubell,” Arts Magazine 46, no. 7 (May 1972): 67. 18 Carter Ratcliff, “New York Letter,” Art International xvi, no. 6 (summer 1972): 78. 19 Gregory Battcock, “New York,” Art and Artists 7, no. 3 (June 1972): 50. 20 Phyllis Derfner, “New York Letter,” Art International XVIII, no. 6 (summer 1974): 49. 21 Roberta Smith, “The Artschwager Enigma,” Art in America 67, no. 10 (October 1979): 93.

chaffee: the shifting locations of richard artschwager

22 Artschwager, unpublished notebook entry, March 13, 1982. Quoted in Germano Celant, “Richard Artschwager’s Concrete Mirages,” in Russell Panczenko, ed., Richard Artschwager: Public (Public) (Madison, WI: Elvehjem Museum of Art, University of Wisconsin, 1991), p. 12. 23 Dirk Luckow has interestingly traced the acknowledged influence on Artschwager of European artists and movements, including Amédée Ozenfant’s Cubism and Bart van der Leck’s neo-Plasticism. See Luckow, “Richard Artschwager and Europe,” in Richard Artschwager: Up and Across (Nuremberg, Germany: Verlag für Moderne Kunst, 2001), pp. 119 – 26. 24 Peter Schjeldahl, “A Visit to the Salon of Autumn 1986,” Art in America 74, no. 12 (December 1986): 16. 25 Steven Henry Madoff notes how “Mary Boone staged a mini-retrospective of his ’60s furniture constructions in October 1986. That same month, at the big exhibition of ‘Neo-Geo’ artists at Ileana Sonnabend’s gallery, people started talking about the way the work of the much discussed young artist Meyer Vaisman had something to do with Artschwager.” Madoff, “Richard Artschwager’s Sleight of Mind,” Artnews 87, no. 1 (January 1988): 114. 26 Barry Schwabsky, “Flash Art Reviews: Richard Artschwager at Mary Boone,” Flash Art, no. 132 (February / March 1987): 106. 27 “Now that [Artschwager’s] time has arrived, his ideas look unsettlingly familiar, appearing as they do in much reduced form in the work of younger artists who don’t always know they have ventured into the territory of a master.” Kay Larson, “Table Turning,” New York Magazine 21, no. 6 (February 8, 1988): 87. 28 John Yau, “Richard Artschwager [at Mary Boone Gallery],” Artforum 25, no. 5 (January 1987): 110. 29 This seemed obvious in an exhibition like Klaus Kertess’s Artschwager: His Peers and Persuasion, at the Daniel Weinberg Gallery, Los Angeles, in 1988. There, as Colin Gardner noted in his review of the show, some comparisons were compelling and others seemed forced. Gardner, “Richard Artschwager: His Peers and Persuasion,” Artforum 27, no. 1 (September 1988): 150.

31 As Sherrie Levine described it, “I am interested in making a work that has as much aura as its reference. For me the tension between the reference and the new work doesn’t really exist unless the new work has an auratic presence of its own. Otherwise, it just becomes a copy, which is not that interesting.” Levine, in an interview with Constance Lewallen, Journal of Contemporary Art, n.d., published online at www.jca-online.com/ slevine.html. 32 On the connections between Artschwager and Robert Gober, see Brooks Adams, “Artschwager et Gober: d’étranges cousins,” Artstudio, no. 19 (winter 1990): 64 – 67. 33 As Sturtevant told Bruce Hainley, “The appropriationists made me a precursor, although refusing to be jammed into that category immediately put me back in hot water. The dynamic difference was that Sherrie Levine, leading the pack, brilliantly used the copy as a political strategy, whereas the force of my work lies in the premise that thought is power. What is currently compelling is our pervasive cybernetic mode, which plunks copyright into mythology, makes origins a romantic notion, and pushes creativity outside the self. Remake, reuse, reassemble, recombine — that’s the way to go.” In “Sturtevant Talks to Bruce Hainley,” Artforum 41, no. 7 (March 2003): 246. 34 Nancy Princenthal, in her review of the Artschwager show at the Mary Boone Gallery that included the “Crates,” spoke of Artschwager as testing the real against the fake: “In Marxism, this is condemned as the production of desire: Artschwager calls it ‘beauty through abridgement,’ the practice of omitting ‘something useful so the rest is heightened.’ In other words, the ellipses of his work belong less to the prosaic texts of culture theory than the poetics of Surrealism.” Princenthal, “Richard Artschwager at Mary Boone,” Art in America 83, no. 1 (January 1995): 91. 35 Richard Armstrong, “Introduction,” Carnegie International 1995 (Pittsburgh: Carnegie Museum of Art, 1995), p. 19. 36 Artschwager, unpublished notebook entry, 1968. 37 Artschwager, quoted in John I. H. Baur, “The Whitney on the Road,” Arts Magazine 42, no. 4 (February 1968): 43.

30 Vaisman remarked, “What he’s done is apply his obsessions to the world, you know, to world objects instead of just art objects. All of the art having to do with furniture — by myself, [Jeff] Koons, Haim Steinbach, Ashley Bickerton, John Armleder, it definitely touches on Artschwager. He’s become like a classical artist, and he’s turned Formica into a classical material for us. For years Artschwager’s work has been floating through the art world, offering possibilities.” Quoted by Madoff in “Richard Artschwager’s Sleight of Mind,” p. 121.

96. Yes / No Ball, 1974 (front and back) Bowling ball Diameter: 10 in. (25.4 cm) Edition of 12

97. Interior # 2, 1977 Drypoint Sheet: 22 3/8 × 19 13/16 in. (56.8 × 50.3 cm); plate: 9 15/16 × 11 15/16 in. (25.2 × 30.3 cm) Edition of 35, 12 AP

98. Untitled, 1976 Rubber stamp 8 1/8 × 8 1/2 in. (20.6 × 21.6 cm) Edition of 1000

99. Book, 1987 Formica on wood 5 × 20 × 12 in. (13 × 51 × 30.5 cm) Edition of 40

100. Bookends, 1990 Formica on wood 6 3/4 × 6 1/2 × 4 in. (17.2 × 16.5 × 10.2 cm) Edition of 50, 2 AP

101. Four Approximate Objects, 1970 – 91 Mahogany, Formica, brass, chrome-plated brass, and flocking 3 1/2 × 14 5/8 × 13 5/8 in. (8.9 × 37.2 × 34.6 cm) closed Edition of 30

102. Building Riddled with Listening Devices (Alpha), 1990 Soft-ground, aquatint, spit-bite, etching, and drypoint on paper Sheet: 33 × 35 in. (83.8 × 88.9 cm); plate: 20 5/8 × 24 in. (52.4 × 61 cm) Edition of 60, 12 AP

104. Horizon, 1990 Etching, aquatint, lift-ground, spit-bite, and drypoint on paper Sheet: 37 × 46 3/4 in. (94 × 118.7 cm); plate: 23 9/16 × 35 7/8 in. (59.9 × 91.1 cm) Edition of 60, 12 AP

103. Building Riddled with Listening Devices (Beta), 1990 Etching, aquatint, lift-ground, spit-bite, and drypoint on paper Sheet: 32 7/8 × 35 in. (83.5 × 88.9 cm); plate: 20 1/2 × 24 in. (52.1 × 61 cm) Edition of 60, 12 AP

105. Chair / Chair, 1987 – 90 Red oak, Formica, cowhide, and painted steel 39 × 40 × 52 in. (99.1 × 101.6 × 132.1 cm) Edition of 100

Adam D. Weinberg

Richard Artschwager Different Ways to Blow the Whistle

In the realms of art reporting, art criticism, and art history it is not uncommon for an artist’s work to be described as “personal.” This is usually understood to mean that the work is hybrid, quirky, subjective, self-referential, or hermetic, and doesn’t conform to a given style or styles. A range of nineteenth-and twentieth-century American artists fit the description, from Albert Pinkham Ryder, Charles Burchfield, Louis Eilshemius, and Florine Stettheimer to Alfred Jensen, Robert Arneson, and the subject of this essay, Richard Artschwager. In order to understand and appreciate such artists’ work, writers must go beyond the commonalities of style and content shared by a group of artists at a given time. The use of the word “personal” proposes a voice from outside, and the writers who use it often cannot easily connect an artist’s work to that of his or her peers, and want to consider the art on its own terms, apart from the labels of “isms.” But what is the so-called personal? What does it mean historically? Is it an aberrant condition inherent to an artist’s upbringing, training, or lack thereof? Or might it in some cases rather be a strategy? What does it mean in relation to Richard Artschwager? The notion of the personal need not imply a “self-taught” or “outsider” artist. Those artists’ styles are personal by definition, since their work exists outside the mainstream, in which they have no tutelage. While it may be tempting to compare the work of outsider artists to defined styles, their sources are generally thought to lie outside art history, in the material world or even beyond it. Nor is a word like “eccentric” appropriate: according to the dictionary, “eccentricity” suggests some sort of mental aberration, even if only a mild one, and mental aberration should not be confused with uniqueness of temperament, a notion more consistent with an artist like Artschwager. This idea of the personal is part of a long tradition — or, rather, a long but random series of historical occurrences, for artists with personal styles need not be linked in style or content. In fact, what makes their work personal is exactly its uncoupling from tradition. They often show ties to other artists past and present, which they may fully acknowledge; but they purposely choose not to align themselves with those artists’ visions and techniques. They are typically schooled in art, often at a high level, and even those who aren’t have been well exposed to both art history and the art of their time. This said, defining “personal” is a fool’s errand — the concept can only truly be defined in terms of itself. Yet the notion of the personal

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107. Construction with Indentation, 1966 Formica on plywood 59 7/8 × 47 15/16 × 9 9/16 in. (152.1 × 121.8 × 25 cm)

106. Artschwager with Chair Table, 1980 Formica, wood, and metal Chair: 41 × 21 1/2 × 24 in. (104.1 × 54.6 × 61 cm); table: 32 × 48 × 36 in. (81.3 × 121.9 × 91.4 cm)

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108. Installation view of Different Drummers at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1988

is commonly used and accepted. A more precise word, particularly in relation to Artschwager, might be idiosyncratic, “idio” coming from the Greek for “one’s own” and “syncratic” from a word translatable as “temperament.” The dictionary thus defines “idiosyncratic” as “the following of one’s beat or temperament and connotes strong individuality of action.” George Kubler, in his farsighted book The Shape of Time: Remarks on the History of Things (1962), examined art, and all things made by humankind, in connection with sequence theory. For Kubler, every great, paradigm-shifting work of art was a “prime object,” an “original entity” produced by a prime maker. “Their character as prime is not explained by their antecedents, and their order in history is enigmatic.”1 He went on, “The history of art . . . resembles a broken but much-repaired chain made of string and wire to connect the occasional jeweled links surviving as physical evidences of the invisible, original sequence of prime objects.”2 While Kubler’s proposal regards all important leaps in art history, I would posit that there are certain great artists whose approaches fall more readily into a sequential art historical order while others, mystifyingly, seem to resist such linkages, appearing historically untethered in perpetuity. Kubler wrote, “When the shock of innovation has faded . . . they will enter the tradition as if by simple chronological distance.”3 Perhaps, in time, this description will apply even to artists working in a personal manner — or perhaps not. In 1988, in his exhibition Different Drummers, at the Hirshhorn Museum and Sculpture Garden, in Washington, D.C. (fig. 108), the curator Frank Gettings assembled a group of nine late-t wentieth-century artists, including Jensen, Bruce Conner, Öyvind Fahlström, and Peter Saul, “whose work cannot be easily categorized” and “whose forms of expressions differ sharply from those of most of their peers or from what the art world accepts.”4 The exhibition (which did not include Artschwager) took its title from lines in Henry David Thoreau’s Walden (1854): “If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music he hears, however measured and far away.”5 Gettings connected the exhibition’s “eccentric visual statements” through geography, generational concerns (social consciousness), and stylistic tendencies (surrealistic overtones), but nevertheless viewed each artist as sui generis.

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109. Weaving #14, 1973 Acrylic on Celotex 17 5/8 × 15 1/2 in. (44.8 × 39.3 cm)

While Gettings acknowledged that “individual artists with different, even controversial ideas and styles of expression existed for centuries,” citing figures from Hieronymus Bosch and Giuseppe Arcimboldo to Francisco Goya and Odilon Redon, he focused on the personal as a phenomenon of the latter half of the twentieth century, arguing that it began to appear “in contemporary art in the United States (especially on the West Coast) in the 1950s and 1960s.”6 Identifying individualistic styles through American art since 1950 seems appropriate: while many artists of the period can be associated with prevailing styles — Abstract Expressionism, Pop art, Minimalism, and so on — the confinement of an “ism” was of little interest to successive generations and in fact often repulsed them. Today, artists connect through myriad constellations of affinities, including both direct social connections and the temporal and global zeitgeist made possible by the Internet. Although many create collectively and collaboratively, posing questions about originality and individuality, others define themselves, or wish to define themselves, in terms only of themselves. This is not to say that they see their work as having originated ex nihilo, but the present-day artist is in the (un)enviable position of being able to select from unlimited concepts, images, styles, forms, and techniques. That Gettings turned to Thoreau for his title is telling not merely for the phrase’s poetic suggestiveness but because there is a peculiarly American twist, or dialect, in his idea of the personal. Thoreau is among the most American of American writers. There are limitations to considering art in national terms, particularly in our globalized world; moreover, the notion of the personal has undoubtedly existed across both history and cultures. But given Artschwager’s work as our subject, and for the sake of efficacy, my comments here are based on the personal in late- nineteenth-and twentieth-century American art and culture. For one example, Artschwager’s nonconformism evokes aspects of the individual spirit of American Transcendentalists such as Thoreau and Ralph Waldo Emerson, with whose remark “Imitation is suicide” Artschwager would surely agree.7 In visual terms, a number of antecedents come to mind for the personal or idiosyncratic figures, such as Artschwager, in late-twentieth-century American art. One of the most salient is Albert Pinkham Ryder (1847 –1917), a painter of intimate, ecstatic, glowing landscapes, seascapes, and religious scenes (fig. 110). In an early monograph on the artist, written in 1920, Frederic Fairchild Sherman wrote that Ryder “almost invariably reduced to the measure of a personal presentation his interpre tation of every subject.” He went on, “The originality of his invention is individual and unique.”8 In 1959, Lloyd Goodrich, one of Ryder’s greatest champions, called him “the most original plastic artist of his time,” and one whose work was “little influenced by the world around him or the art of others.”9 Nearly thirty years later, in the definitive monograph on Ryder by Goodrich and William Innes Homer, Goodrich wrote, “Ryder seems more queer, original, individual . . . [a] real visionary with an extraordinary personal vision.”10 Ryder lived with his parents into his thirties and then alone for the rest of his life. Goodrich reported that he was considered an odd, reclusive man “who lived in a dream world.”11 Yet Ryder was not an outsider. Descended from an old Cape Cod family, he studied and exhibited at the prestigious National Academy of Design and was elected to the Society of American Artists. He took several trips to Europe, sold his work to influential collectors, including Thomas B. Clarke, and even exhibited ten paintings in the famous Armory Show in New York in 1913. Although he was known for experimental uses of materials such as candle grease and wax, for atypical

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on the artist.14 Cornell himself wrote, “I do not share in the subconscious or dream theories of the surrealists.”15 Solomon writes of Cornell, “It is hard to think of another American artist who was receptive to so many art movements or who managed to win the admiration of everyone from Surrealists in the 1940s to the Abstract Expressionists in the 1950s to the Pop Artists in the 1960s.” In fact, he can be thought of as a link among these groups — connected to all but party to none. Solomon continues, “Artists who agreed on little else agree on Cornell. They agreed, that is, on his originality.”16 Whether the word used is “personal” or “original,” Cornell — like Artschwager — was fully engaged with the art of his time yet idiosyncratically independent. It is worth noting that since his work’s early appearances, it has been associated with early American art and in particular with the craftsmanship and clarity of nineteenth-century trompe l’oeil painting, the work of artists such as William Harnett and John F. Peto.17 In 1953, Robert Motherwell wrote, “So long as [Cornell] lives and works, Europe cannot snub our native art.”18 H. C. Westermann (1922 –1981), an artist Artschwager was personally acquainted with and admires, was another maker of decidedly personal work. The curator Barbara Haskell, in her catalogue for the artist’s first New York museum exhibition, at the Whitney in 1978, clearly identified him as a personal artist: “Westermann always chose his own paths . . . [he is] essentially a loner with a unique sensibility . . . [realized through] a private sense of achievement based on a personal code of ethics and behavior, his objects violate conventional notions of art-historical theory and taste.”19 This notion has persisted. In 2001, Westermann’s friend Dennis Adrian, writing in the catalogue raisonné of the artist’s work, noted that “Westermann has

110. Albert Pinkham Ryder (1847 –1917) Jonah, c. 1885 Oil on canvas 27 1/4 × 34 3/8 in. (69.2 × 87.3 cm) Smithsonian American Art Museum, Washington, D.C.

supports like cigar-box lids and gilded leather, and for unconventional, complex, layered applications that often gave his paintings unstable surfaces, he was a trained and sophisticated artist, an artist very much of the generation of George Inness, Ralph Blakelock, and John LaFarge, to whose concerns his work was connected. Ryder exemplified the personal by consciously or, rather, self-consciously staking out an individual position. An admirer of Edgar Allan Poe, Herman Melville, and Nathaniel Hawthorne, he also recalled Emerson when he wrote, “Imitation is not inspiration. . . . the least of man’s original emanation is better than the best of a borrowed thought.”12 Another “personal” predecessor of Artschwager’s is Joseph Cornell (1903 – 1972). Unlike Ryder, Cornell was a self-taught artist who never traveled abroad. He waited to produce his first artwork until the age of twenty-seven and lived with his mother until her death, in 1966. He didn’t think of himself as an isolated person, however; as Deborah Solomon wrote in her biography of him, “Cornell was the quintessential New Yorker: the loner who couldn’t stand to be alone and who looked to the city as a place in which to live out his dreams of connectedness.”13 And he was classically educated, having attended secondary school at Phillips Academy, Andover. Nor was he cut off from the artists of his period or unaware of their work. From 1930 on, in fact, he was considered an “American Surrealist,” having become linked to the Surrealists through his association with the forward-looking Julien Levy Gallery, and in 1936 his work was exhibited in the Museum of Modern Art’s groundbreaking exhibition Fantastic Art, Dada, Surrealism. Neither a painter nor a sculptor, Cornell adopted the Surrealist assemblage technique as a way to produce hybrid works in a manner consistent with his poetic, voyeuristic, and antiquarian collecting interests (fig. 111). But although he owed a debt to Surrealists such as Max Ernst and Man Ray, befriended Marcel Duchamp, and was influenced by the work of Giorgio de Chirico, he “neither subscribed to the group’s tenets nor participated in their activities,” as Diane Waldman points out in her book

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111. Joseph Cornell (1903 –1972) Untitled (Homage to Blériot), c. 1956 Box construction 18 1/2 × 11 1/4 × 4 3/4 in. (47 × 28.6 × 12.1 cm) The Art Institute of Chicago; Lindy and Edwin Bergman Joseph Cornell Collection

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been variously identified as a surrealist, a neo-Dadaist, an heir or competitor of Joseph Cornell, a down-home Yankee whittler whose personal concerns have gotten out of hand, a folk artist, an outsider artist, a minimalist, a pop artist, a social satirist, and quite a few other things.”20 After serving in World War II and the Korean War, the most formative experiences on his life and subsequently his art, Westermann attended the School of the Art Institute of Chicago — at the same time as artists Leon Golub, Nancy Spero, and June Leaf — from which he received a degree in 1954. In Chicago he was exposed to Cornell’s work at the Allan Frumkin Gallery, where he himself began to exhibit in 1956. Westermann has long been linked to Cornell through his box assemblages and Surrealist tendencies, but his often transgressive themes and disturbing imagery, and the diversity of his sculptures (which took many forms other than boxes), radically distinguish him from the older artist. Westermann’s significance lies not simply in the idiosyncratic character of his work, his craftsmanship, and his wry visual humor but rather in a vision that devoured, digested, and reconnected a multiplicity of existing styles and approaches, creating

113. H. C. Westermann (1922 –1981) Imitation Knotty Pine, 1966 Clear pine, brass, and inlaid knotty pine 21 × 20 3/4 × 13 in. (53.3 × 52.7 × 33 cm) Yale University Art Gallery, New Haven; gift of Sharon and Thurston Twigg-Smith, B.E. 1942

112. H. C. Westermann (1922 –1981) About a Black Magic Maker, 1959 Wood, Formica, glass, tin, chrome, brass, mirror, enamel, and found objects 83 3/8 × 25 1/2 × 43 1/4 in. (211.8 × 64.8 × 109.9 cm) Private collection

114. Installation view of Artschwager’s first one-person exhibition at Leo Castelli Gallery, New York, 1965

115. Gila Watershed, 1952 Oil on canvas 40 × 50 in. (101.6 × 127 cm)

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a new amalgam and upending the status quo. For the critic Robert Storr, “It is not sui generis inventiveness that makes him so [great], but rather his extraordinary knack for turning conventional art wisdom and the formal paradigms originated by others inside-out and backwards-to.”21 Storr identifies two specific Westermann works that he believes anticipate Artschwager: A Positive Thought (1962), which he relates to Artschwager’s linguistically inspired works, and the human-scaled, carpet-covered Plush (1963), which connects to Artschwager‘s “weird, quasi-domestic, quasi-abstract objects in . . . Celotex, Formica, and rubberized hair, not to mention Artschwager’s comparable obsession with craft and finish.”22 Other works of Westermann’s also link him to Artschwager’s sensibility. About a Black Magic Maker (1959; fig. 112), his only work in Formica, involves a tongue-in-cheek use of material that turns his typical use of fine woods on its head and precedes Artschwager’s first Formica pieces by a year. While Artschwager has used Formica repeatedly, treating it as a serious medium, for Westermann it was a one-off visual pun. Imitation Knotty Pine (1966; fig. 113), meanwhile, is another visual pun — a small rhomboid box made of clear-grain pine into which pine knots are inlaid, making faux knotty pine. In these and a handful of other sculptures, Westermann plays with the idea of truth to materials, a subject that Artschwager takes on but in effect declares irrelevant by fully adopting Formica, faux painting, and other materials and methods as an enduring strategy of his art. Around 1973, in his Autobiographical Fragment, Artschwager wrote modestly, “I thought I could be a practitioner of art, refining some notions that had already been developed by others, adding a little bit of personal idiosyncrasy.”23 Idiosyncrasy is in effect a defense against conformity, but Artschwager’s work is anything but conformist; his art is characteristic of truly being one’s self, not part of what he would call a “corporate sensibility.”24 While he acknowledges a debt to such artists of his generation as Jasper Johns, Andy Warhol, and Claes Oldenburg, a belief in self-reliance is evident in his work and in his words. “To be an individual,” he has said, “means to be alone. There has to be some being alone if you are going to be able to form the notion of being-in-the-world. . . . This being alone is not the same as being alienated.”25 Although Artschwager is not a self-taught artist, his formal training was rela tively brief. Initially following his father’s direction, he took a degree in physical science at Cornell University. After a stint in the U.S. Army during World War II, however, he decided to study painting and attended Amédée Ozenfant’s school in New York, where he was exposed to the ideas of the School of Paris and in particular to Purism, with its machine aesthetic and simple, unadorned architectonic forms. Then, after a year in the school, he largely put aside art to work as a furniture-maker. The first exhibition of his art, at the Art Directions Gallery, New York, did not come until 1959. Artschwager came of age during the ascendancy of Pop, Minimal, and Conceptual art, and in 1964 he was taken on by the Leo Castelli Gallery, a headquarters for much of this activity. That year he exhibited in two group exhibitions at the gallery, showing first alongside Christo, Alex Hay, and Robert Watts and then with Roy Lichtenstein, James Rosenquist, Frank Stella, and Warhol. In 1965 he was given a solo exhibition (fig. 114). Artschwager knew the work of his contemporaries well and established personal relationships with a number of his peers, including Oldenburg, Malcolm Morley, and Walter De Maria. Donald Judd wrote on Artschwager on several occasions, most importantly in his essay “Specific Objects,” published in 1965, a defining text for the Minimalist generation. I am struck in that essay by Judd’s assertions, first, that “the new

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three-dimensional work doesn’t constitute a movement, school or style . . . the differences are greater than the similarities,” and then more significantly that “much of the motivation in the new work is to get clear of [painting and sculpture].”26 While Judd’s article concentrates on the nonrelational form of the new works, it also implies that these objects are so “specific” as to reaffirm their own uniqueness and hence, to my thinking, their subjective, personal quality. While Judd honed in on the definition of a “specific object” as being distinct from painting and sculpture in not being “made part by part by addition, composed,” he also acknowledged the diversity of the new work, its range from “the single thing” to the “more or less environmental.”27 In effect, he argued for the singularity of this work, on the basis of form and process as well as of content. This argument is also clear in an article he had written two years earlier on Westermann, one of many artists mentioned, like Artschwager, in “Specific Objects.”28 I cite Judd to make the case that the personal in art is not simply the result of temperament or naiveté. Rather, it is a spontaneous, intuitive strategy based on a profound intellectual grasp of the prevailing styles, forms, and subjects of the time, and not derived per se from a calculated aesthetic or political position. Artschwager’s relationship to the styles of his time has been discussed for decades. In 2002, Jörg Heiser, in his superb text “Elevator: Richard Artschwager in the context of Minimal, Pop, and Concept Art,” underscored the artist’s connections to each of these approaches while also showing how impossible it is to subsume his objects under their labels: counter to Minimalism, he retains referentiality; counter to Pop, he lacks specificity of subject (Warhol’s citation, for example, not just of canned soup but of Campbell’s soup); and counter to Conceptualism, his work “avoids direct verbal articulation.”29 Time and again, writers have demonstrated Artschwager’s awareness of other movements while also affirming his independence from them. They have also distinguished his approach from that of predecessors such as the artists cited so far. What makes Artschwager’s art personal, paradoxically, is his use of impersonal subjects and materials. His subjectivity lies in his perversion of objectivity. His approach is fact-based and clear-eyed: he often starts with simple objects or forms (table, chair, dresser), then reimagines them through the use of manufactured and thus seemingly “objective” materials such as Formica and Celotex, materials not associated with artmaking before he reached them. Through the fake wood grain of the Formica and the “starry night” swirls in the texture of the Celotex — signifiers of expressive individuality that are machine made — he makes generic forms and objects personal, gives them a subjective Artschwager character. At the same time, what is distinct about this personality and subjectivity is its artifice, its lack of emotion. Even though Artschwager emerged from the New York context of Abstract Expressionism, to which elements of early paintings such as Gila Watershed (1952; fig. 115) bear a resemblance, he was moving away from its expressiveness. Reviewing Artschwager’s first exhibition — of paintings, in 1959 — Judd commented that “he uses a quick, spiked stroke elongated and communicative of abbreviation, a clipped dissolution.”30 A draining of emotion, and a notion of the brushstroke as signifier rather than as personal expression, are already evident in this observation. The repeated red circular forms in Untitled (1962; see fig. 2), similarly, are closer to the shorthand-like, sign- derived script of Cy Twombly than to the self-expressive skeins of Jackson Pollock. Where Ryder’s expressiveness is carried by his luminous use of palpable pigment, Cornell’s by the charm and mystery of his combinations of found objects and images,

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117. Description of a Table, 1964 Formica on plywood 26 1/8 × 31 7/8 × 31 7/8 in. (66.4 × 81 × 81 cm)

and Westermann’s by the dark cynicism of his humorous constructions, expressiveness for Artschwager is a technique, a vehicle, a sign to be used at will. Portrait I (1962; fig. 116) is a bedroom dresser painted with an exaggerated faux wood-grain in black, white, and gray. On it rests a portrait painted on Celotex. The work seems imbued with emotion, which, however, is undercut by irony, which, yet again however, does not prevent the object from being mesmerizing in its appearance and disturbing in its incomprehensibility. The painting on the dresser is entirely conditioned by the pattern system of the faux wood-grain, while the portrait above is tempered by the uneven texture of the Celotex. The emotion in Portrait I, then, is controlled and created by systems. The work is made more unsettling by being neither painting nor sculpture and at the same time by being both. It is a specific object in Judd’s sense and a conceptual object by virtue of its system, as open- ended as that system might be. When Artschwager chose Formica as a medium — “the great ugly material, the horror of the age,” he called it — he chose it in part because it read pictorially.31 His use of Formica to make objects forced multiple readings. A work like Description

116. Portrait I, 1962 Acrylic on Celotex and wood 74 × 26 × 12 in. (188 × 66 × 30.5 cm)

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of a Table (1964; fig. 117) is a series of contradictions. It is a box, a cube, a physical object, something to be reckoned with in space; yet it also invites reading as a four- legged table with a tablecloth. At the same time, it is not merely a confounding illusion, for it retains its functionality — it could, technically, be used as a table; and at the same time again, it is a work of art, and isn’t supposed to be used at all. The slick industrial surface of the Formica fends off any resonance of natural materials or the touch of the artist’s hand. These characteristics are evident not only in a self- contained, unitary, minimal object like Description of a Table but also in later, more baroque Formica works like Splatter Chair I (1992; fig. 118), a relief playing with the idea that a wood chair has been thrown full force into the corner of a room, where it has splayed out and flattened, cartoonlike, on the two adjoining walls. In another work from the same year, Corner (fig. 119), several Formica elements have similarly been set in a corner, illusionistically and suggestively appearing to be three pieces

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118. Splatter Chair I, 1992 Enamel on wood and Formica 27 × 41 1/2 × 1/2 in. (68.6 × 105.4 × 1.3 cm) left; 50 × 38 1/2 × 1/2 in. (127 × 97.8 × 1.3 cm) right

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of wood, forcibly bound and trying to escape. Such works, which reek of heightened expressiveness, are anything but. Their materials, abstractness of form, and positioning on the wall, while disconcerting, are less visceral than visual. A signification of heightened emotion is also evident in Artschwager’s linguistic works, which first appear in the 1960s in such pieces as Exclamation Point (1966; fig. 122). These works have their flowering in the 1980s and ’90s with pieces like Chair Table (1980; see fig. 106), Up and Across (1984 – 85; fig. 120), Question Mark — Three Periods (1994; fig. 121), and, more recently, Exclamation Point (Chartreuse) (2008; see fig. 43). The punctuation mark Artschwager has used most often is the exclamation point, a sign used in writing to denote, according to Merriam-Webster, “forceful utterance or strong feeling.” Artschwager may deploy these marks singly, as in the human-scale, plastic-bristle Exclamation Point (Chartreuse), or as part of a sequence of elements, as in Up and Across. In either case they appear as humorous, sensuous forms — yet mute ones, detached from the dramatic feeling or sound that they would imply in a text. Decontextualizing the emotion associated with the mark contradictorily summons an existential loneliness.

119. Corner, 1992 Painted wood, Formica, and chrome-plated steel 35 1/2 × 15 × 4 1/2 in. (90.2 × 38.1 × 11.4 cm) Edition of 30

120. Up and Across, 1984 – 85 Acrylic on wood 64 × 144 × 35 in. (162.6 × 365.8 × 88.9 cm)

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Artschwager is interested neither in the emotional availability of the artwork nor in its aura, qualities typically associated with the personal. He has said, “This business of presence meant nothing.”32 This is why the word “idiosyncratic” fits him better than the word “personal” — or to put that differently, the way he employs his materials and techniques remains personal even while he strips them of their usual emotive qualities. His search is for authenticity — “authenticity in attitudes and techniques coming out of an industrial place.”33 For Artschwager, authenticity also comes from what he has called “pre-literate vision,” vision based on a direct, unmediated experience of the world. Here, I believe, his thoughts align with those of Susan Sontag, who wrote in Against Interpretation in 1966, “None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did.”34 In developing an art that is uncategorizable — idiosyncratic — Artschwager seeks no justification. Artschwager’s idiosyncrasy also lies in the bizarre forms his works take. It is not merely that they are made in mixed media, or are oddly situated between painting and sculpture, furniture and installation; it is also that some of them take hybrid forms, which seem unidentifiable, beyond category, resistant to description, like mutant creatures. He does of course produce more conventional unconventional

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121. Question Mark — Three Periods, 1994 Nylon brushes on fiberglass frame, with steel hanging system 135 13/16 × 72 1/16 × 28 3/4 in. (345 × 183 × 73 cm) overall

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122. Exclamation Point, 1966 Acrylic on wood and Formica 50 1/2 × 8 1/2 × 2 5/8 in. (128.3 × 21.6 × 6.7 cm)

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artworks, like the various boxes, some a little reminiscent of Cornell, Westermann, and even Judd, from Untitled (Formica and Wood Construction) (1962; fig. 123) and Untitled (1971; fig. 124) to See by Looking / Hear by Listening (1992; fig. 125). His “blps,” begun in 1967 / 68, seem almost arbitrary in their various locations and sizes, whether isolated as a single gesture in an environment — even on a monumental scale, as at the Turtle Bay Steam Plant, New York, around 1968 (fig. 126) — or scattered throughout a building, as in the 1968 Whitney Biennial, when 100 of them were installed in both public and private spaces in the museum (see fig. 75). Then there are Artschwager’s truly inscrutable, eccentric constructions, which appear entirely disconnected from any existing genre. The early works Handle I (1962 ; see fig. 11) and Counter II (1965; see fig. 14), for example, are nonfunctioning / dysfunctional objects that, he has said, came out of “a kind of disoriented freedom in which the things I made were no longer useful or useless.”35 Finally there is also a variety of mongrel, visually and structurally complex works that derive from long, systematic explorations of forms yet seem to be beyond comprehension. These transgressive objects include Pyramid (Table / Window / Mirror / Door / Rug / Basket) (1979; fig. 127), Organ of Cause and Effect III (1986; fig. 128), and Table Prepared in the Presence of Enemies (1993; fig. 129). Artschwager’s nonconformism was staked out by his American predecessors working in a personal mode. To distinguish themselves from their contemporaries, however, they relied not only on stylistic and technical qualities but also on direct emotive ones, which Artschwager evades. Instead, he puts structural, conceptual, and purely visual qualities to idiosyncratic ends, distinguishing himself by “screw[ing] up the finished product just a little.”36 Yet there does remain a level of emotional resonance in his art, a sense of alienation and pathos evoked by “the cruel and anonymous, industrial look” and the originality of his forms.37 Even as he shuns any sign

126. Blp at the Turtle Bay Steam Plant, New York, c. 1968

123. Untitled (Formica and Wood Construction), 1962 Formica and walnut 6 × 14 × 12 in. (15.2 × 35.6 × 30.5 cm)

124. Untitled, 1971 Wood, brass, glass, horsehair, and Formica 11 1/2 × 14 5/8 × 13 1/2 in. (29.2 × 37.2 × 34.3 cm) Edition of 50

125. See by Looking/Hear by Listening, 1992 Formica, wood, velvet, chrome-plated brass, and etched glass 5 15/16 × 24 5/8 × 11 15/16 in. (15.1 × 62.6 × 30.3 cm) closed

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of expressiveness, his work is still expressive and personal. His art reminds us that we feel, despite the dehumanizing qualities of our age. Artschwager has written, “I use craftsmanship, quality, idealism, reverence, ‘the good,’ truth, etc. and other related powers as ingredients of my work.”38 This is part of the case for his Americanness, and for his work’s formal connection, as with Cornell, to the American nineteenth-century tradition of trompe l’oeil painting exemplified by Harnett and Peto. His passion for craft and for skillfully realized illusion is evident throughout his five-decade career. The refinement and technical execution of each and every Artschwager work is a tour de force. “The making,” he has written, “is so enchanting,” and this absorption in the process of making is among his ties to Ryder, Cornell, and Westermann.39 Artschwager’s freedom from convention is perhaps his most American characteristic. After living abroad for a number of years in the 1940s, he returned to the United States, he says, “with a tremendous sense of relief.” In Europe, he went on, “There is no physical space, no room to make mistakes.”40 It is his ability to make “mistakes,” and to turn those “mistakes” into objects, that distinguishes his art.

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127. Pyramid (Table / Window / Mirror / Door / Rug / Basket), 1979 Acrylic on wood 87 3/4 × 34 1/8 × 34 in. (222.9 × 86.7 × 86.4 cm)

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128. Organ of Cause and Effect III, 1986 Formica and latex paint on plywood 129 × 61 3/4 × 18 in. (327.7 × 156.9 × 45.7 cm)

129. Table Prepared in the Presence of Enemies, 1993 Wood, Formica, and aluminum 59 × 60 × 75 in. (149.9 × 152.4 × 190.5 cm)

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Notes

Artschwager is an artist of the subjective in extremis. A believer in the inviolable democracy of individual vision, he has described himself as “arguing the subjectivity and consequently self-conscious posture of all world views and their practitioners.”41 As he has said, “There are different ways to blow the whistle.”42 He celebrates (to use a favorite word of his) the ordinary, and the way in which one can realize from it the extraordinary. Kubler wrote, “Inventions, which are commonly thought to mark great leaps in development and to be extremely rare occurrences, are actually one with the humble substance of everyday behavior.”43 Nothing more true could be said of Artschwager’s work. I close with words from his famous lecture “To Whom It May Concern”: “The gift of life is roundabout you and in you: the proof of that is that you are able to hear these words. The nature of the gift is such (time- space) that there is no way that you can lose it or waste it. It is meant for you — the only meaning — this is also proved by your being able to hear these words. Take what is yours. Bon Voyage . . . and stop listening.”44 He means what he said.

1 George Kubler, The Shape of Time: Remarks on the History of Things (New Haven: Yale University Press, 1962), p. 39.

2 Ibid., p. 40.

3 Ibid., p. 53.

4 Frank Gettings, Different Drummers (Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 1988), p. 13.

5 Henry David Thoreau, quoted in ibid.

6 Gettings, in ibid., p. 13.

7 Ralph Waldo Emerson, “Self-Reliance,” 1841, in Essays (Boston: James Monroe and Company, 1841).

8 Frederic Fairchild Sherman, Albert Pinkham Ryder (New York, 1920), p. 59.

130. Door II, 1992 Formica on wood and aluminum 102 × 59 × 12 in. (259.1 × 149.9 × 30.5 cm)

9 Lloyd Goodrich, Albert P. Ryder (New York: George Braziller, 1959), p. 11.

10 William Innes Homer and Goodrich, Albert Pinkham Ryder, Painter of Dreams (New York: Harry N. Abrams, 1989), p. 142. 11 Goodrich, Albert P. Ryder, p. 27. 12 Ryder quoted in ibid., p. 24. 13 Deborah Solomon, Utopia Parkway: The Life and Work of Joseph Cornell (Boston: MFA Publications, 1997), p. xiii. 14 Diane Waldman, Joseph Cornell (New York: George Braziller, 1977), p. 12. 15 Joseph Cornell, quoted in Jonathan Fineberg, Art since 1940: Strategies of Being (New York: Harry N. Abrams, 2000), p. 30.

25 Artschwager, “Providence Lecture,” 1983, in ibid., p. 86. 26 Donald Judd, “Specific Objects,” first published in Arts Yearbook 8 (1965), quoted here from James Meyer, Minimalism (London: Phaidon Press, 2000), p. 207. 27 Ibid., p. 209. 28 “I would guess that Westermann is one of the best artists around. . . . [His works] are very much objects in their own right, though their meaning is recondite.” Judd, quoted in Storr, “The Devil’s Handyman,” pp. 27 – 28. 29 Jörg Heiser, “Elevator: Richard Artschwager in the context of Minimal, Pop and Conceptual Art,” in Peter Noever, ed., Richard Artschwager: The Hydraulic Door Check (Cologne: Walther König, 2002), p. 58. 30 Judd, “Dick Artschwager and Richard Rutkowski,” 1959, quoted here from Richard Armstrong, Artschwager (New York: Whitney Museum of American Art, 1988), p. 16. 31 Artschwager, in Jan McDevitt, “The Object: Still Life,” 1965, in Richard Artschwager: Texts and Interviews, p. 10. 32 Ibid. 33 Artschwager, in Steve Griffin, “Interview with Richard Artschwager,” 1975, in Richard Artschwager: Texts and Interviews, p. 49. 34 Susan Sontag, Against Interpretation (New York: Dell, 1966), p. 14.

16 Solomon, Utopia Parkway, p. 373.

35 Artschwager, “Autobiographical Fragment,” p. 39.

17 See William S. Rubin, Dada, Surrealism and Their Heritage (New York: The Museum of Modern Art, 1968), p. 148, or Waldman, Joseph Cornell, p. 16.

36 Artschwager, in Griffin, “Interview with Richard Artschwager,” p. 49.

18 Robert Motherwell, quoted in Joseph Cornell 1903 –1972 (Paris: Karsten Greve, 1992), p. 7. 19 Barbara Haskell, H. C. Westermann (New York: Whitney Museum of American Art, 1978), p. 9.

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24 Artschwager, “Art and Reason,” 1990, in ibid., p. 114.

37 Ibid. 38 Artschwager, “Excerpts from the Notebooks of Richard Artschwager,” in Artschwager, Up and Across (Nuremberg: Verlag für Moderne Kunst Nürnberg, 2001), p. 68.

20 Dennis Adrian, “H. C. Westermann’s Sculptures, 1954 – 81: Fragments of a Critical Introduction,” in Michael Rooks and Lynne Warren, H. C. Westermann: Exhibition Catalogue and Catalogue Raisonné of Objects (Chicago: Museum of Contemporary Art, 2001), p. 35.

39 Ibid.

21 Robert Storr, “The Devil’s Handyman,” in ibid., p. 19.

42 Artschwager, conversation with the author, July 2011.

22 Ibid., p. 28.

43 Kubler, The Shape of Time, p. 63.

23 Richard Artschwager, “Autobiographical Fragment, c. 1973,” in Richard Artschwager: Texts and Interviews, ed. Dieter Schwarz (Winterthur Switzerland: Kunstmuseum Winterthur, 2003), p. 39.

44 Artschwager, “To Whom It May Concern,” in Richard Artschwager: Texts and Interviews, p. 58.

40 Artschwager, “Providence Lecture,” p. 85. 41 Artschwager, “The Hydraulic Door Check,” 1967, in Richard Artschwager: Texts and Interviews, p. 26.

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131. Door Window Table Basket Mirror Rug, 1974 Ink and graphite on paper Eighteen sheets: 13 × 11 in. (33 × 27.9 cm) each

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132. Door Window Table Basket Mirror Rug #10, 1974 Graphite and ink on paper 22 3/4 × 31 1/4 in. (57.8 × 79.4 cm)

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133. Basket Table Door Window Mirror Rug, 1975 Ink on paper 28 × 31 1/8 in. (71.1 × 79.1 cm)

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134. Door, Mirror, Table, Basket, Rug, Window D, 1975 Ink and graphite on board 26 3/4 × 30 in. (67.9 × 76.2 cm)

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135. Untitled, 1978 Graphite on paper 31 1/4 × 41 in. (79 × 104 cm)

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136. Bookcase III, 1979 Formica on wood 60 1/2 × 35 × 14 1/2 in. (153.7 × 88.9 × 36.8 cm)

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137. Tower III (Confessional), 1980 Formica and oak 60 × 47 × 32 in. (152.4 × 119.4 × 81.3 cm)

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138. White Table, 1988 Acrylic on Celotex, with Formica and painted wood frame 70 7/8 × 90 1/4 × 7 7/8 in. (229.2 × 180 × 20 cm)

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139. Thruway, 1988 Acrylic on Celotex, with painted wood frame 66 × 53 in. (167.6 × 134.6 cm)

140. Taj Mahal II, 1997 Acrylic and Formica on Celotex, with painted wood frame 72 × 82 in. (182.9 × 208.3 cm)

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141. Untitled, 1990 Charcoal and graphite on paper 37 × 25 in. (94 × 63.5 cm) each

143. Tank, 1991 Formica and acrylic on fiber panel and wood, with painted wood and Formica frame 83 × 121 in. (210.8 × 307.4 cm)

142. The White Cherokee, 1991 Acrylic and Formica on Celotex, with metal frame 57 1/2 × 89 in. (146.1 × 226.1 cm)

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144. Vertical Challenge, 1995 Acrylic on Celotex and Formica on wood, with metal frames 64 1/2 × 83 1/2 in. (163.8 × 212.1 cm) overall

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145. Williamsburg Pagoda, 1981 Acrylic on Celotex and Formica 87 × 79 3/4 × 8 in. (221 × 187.3 × 20.3 cm)

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146. Untitled (Potatoes V), 1997 Acrylic on Celotex, with wood frame 53 × 32 × 2 1/2 in. (134.6 × 81.3 × 6.4 cm)

147. On Its Way, 1998 Paper and newspaper collage 21 13/16 × 28 3/4 in. (55.4 × 73 cm)

149. Pastoral IV, 1999 Acrylic on fiber panel on Celotex, with painted wood and Formica frame 58 1/2 × 82 in. (148.6 × 208.3 cm)

148. Window/Table, 1980 Ink and paper on board 28 1/2 × 31 in. (72.4 × 78.7 cm)

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Ingrid Schaffner

Recollection (Artschwager)

What if I told you that Richard Artschwager had been abducted by aliens, sucked backward in time, and was now living inside the frame of a painting of a nineteenth- century European bourgeois interior? I trust the news will give pause. Having been at the vanguard of contemporary art for nearly fifty years, Artschwager made a name for himself in the 1960s by using industrial design materials with a high “ick” factor to create paintings and sculptures that have continued to strike just the right notes of offbeat realism and abstraction to keep reception sharp for decades. One wonders: did he go quietly? There he sits, tranquilly enough, in his painting Recollection (Vuillard) (2004; fig. 150), a trim balding gentleman surrounded by his art, which blends in seamlessly with the rest of the decor. The painting comes fully furnished by the Post- Impressionist Édouard Vuillard, whose Family Lunch (1899; fig. 151) appears to have been expanded to accommodate all the Artschwagers — for besides Richard’s works on the wall, one assumes that that is his family sitting around the dining room table. There are aspects to this situation that shouldn’t be too surprising. A postmodern artist, Artschwager has always worked with existing images, reproducing pictures and objects to make artworks that seem both familiar and strange. This is one of the few examples in which he has focused his powers on another artist’s work. The choice is telling. Vuillard is an idiosyncratic link to impressionistic abstraction; but still, the extreme artifice of a pictorial world reduced to patterns and fragments, parts and particles, is where Artschwager’s art naturally comes to roost.1 To see him as a very, very late-blooming modernist is too reductive a take on his solitary quest and achievement in contemporary art, but the fact that he chose, at the late date of 2004, to park inside this century-old picture indicates an affinity that calls for further investigation. On examination, there are many connections to be drawn, some specific, others speculative, and when they are all taken together, the relationship to Vuillard proves most revealing of Artschwager and his art. Vuillard is difficult to place art historically; starting his career before the turn of the century and painting until the late 1930s, he bridges Impressionism and modernism. With its radical brushwork and stuffy interiors, his art seems to move forward and backward at once. In 1892, Vuillard was a founding member of a short-lived brotherhood of painters who called themselves the Nabis, after the Hebrew word for “prophet,” half mocking the seriousness of their belief in art as a form of spiritual illumination. They turned the Impressionist program, based on the observation of the

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outside world and external light, inward to perceive a world of mystical forms, decorative line, and symbolic color. Paul Gauguin was their god and Claude Debussy and Marcel Proust were affiliates, in music and writing respectively. Vuillard’s greatest body of work is also his most intimate: in the interiors that he painted during the 1890s he turned the full force of his newfound powers of abstraction onto the realm of his own domicile. Ordinary and visionary, these pictures constitute a world unto themselves, one primarily inhabited by his mother, a dressmaker who worked at home, where Vuillard happily lived for most of his life amidst women and their conversation, fabrics, pillows, upholstery, wallpaper, large pieces of dark furniture, flowers, and meals. He flattened and reduced all of this matter into densely patterned, nappy-textured surfaces for the eye to scroll over, while the mind investigates the inner drama and psychic bursts they so palpably contain — or remember — brushstroke by brushstroke. Because of all Vuillard packed into his art, Artschwager’s Recollection (Vuillard) comes supercharged, by association, with mnemonic meanings. Since all recollection is partial at best, in recollecting Vuillard’s art Artschwager is also inevi tably forgetting it. Hold up a reproduction of the original and the similarities are immediately striking: basket and bottles on table (check), beveled frames on the wall (check), rushes in a vase on the sideboard (check), pointy checkered tablecloth (check) — clearly Artschwager’s painting is not literally an act of recollection without a point of reference near at hand. Look a bit longer, though, and the resemblance starts to unravel. The family group is obviously different, with a young boy in place of Vuillard’s old woman at the center of the table, and Artschwager himself taking the place of the hirsute papa, who is now looking up at the young mother and child across the table instead of down at a newspaper. Harder to track are more incidental changes. Artschwager’s table legs, for instance, are blocky and square (as opposed to round and molded), and while it would be hard to say what exactly the painting over the table depicts, it’s definitely not the nocturne with figures that hangs in the Vuillard dining room. One at a time, these little shifts don’t mean much, but when they are seen all together, the effect is uncanny and purposeful. By referring to Vuillard, an artist whose every picture is runic with remembrance, Artschwager is also ushering forward from the art historical past what appears, in terms of his own art, to be a powerful new form of abstraction, one that can be as brutally reductive as it can be sweetly impressionistic: memory. In lieu of whatever escaped, or was abandoned, in the process of recollecting Vuillard, Artschwager has apparently used material from his own store of images and afterimages. Much as we might like to enter the room where Artschwager has been keeping himself, the dining table blocks our way. It’s a good place to start our investigation though, a portal to a long line of objects from Artschwager’s past. Originally a furniture-maker, he once managed a business that employed up to twenty workers cranking out product for the fledging Workbench store, as well as doing custom work.2 He says of his artworks, “I think I could keep working until the second coming and still not catch up in sheer quantity of numbers with the furniture.”3 It was largely these numbers that led Artschwager, after assembling 1,500 drawers, to experience the revelation of his art. “I didn’t know what they were except they were something that I made and that there was the word ‘drawer’ in the dictionary.”4 Form eclipsed function and with only a slight shift, an eddy in the flow of his workshop production, Artschwager started to create singular objects aimed at imparting similar hallucinatory effects in a viewer.

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150. Recollection (Vuillard), 2004 Acrylic on fiber panel, with wood frame 51 × 74 in. (129.5 × 188 cm)

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As these individual artworks declare themselves, the entire picture begins to move somewhat uncomfortably. It shifts and squirms, as if under pressure to hold all these Artschwagers together. The table starts to separate from the rest of the dining room, as if it existed in another register of reality and depiction all its own. “Sealed off” from the rest of the world is how Richard wants all of his art to appear, “not OK as a whole and within itself, and therefore, visible and noteworthy.”8 Thus what we see when we look at the table in Recollection (Vuillard) is not only a very long line of objects produced by the artist over the past decades — tables to sit at, tables to look at — but also the effect of seeing an Artschwager. Compared to what’s around it, the colors are a little too bold, the pattern a little too strong, the edges way too sharp, and the proportions slightly off. In other words, even in its most natural surroundings — a work of art — an Artschwager is noticeable. Now that we realize how at home Artschwager has made himself — and his furniture — within this frame, let’s investigate further. The Vuillard is impressionistic to begin with, but no matter the mode, Artschwager’s paintings tend to look blurry. He works on textured grounds, in this case a surface as rough as a Ryvita cracker or a coco mat. You can actually see the fibers break up the image as they slow down perception — the eye works hard to pick out details and pull together a picture, or coasts freely over a field of synthetic abstraction. In either case there’s the sense of something perceived at a distance (like a memory), producing the sort of low-frequency visual buzz that is typical of Artschwager’s paintings on textured grounds. This surface is handmade, an artisanal paper version of the prefabricated panels that Artschwager started painting on in the 1960s. It’s still possible to find his earlier support, Celotex, but it no longer connotes dropped ceilings and cheap insulation, having lately gone green as a construction material. (Formica too has lost the tacky cachet that Artschwager once exalted; what he called “the horror of the age” now looks tastefully mid-century and modern.9 ) And what he really valued in Celotex

151. Édouard Vuillard (1868 –1940) The Family Lunch, 1899 Oil on cardboard 22 13/16 × 35 13/16 in. (58 × 91 cm) Private collection

Among his first and still most iconic works is Description of a Table (1964; see fig. 117), a large box paneled with Formica such that it looks like a small wooden table with a white pointy tablecloth draped over the top. Though it couldn’t be simpler, what it is remains unclear: “Do you think of it as a sculpture?” an interviewer asked; no, Artschwager replied, “It’s a multipicture.”5 Indeed, each side of the cube does resemble a children’s-book illustration of the thing called a “table” — the negative space between the legs is colored in with black laminate. But what about the top, which is blank and shows nothing? That, the artist suggested, is “a celebration of the material which you lean your elbows on in twenty per cent of the luncheonettes in New York.”6 I like to imagine Artschwager, some time in the early 1960s, taking a lunch break at the inevitable diner around the corner from his shop in Chelsea. Maybe he’s celebrating the potential of a new material he has just discovered in a “bunch of crap” he bought for a hundred bucks at auction: “I was a sucker for auctions . . . one thing in the pile was a piece of Formica that had walnut grain. The walnut grain was in black and white. The poetry of that struck me. It’s as if a piece of walnut had passed through this Formica and left a residue. And then Formica itself is like an encyclopedia material . . . the colors and the patterns. You can buy them by the yard, and that takes care of that.”7 Yardage, residue: Artschwager found in Formica the perfect material for making objects that imply “Plenty more where that came from” while phrasing, in the most ordinary way, the extraordinary question, “Plenty of what?” Plenty of tables, for one thing — or plenty of sculptures that look like tables — were what Artschwager started to produce once he set his sights on using Formica like wood to make art that looked like furniture. We see figments of many of these early works packed into the image of the table in Recollection (Vuillard). Nearly interchangeable with Description of a Table, but more brightly colored, is Table with Pink Tablecloth (1964; see fig. 68), which seems to be floating over the horizontal Long Table with Two Pictures (1964; fig. 153). Lurking below the tablecloths is Walker (1964; fig. 154), an odd, low-slung, four-legged piece of ambulatory assistance that seems designed to trip viewers up with the dumb illusion of having only three legs.

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152. Artschwager-designed commercial desk, c. 1957

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153. Long Table with Two Pictures, 1964 Formica on wood and acrylic on Celotex, with painted wood frames 75 3/4 × 96 × 32 1/4 in. (192.4 × 243.8 × 81.9 cm) overall 154. Walker, 1964 Formica on wood 26 1/8 × 38 1/4 × 35 1/16 in. (66.4 × 97.2 × 89.1 cm)

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is gone: the whirling patterns that used to be embossed in the whitewashed asphalt surface of the fiberboard. A cross between a fingerprint and cold nipple flesh, this textured skin made even the thinnest application of acrylic look like mesmerizing brushwork. Celotex! It turns every painting into a “Starry Night.” The only artist to heed this call, Artschwager found in Celotex the perfect material for an artist in the age of mechanical reproduction to get the job of painterly abstraction done. Because of their blurriness, it would be impossible to say which of Artschwager’s many paintings on Celotex is hanging in the middle of Vuillard’s dining room — but let’s decide that it is one of the “Destruction” paintings from 1972, or, better yet, the entire series of six lapped on top of one another. Blowups in every sense, the sequence shows the demolition of the Traymore Hotel in Atlantic City and is based on a sequence of newspaper photos that the artist enlarged by drawing a grid over the original reproductions and copying them square for square. Enhanced by the swirling gritty matrix of acrylic on Celotex, the reduction of Beaux-Arts pile to powder becomes the cloud that enveloped the urban landscape when great swathes of stately architecture were leveled for new development. But this is how everything looks in the world according to Artschwager, who depicted, with the same sense of remote detachment, apartment complexes, office interiors, contemporary homes, farmhouses, landscapes, still lifes, people, and even some porn as if a bomb had silently detonated, leaving a shimmer of particles and a picture that appears to dissolve before our eyes, within an encapsulating frame. In Artschwager’s art, frames signify. He builds them like furniture, to set his art apart. Chamfered, sculptural, almost Deco in their decorative style, his frames would have distinguished his work at a moment when all that clung to most contemporary canvases was a little modern strip, protecting the edge, barely. Looking around the walls of Recollection (Vuillard), it may be impossible to identify the pictures, but you can tell they are Artschwagers from the frames, which turn them into objects of note. The painted-wood perimeter around this picture is a veritable bulwark, bolstering its claim on our attention by insisting we pay attention: art is in the room. Now every detail of Recollection (Vuillard) begins to pulse and resonate, a fractal universe of Artschwager’s art. Start with that small frame on the left: see how the picture plane seems to be pumping in and out from the wall? That’s typical of the playful exercise Artschwager likes to give the eye through his art, by bending the rules of perspective. Likewise, those two globes — ostensibly lamps — gently press in and out like buttons or bubbles, or as if the wall were some malleable high-tech Tempur-Pedic-like material, with a memory, that had been touched. These are gentle examples of the shenanigans that Artschwager has pressed into much harder play over the years, transforming everyday interiors into gymnasiums of perception. Using perspective to create thrilling contortions, he could wrap a table around a door, along with a window and a mirror, by using a rug like a tortilla to hold it all together, then put a basket on top. Able to hit, slash, weave, bend, and punch the picture plane, he could rupture our gazes with much more disturbing and abusive impressions, expressions, indentations, and marks. And plenty of other details of Recollection (Vuillard) twitch with references to different bodies of work. The infant lying in its mother’s arms at the table on the left, swaddled in a white blanket, looks suspiciously like a sunny-side-up egg, such as Artschwager served throughout the 1980s when he started putting meals on his sculptures and paintings of tables. I recognize elements like this in part because from 1991 to 1994 I worked as an archivist for Artschwager, cataloguing his work, and absorbing it — as both

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imagery and information — on a level of detail that makes it as familiar to me as a language learned on native terrain. If information is power, Artschwager’s studio was in the dark. From a hash of boxes and piles of sales records, slides, photos, correspondence, and publications, I organized a comprehensive inventory of sculptures, paintings, drawings, prints, multiples, public projects, sketches, studies, notebooks, photographs, and blps. (Keeping track of those lozengelike marks, which Artschwager introduced in 1968 to be placed anywhere by anyone, was like cataloguing graffiti.) Meanwhile the subject of my archiving fever seemed mostly oblivious to the luminous bastion of information that was rising in his studio’s midst. Sure, he was always happy to respond to any question I faxed to him at home, leaving a typed answer on my desk the next morning. But in general he maintained a cordial distance from all aspects of the day-to-day work of the studio. My job ended when Richard remarried and moved his studio from Brooklyn to upstate New York. His wife, Ann, now manages the business of his art with ease. Often when I visit, some question will take us into the office, where it’s always uncanny to encounter the archive I built so long ago. On files, binders, papers, slides, my handwriting is everywhere. It’s as if part of my own life were archived in Richard’s studio. As well as I know the artist and his art, I have never felt the need to venture into the personal realm where we are now headed. But when I look at Recollection (Vuillard), it’s not just a lifetime of work that I see but a life, or signs of a life, freely admitted to, and this in a body of work that has always kept itself sealed off from such connections. “Elliptical,” “enigmatic,” “aloof”: these are the terms used to describe Artschwager’s art. “Idiosyncratic” is another. So it is with caution that we start down a path of personal narrative; making his work any less singular and strange would be misguided. At the same time, I am curious to follow his leads, though I fully expect that any insight into where his art comes from will only make it more deeply, satis fyingly inscrutable. In any case, speaking as the person pointing the flashlight, I know a lot of what gets illuminated will be my own projection.10 So who are those people sitting around the dining room table? Given the resemblance of the man on the left to Artschwager (who has always reminded me of Walter Huston in William Wyler’s 1936 movie classic Dodsworth), perhaps it’s an ages-of-man sit-down supper for the artist and his child and infant selves. On a less allegorical note, the old-world cast also suggests an imaginary family portrait. The period setting is wrong — born in Washington, D.C., Artschwager and his baby sister, Margarita, grew up in the New Mexico of the Depression — but culturally speaking he comes from a world of enlightened European culture. His Russian-born mother was an amateur painter; his Prussian father was an agricultural scientist with a steady government job and a penchant for photography. (“He was a dude and she was a fox so of course they met and that was that,” is Artschwager’s genesis tale in a nutshell.) It was a household in which German was spoken, Latin was learned, Friedrich Schiller and Arthur Schopenhauer were quoted. But one had only to step outdoors to enter a whole other, less prescribed world of perception: “I would say the Wild West. . . . A Cézanne-esque landscape. . . . Okay, it was admired, supposed to be admired, anyway. This is nice scenery . . . [but] I was really stirred up by it and moved around in that as much as I could.”11 On foot, by horseback, in the family’s Model A (he fondly remembers driving to Mexico across the Chihuahuan Desert), Artschwager explored and absorbed the landscape, local Pueblo culture, and nature. “In this terrain . . . I soon learned to know certain things, then I could have some fun that way . . . physical agility

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155. Polish Rider I, 1970 – 71 Acrylic on Celotex, with metal frame 45 1/2 × 61 9/16 in. (115.6 × 156.4 cm)

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156. The Bush, 1971 Acrylic on Celotex, with metal frame 48 1/2 × 70 1/2 in. (123.2 × 179.1 cm)

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157. Triptych V, 1972 Acrylic on Celotex, with metal frames 81 1/2 × 140 1/4 in. (207 × 356 cm) overall

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158. Interior (North), 1973 Acrylic on Celotex, with metal frames Two panels: 52 3/4 × 88 1/2 in. (134 × 224.8 cm) top; 52 × 88 1/2 in. (132.1 × 224.8 cm) bottom

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dust, spattering debris. You can almost feel the concussive pop braced within the frame of each of these two pictures.

159. Painted Desert (Green), 2007 Charcoal and pastel on paper 25 × 38 in. (63.5 × 96.5 cm)

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was like my mental agility.”12 He carried a gun, as most rural kids then did; then taught himself taxidermy to advance his study of the local bird population, which he compared to the Nile Valley’s in exotic diversity. A bald eagle’s nest was a bike ride away. For anyone who has spent time in the Southwest, a mesa in the desert is as familiar as a table indoors. Still, it is strange to suddenly notice that a great wedge of American landscape is hovering in this dining room setting. Artschwager has slyly transformed Vuillard’s checked tablecloth into a boldly patterned abstraction of his own landscape imagery. Like a marker, for those who know how to read the sign, it indicates early depictions of boundless desert expanses reduced to the most spare, analytical, linear perspective fixed to some distant point on the horizon. (“Start with the dot and move out, is what I always say,” Artschwager recently told me.) Rendered in hot orange hues, the cloth-cum-mesa also signals the turn that the artist’s landscapes have lately taken, from fossils to trippy, baroque depictions of the American West as it has apparently seared itself into his memory (figs. 159, 164). Let’s stay with this image of Vuillard as Artschwager’s vehicle into the past by moving to another work by the Post-Impressionist, Large Interior with Six Figures of 1897 (fig. 160). Artschwager has essentially cut this composition in half to produce a pair of paintings, Grandmother in Chair and Woman with Cat (both 2007; figs. 161, 162). Before going into the particulars, some immediate impressions. Imagine the Vuillard recollected as a “Destruction” painting: ashen and gray, the interior seems to be imploding — the furniture jolts, the floor heaves — but the walls and pictures stand still. Some figures are crumbling like statues; others are freshly blasted, roiling in

“You get brutalized for war,” Artschwager said of his experience as an army lieutenant in World War II.13 Drafted into an artillery unit, he led a tactical intelligence division, engaged in hand-to-hand combat, and was wounded in the Battle of the Bulge.14 He stayed on for the Occupation: “It certainly was a shock for me to see Munich at the end of the war. I went, of course, looking for the places that I had known.” As a child, Artschwager had made two visits to the city, one of them, when he was eight, lasting an entire school year while his mother took art classes at the Akademie der Bildenden Künste. Standing in his uniform, “grayish green with the steel hat,” he asked a man, “‘Bitte, kennen Sie die Kirchenschule? [Excuse me, do you know the church-school?],’ and the man said, ‘It’s right behind you.’ Which it was, what was left of it.”15 That year Artschwager bought a Rolleiflex and snapped lots of pictures: flowers, dachshunds, pretty girls, refugees, battlefields — a soldier’s grand tour. He saw Oslo from the air, flattened “like the recently dug up ruins of the Chaldean civilization.” After his group located and mapped a minefield, “There was a mishap and the next day somebody’s jeep got blown up.” Being in war, he says, taught “the real bite of cause and effect. . . . You know [in] a rush that nothing is permanent. And it’s really fucked up and there’s nothing you can do about it.”16 Artschwager returned from his tour of duty with an Austrian bride, Elfriede, whom he credits with an “arranged marriage” — to art, not Elfriede — that lasted a lifetime: it was she who told him to quit science and become an artist. (She also told him, one night at a concert, to “Shut up and listen,” a line Artschwager likes to pitch back as “Shut up and look.”) Artistic by nature, Elfriede had been a textile designer; I see her at home in the fabric world of Vuillard’s interiors. After their marriage ended in divorce, Artschwager would marry twice more before meeting Ann. He has three children. In Grandmother in Chair, figures of various generations orbit a man at a desk in a cluttered living room. Speaking of his own private universe, Artschwager once told a lecture audience, Some people lead messy lives and some people lead orderly lives, and mine has tended to be messy: lots of disturbances, lots of distractions from others or from myself — six pots cooking on the stove at one time. Given the obvious choice of quitting the job, throwing out the wife and kids, making a proper studio, locking the door, turning off the radio and taking the

160. Édouard Vuillard (1868 –1940) Large Interior with Six Figures, 1897 Oil on canvas 34 5/8 × 76 in. (88 × 193 cm) Kunsthaus Zürich, Zurich

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161. Grandmother in Chair, 2007 Acrylic on fiber panel, with wood frame 52 × 69 1/2 in. (132.1 × 176.5 cm)

162. Woman with Cat, 2007 Acrylic on fiber panel, with wood frame 48 × 51 in. (121.9 × 129.5 cm)

163. Lunch for Two, 2007 Charcoal, acrylic, and Formica on handmade paper on soundboard, with wood frame 51 1/2 × 75 1/2 in. (130.8 × 191.8 cm)

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routinely and consistently introduced materials (such as horsehair) and images (such as potatoes) that make us viewers pull back. Even more than their ugliness, the power of these recent works lies in their subject matter: death. It’s the black emptiness, floating over the table, at the center of Recollection (Vuillard). It’s the violent disintegration of forms that challenges all memory.

165. Image of the Organ Mountains from the artist’s lecture archive

phone off the hook, I have rather and instead taken note that everything is working, the given is unavoidably complex, have scanned the already overpopulated field for complexities perhaps overlooked, and then seen my own work as an inflection of this abundant given.17 It is only Artschwager’s recent restaging of Vuillard’s interiors that betrays any sense of how complex a life he was leading on the home front. Continuing this line of speculation, in Woman with Cat that must be George the fluffy ginger tom in the arms of his mistress, Ann, who enters what seems to be her own frame, except that there is another woman disappearing into the sidelines. It was Ann who gave Artschwager Vuillard’s Family Lunch, from a reproduction she tore out of a magazine. “Actually there was a picture on the other side of the page that I thought he might like to paint,” she told me as we were making lunch. For all I’ve written about these late works, I still haven’t stated the obvious: they are incredibly ugly. Between the clumsy rendering, dyspepsic-to-anemic palette, hair-matted surfaces, and overblown scale, they are really almost painful to look at. This, of course, is their power. When Artschwager’s Formica and Celotex art first hit the scene, it must have looked similarly repellent. “All art tends to atrophy in that way because of its elements, its self, getting to be OK, getting to be familiar, little by little,” Artschwager has said.18 The current works, on the other hand, may never be easy to look at, may always be up to the ongoing challenge of looking not OK. Throughout his career, as if ducking and weaving against this eventuality, he has

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164. Horizon with Orange Sky, 2007 Pastel on paper 25 × 38 in. (63.5 × 96.5 cm)

Of all the material in Richard’s archive that I’ve grown familiar with over the years, I’ve never quite known what to make of his lecture notes. This has a lot to do with having heard him speak. After he lectured at the Museum of Modern Art in New York a number of years ago, I overheard someone remark that it was a pity such a brilliant artist seemed to be losing his mind. But I knew from having read the scripts that this quality had nothing to do with his getting old: strings of non sequiturs, zapping and noodling around a range of topics that were themselves pretty oblique, were just the way Richard had talked since the 1960s. Even in conversation, following his train of thought has always been, in my experience, a hairpin and loopy ride. Was it the sense of disclosure that seems so much a part of Artschwager’s late paintings after Vuillard that prompted my return to those lecture notes? Or just my own determination to finally try to make sense of an aspect of his work that I had always found frustrating and slightly annoying (hey, the man said “Shut up and look”)? In any case, as I read them now, the notes signify in a way that I had never been able to grasp. Perhaps it had taken a newfound intimacy with the artist’s life — by way of recollection — to fully attune me to their meaning in relation to the particularities and peculiarities of his art. Basically the lectures are journeys: vision quests in the most literal sense of the phrase.19 Addressing listeners as “you,” Artschwager would construct his talks to create a highly self-conscious state of perception. He would first project a blank slide to establish a field of vision, then show a slide with a rectangle drawn on it, like a frame, for the eye to pass through. Like a yoga instructor, he would tell you to think of your gaze, imagine your feet, be aware of your surroundings. (Maybe there was someone three rows back with a gun pointed at the back of your head.) Slides of Machu Picchu, the Venus of Willendorf, and the Organ Mountains of New Mexico would then appear, intended to transport the audience into experiencing a bird’s-eye view, the heft of their own bodies, and the mind’s capacity to fill in visual detail (fig. 165). The next picture, of a painting of a Persian rug, might be the first slide of Artschwager’s own work. The only point of painting this, he would explain, was to create an occasion for the kind of “useless looking” that goes into seeing a pattern dissolve into total abstraction.20 Encoded in that image was the entire meaning of Artschwager’s art. I know what you’re thinking: for an artist’s lecture, this sounds pretty straight forward. “Difficult” is Joseph Beuys with his chalkboards, dead hare, and theosophy. Artschwager related meeting the German artist at a party in Düsseldorf around 1968: “We were both veterans . . . so lots of humor / irony in our conversation. . . . one of us had the idea of staging a fist fight in order to freak out the other people which worked 100%; at that point throwing our arms about each other as an end of the performance.” Artschwager’s lectures were equally staged performances, with chalkboards, pointers, an overhead projector, and lots of tricky “slidesmanship.” This calls to mind the book that Artschwager says changed his life when he read it for the first time, when he was still in college. Hermann Hesse’s Glass Bead Game (1943) is set in a future society crafted around the playing of a game, the rules of which are

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so unimaginably complex that the game can only be mastered through a lifetime of studying art, science, and history. Unanticipated moves between unrelated fields is how the game advances. That is also essentially how Artschwager’s lectures would play out. Around the set piece of the journey, itself a pretty weird trip, he would construct an extremely alienating set of conditions. “Ten-hut!” He calls the audience’s attention to an imaginary soldier, whose eyes swivel in his skull as he mechanically scans the landscape. He introduces the term “huddling” as a nonverbal form of communication that animals naturally fall into, and so, pleasantly, can humans, Artschwager says, when engaged together in a task that makes words mostly unnecessary (like putting together a piece of furniture, for instance). Alternatively, he warns, there’s the “Mexican stand-off,” in which there’s no exchange between assembled parties; this is a situation often brought on by sitting down at the dinner table. As if following the gist of these various propositions weren’t challenging enough, Artschwager would add a further level of distraction by abruptly interrupting his own talks. “what the hell is going on?” he loudly declared in the midst of a lecture that began with him writing on a chalkboard “why don’t you go out and get a job?” In the middle of one of his talks, he apparently dropped in two pages from George Eliot’s novel The Mill on the Floss and read them without skipping a beat. Artschwager refused to be coherent because his art is all about not fitting into a given context, no matter how obviously congenial or receptive. Just as he himself appears in Vuillard’s painting, the ongoing imperative of his art has been to be alien — to stop us in our tracks and demand first a second look, then just some plain empty looking. This is the position he has defended and claimed as his artistic terrain for decades. And according to the convoluted logic of his lectures, it’s not a place he expects everyone to go. Definitely don’t plan to make yourself at home — Artschwager patrols the area regularly, and just to make sure no one gets too complacent about doing the job of engaging with his art’s hermetics, he’s posted the following sign: “No one will live in this demilitarized zone, but people will come here from time to time and stay for a while, making moves and gymnastic thoughts . . . [and] everybody will be facing North.”21

Notes

166. (overleaf, verso) Berceuse, 2007 Charcoal, acrylic, and Formica on handmade paper on soundboard, with wood frame 75 × 48 in. (190.5 × 121.9 cm) 167. (overleaf, recto) Late Lunch, 2007 Acrylic, charcoal, handmade fiber and Formica on soundboard, with wood frame 75 1/4 × 51 in. (191.1 × 129.5 cm)

I would like to thank Rachel Pastan for the gift of her insightful reading of this essay, and Chris Taylor for giving time and sharing friendship with Richard and Ann.

1 Artschwager’s specific interest in Édouard Vuillard is prefigured by a long-standing interest in Post- Impressionism in general. He credits his early interest in Pointillism, as well as a desire to create artworks that look like afterimages, to Georges Seurat, whose A Sunday on La Grande Jatte– 1884 (1884 – 86) has been an object of close study for Artschwager ever since his commute to college took him regularly through Chicago and left him time to stop and see the painting at the Art Institute. Many years later, at a Paris exhibition of the work of Pierre Bonnard that we happened to see together, he said that he had gotten the color for one of his early Formica sculptures of dresser drawers and a mirror from the yellow of the mirrors in Bonnard’s paintings.

2 Founded in 1955, Workbench was known for affordable contemporary furniture design and grew from a store in New York into a national franchise. The company went bankrupt in 2003.

3 Richard Artschwager, “Discourse on prints in general,” unpublished lecture notes, n.d., p. 3. All references to unpublished Artschwager manuscripts are courtesy of the artist.

4 Artschwager, “Milton College,” December 4, 1968, unpublished lecture notes, p. 3.

5 Artschwager, in Jan McDevitt, “The Object: Still Life,” Craft Horizons 25, no. 5 (September / October 1965): 54.

6 Ibid.

7 Artschwager, in “Richard Artschwager with Suzanne Delehanty,” in Johanna Plummer, ed., Forty Years at the Institute of Contemporary Art, University of Pennsylvania (Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2005), pp. 35 – 37.

8 Artschwager, “Milton College,” p. 4.

9 Artschwager, in McDevitt, “The Object: Still Life,”

15 Ibid., p. 5. 16 Ibid., pp. 11, 13. The Cummings transcript quotes Artschwager as saying “Greenland” rather than Oslo, but the context suggests that he is describing a European city, and in telling the same story to this author, he has said that city was Oslo. 17 Artschwager, “Discourse on prints in general,” p. 2. 18 Artschwager, “Milton College,” p. 2. Speaking of the news of the day, he told the same audience that someday even the London Bridge would look OK in the Arizona desert — though it might have to “crumble into dust” first. “What do I mean by ‘looking O.K.,’ one of you might ask. I would mean thereby that it was not thereby calling attention to itself,” p. 1. 19 In the following paragraphs, unless otherwise noted, I am quoting from and summarizing a set of lecture notes that share common themes and passages. Most of the notes are undated; the dated lectures range between 1968 (at Milton College, Wisconsin) and 1983 (at the Rhode Island School of Design). The lectures are typed and photocopied and show handwritten annotations and additions. Some include lists of slides, most of which were in the studio archive — including a picture Richard liked to show of a Japanese bride in traditional costume. There were also blank slides with passe-partouts and punctuation marks hand-drawn onto them by the artist in black ink marker. 20 Artschwager referred to “a kind of looking that engenders neither faith nor fear and provides simply a kind of non-caloric nourishment for the viewer’s delectation.” “Discourse on prints in general,” pp. 3 – 4. 21 Artschwager, “The Useful and the Useless,” unpublished lecture notes, n.d., p. 14.

p. 54. 10 Unless otherwise noted, the quotes and information that follow come from my conversations and correspondence with the artist over the years. 11 Artschwager, in Paul Cummings, “Oral history interview with Richard Artschwager, 1978 Mar. 3 – 28,” Archives of American Art, Smithsonian Institution, p. 6. 12 Ibid., p. 7. 13 Ibid., p. 5. 14 It was, Artschwager says, “a situation very much to my liking: A small group that I had charge of, a couple of jeeps, some guns, a typewriter, and a field desk.” Ibid., p. 11.

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168. Self-Portrait, 2003 Acrylic on fiber panel on Celotex, with metal frame 24 1/8 × 25 1/8 in. (61.3 × 63.8 cm)

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169. Osama, 2003 Acrylic on fiber panel on Celotex, with metal frame 29 7/8 × 21 5/8 in. (75.9 × 54.9 cm)

170. Geo. W. Bush, 2002 Acrylic on fiber panel on Celotex, with metal frame 26 × 20 in. (66 × 50.8 cm)

175

171. Table (Somewhat), 2007 Formica on wood 30 1/8 × 43 1/2 × 52 in. (76.5 × 110.5 × 132.1 cm)

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172. Fetching Tune, 2008 Formica on wood 66 × 36 × 11 1/4 in. (167 × 91.4 × 28.6 cm)

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173. Untitled (Bucket on floor), 2005 Charcoal on paper 25 × 37 3/4 in. (63.5 × 95.9 cm)

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174. Untitled (Red bookcase), 2006 Pastel on flocked paper 27 1/4 × 39 in. (69.2 × 99.1 cm)

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175. Bigger Than Morandi, 2007 Acrylic on fiber panel, with wood frame 75 3/4 × 52 in. (192.4 × 132.1 cm)

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176. Light Bulbs, 2007 Charcoal, pastel, and acrylic on handmade paper on soundboard, with wood frame 52 × 75 1/2 in. (132.1 × 191.8 cm)

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177. Untitled (Road with Trees), 2003 Charcoal on paper 38 × 25 in. (96.5 × 63.5 cm)

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178. In the Driver’s Seat, 2008 Oil pastel on paper 25 × 38 in. (63.5 × 96.5 cm)

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179. Yellow Window, 2007 Oil pastel and charcoal on paper 37 3/4 × 25 in. (95.9 × 63.5 cm)

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180. 4th Cross, 2004 Acrylic on plywood 79 × 40 × 42 in. (200.7 × 101.6 × 106.7 cm)

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1923 Born on December 26 in Washington, D.C. His father is a botanist, and his mother is a painter

1978 Spends six months in Hamburg as part of a residency program sponsored by the city council

1931 Spends the winter in Munich with his sister and their mother, who is attending art classes at the Akademie der Bildenden Künste

1983 First exhibition at Mary Boone Gallery in New York. Begins work on Sitting / Stance, a public commission for the Battery Park City residential and commercial complex in Lower Manhattan

1935 Family moves to Las Cruces, New Mexico, where Artschwager lives until going to college. Begins spending time at his father’s laboratory at the New Mexico College of Agriculture and Mechanic Arts and taking trips with his mother to the desert to draw

1988 – 89 Retrospective at the Whitney Museum; exhibition travels to the San Francisco Museum of Modern Art, the Los Angeles Museum of Contemporary Art, the Palacio de Velázquez in Madrid, the Centre Georges Pompidou in Paris, and the Städtische Kunsthalle in Düsseldorf

1941 – 43 Studies biology, chemistry, and mathematics at Cornell University in Ithaca, New York

1990 Designs the stage set for a production of Orson Welles’s adaptation of Christopher Marlowe’s The Tragical History of Doctor Faustus at the University of Southern California in Los Angeles

1944 Drafted into the U.S. Army and suspends his studies. During his tour of duty in Europe, he is wounded in the Battle of the Bulge and reassigned to an administrative position in Frankfurt. Later works in counterintelligence in Vienna

Chronology

Poster for Introducing Artschwager, Christo, Hay, Watts, Leo Castelli Gallery, New York, 1964

1947 – 50 Returns to the United States and completes his BA at Cornell. Relocates to New York, where he studies with French painter Amédée Ozenfant and works as a door-to-door baby photographer

1990 – 91 Realizes the outdoor sculpture Generations for the Elvehjem Museum of Art at the University of Wisconsin in Madison. Creates the first works in the series “Splatter Pieces” 1992 Makes first works in the series “Crates” 1993 Receives Skowhegan Award

1950 – 53 Works as a bank clerk and a cabinetmaker, among other occupations. Opens a joinery workshop with his brother-in-law and begins making simple, well-crafted furniture

1995 Receives Carnegie International Prize 2002 Designs facade for the gallery Georg Kargl BOX in Vienna, inspired by Adolf Loos’s 1908 designs for Vienna’s American Bar

1953 – 57 Expands furniture-making activities and hires several workshop assistants. Attends life-drawing classes at night

2008 Designs, in collaboration with StudioMDA, a facade for the David Nolan Gallery in New York

1959 Exhibits landscape paintings at Art Directions Gallery in New York 1960 – 61 Begins making sculptures out of wood and Formica and paintings based on found photographs

Richard Artschwager, c. 1945

1964 Work is introduced at Leo Castelli Gallery in New York, as part of a group exhibition with Christo, Alex Hay, and Robert Watts. Later that year, participates in a group exhibition with Roy Lichtenstein, James Rosenquist, Frank Stella, and Andy Warhol 1965 First one-person exhibition at Leo Castelli Gallery 1966 Kynaston McShine includes Artschwager’s work in Primary Structures, the first major exhibition of Minimal art, at the Jewish Museum in New York 1967 Develops “blps” while a visiting professor at the University of California, Davis. Uses rubberized hair in sculptures for the first time 1968 First one-person exhibition in Europe, at Konrad Fischer in Düsseldorf 1970 Closes commercial furniture workshop 1973 First one-person museum exhibition, at the Museum of Contemporary Art in Chicago

(overleaf) Artschwager, 1966

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1974 Participates in American Pop Art, at the Whitney Museum of American Art in New York. Begins work on the “Door Window Table Basket Mirror Rug” series of paintings and drawings, which he continues for the next three decades

Installation view of one-person exhibition at Konrad Fischer, Düsseldorf, 1968

Facade of Georg Kargl BOX, Vienna, designed by Artschwager, 2002

Facade of David Nolan Gallery, New York, designed by Richard Artschwager and StudioMDA, New York, 2008

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1965 Leo Castelli Gallery, New York

1982 Susanne Hilberry Gallery, Birmingham, Michigan, Richard Artschwager: New Work

1967 Leo Castelli Gallery, New York

1983 Daniel Weinberg Gallery, Los Angeles Mary Boone Gallery, New York Swen Parson Gallery, Northern Illinois University, DeKalb

1968 Konrad Fischer, Düsseldorf, Germany

1984 Matrix Gallery, University Art Museum, University of California, Berkeley, Richard Artschwager / MATRIX 71. Traveled to Wadsworth Atheneum, Hartford, Connecticut, as Richard Artschwager / MATRIX 82

1969 Galerie Ricke, Cologne 1970 Eugenia Butler Gallery, Los Angeles Lo Guidice Gallery, Chicago, New Paintings by Richard Artschwager Onnasch Galerie, Berlin 1972 Galerie Ricke, Cologne, Richard Artschwager: Neue Bilder Leo Castelli Gallery, New York, Richard Artschwager: Paintings

Exhibition History One-person Exhibitions

Face, 1970 Charcoal on paper 25 1/4 × 19 in. (64.1 × 48.3 cm)

1973 Dunkelman Gallery, Toronto, Richard Artschwager: Paintings Leo Castelli Gallery, New York, Recent Paintings Museum of Contemporary Art, Chicago (catalogue) *

1985 Chantal Crousel et Ghislaine Hussenot, Paris Daniel Weinberg Gallery, Los Angeles Kunsthalle Basel, Switzerland. Traveled to Stedelijk Van Abbemuseum, Eindhoven, The Netherlands; CAPC Musée d’Art Contemporain de Bordeaux, France (catalogue) Leo Castelli Gallery, New York 1986 Daniel Weinberg Gallery, Los Angeles, Richard Artschwager: Recent Paintings Donald Young Gallery, Chicago Mary Boone Gallery / Michael Werner Gallery, New York, Richard Artschwager: Sculpture, 1962 –1968 (catalogue) Van Buren / Brazelton / Cutting Gallery, Cambridge, Massachusetts, Richard Artschwager: Drawings

1974 Daniel Weinberg Gallery, San Francisco, Artschwager: Recent Paintings Galerie Ileana Sonnabend, Geneva

1987 Doris C. Freeman Plaza, New York, Richard Artschwager: Counter III Galerie Georges Lavrov, Paris, Richard Artschwager: Dessins, Peintures et Sculptures 1965 – 87 Galerie Thaddaeus Ropac, Salzburg, Austria

1975 Daniel Weinberg Gallery, San Francisco, Richard Artschwager: Drawings Galerie Neuendorf, Hamburg, Germany Jared Sable Gallery, Toronto Leo Castelli Gallery, New York, Artschwager: Door Window Table Basket Mirror Rug (catalogue) 1976 Castelli Graphics, New York Walter Kelly Gallery, Chicago, Ten Years of the Black Spot 1977 Sable-Castelli Gallery, Toronto 1978 Castelli Graphics, New York, Richard Artschwager: Drawings The Clocktower, Institute for Art and Urban Resources, New York Kunstverein Hamburg, Germany, Zu Gast in Hamburg: Richard Artschwager. Traveled to Neue Galerie – Sammlung Ludwig, Aachen, Germany (catalogue) Morgan Gallery, Shawnee Mission, Kansas, Richard Artschwager: Paintings and Drawings Texas Gallery, Houston Brush, 1968 Wood and brush bristles, 5 × 10 × 5 in. (12.7 × 25.4 × 12.7 cm)

1979 Albright-Knox Art Gallery, Buffalo, New York, Richard Artschwager’s Theme(s). Traveled to Institute of Contemporary Art, University of Pennsylvania, Philadelphia; La Jolla Museum of Contemporary Art, California; Contemporary Arts Museum, Houston (catalogue) Asher / Faure Gallery, Los Angeles Leo Castelli Gallery, New York, Richard Artschwager: A Survey of Sculpture and Paintings from the ’60s and ’70s 1980 Daniel Weinberg Gallery, Los Angeles Museum of Art, Rhode Island School of Design, Providence, Sculpture by Richard Artschwager

Note to the reader: An asterisk denotes a modest exhibition catalogue.

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1981 Leo Castelli Gallery, New York Van Buren / Brazelton / Cutting Gallery, Cambridge, Massachusetts Young / Hoffman Gallery, Chicago, Richard Artschwager: Paintings and Objects from 1962 –1979

Poster for Zu Gast in Hamburg: Richard Artschwager, Kunstverein Hamburg, Germany, 1978

Artschwager at work in his studio during his residency in Hamburg, Germany, 1978

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1996 Alfonso Artiaco, Pozzuoli, Italy, Richard Artschwager: The Stones of Pozzuoli Anders Tornberg Gallery, Lund, Sweden, Richard Artschwager: Multiples and Drawings Daniel Weinberg Gallery, San Francisco, Richard Artschwager: Recent Paintings Julie Saul Gallery, New York, Richard Artschwager: Photo / Works, 1945 –1996 Seomi Gallery, Seoul, New Paintings

1988 Cirrus Gallery, Los Angeles, Richard Artschwager: Multiples Leo Castelli Gallery, New York, Richard Artschwager: Drawings Nicola Jacobs Gallery, London, Richard Artschwager: Selected Works, 1964 –1988 (catalogue) * Whitney Museum of American Art, New York. Traveled to San Francisco Museum of Modern Art; Museum of Contemporary Art, Los Angeles; Palacio de Velázquez, Madrid; Musée national d’art moderne, Centre Georges Pompidou, Paris; Städtische Kunsthalle, Düsseldorf, Germany (catalogue)

1997 Donald Young Gallery, Seattle Mary Boone Gallery, New York Nolan / Eckman Gallery, New York, Richard Artschwager: Drawings

1989 Akira Ikeda Gallery, Tokyo, Richard Artschwager: New Works (catalogue) * Daniel Weinberg Gallery, Santa Monica, California, Richard Artschwager: Recent Works Galerie Metropol, Vienna Leo Castelli Gallery, New York Robert Mapplethorpe (1946 –1989) Richard Artschwager, 1986 Gelatin silver print, 24 × 20 in. (61 × 50.8 cm)

1998 Contemporary Arts Center, Cincinnati Daniel Weinberg Contemporary Art, San Francisco, Sculpture, 1967 –1983 Elias Fine Art, Allston, Massachusetts, Richard Artschwager Ambiguous Objects, 1969 –1996 Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (catalogue)

1990 Daniel Weinberg Gallery, Santa Monica, California, Richard Artschwager: Selected Drawings, Prints, and Objects, 1965 –1990 Donald Young Gallery, Chicago Galerie Ghislaine Hussenot, Paris, Richard Artschwager: Recent Works Galerie Metropol, Vienna, Richard Artschwager: Multiples Galerie Neuendorf, Frankfurt, Richard Artschwager: Gemälde, Skulpturen, Zeichnungen, Multiples, 1962 – 89 (catalogue) Mary Boone Gallery, New York, Destruction Paintings Phyllis Rothman Gallery, Fairleigh Dickinson University, Madison, New Jersey, Richard Artschwager: The Fourth Possibility Susanne Hilberry Gallery, Birmingham, Michigan, Richard Artschwager: Four New Sculptures

1999 Lehmann Maupin, New York, Richard Artschwager: New Paintings Locks Gallery, Philadelphia, Richard Artschwager: Crates & Installation 2000 Grant Selwyn Fine Arts, New York, Richard Artschwager: Works, 1965 –1998 Nolan / Eckman Gallery, New York, Richard Artschwager: 1960 – 2000: Drawings In Transit Xavier Hufkens, Brussels 2001 Daniel Weinberg Gallery, Los Angeles, Richard Artschwager: Sculpture Galerie Fred Jahn, Munich, Richard Artschwager: Zeichnungen Galerie Thomas Schulte, Berlin, Portraits Neues Museum, Staatliches Museum für Kunst und Design, Nuremberg, Germany, Richard Artschwager: Up and Across. Traveled to Serpentine Gallery, London (catalogue)

1991 Brooke Alexander Editions, New York, Richard Artschwager: Complete Multiples. Traveled to Rhona Hoffman Gallery, Chicago; Susanne Hilberry Gallery, Birmingham, Michigan; Cleveland Center for Contemporary Art, Ohio; Galerie Elisabeth Kaufman, Basel, Switzerland; Sabine Knust / Maximilian Verlag, Munich; Produzentengalerie, Hamburg, Germany; Museum Haus Lange, Krefeld, Germany (catalogue) Elvehjem Museum of Art, University of Wisconsin, Madison, Richard Artschwager: PUBLIC ( public) (catalogue) Leo Castelli Gallery, New York

2002 Arts Club of Chicago Gagosian Gallery, New York, New Work (catalogue) MAK, Vienna, Richard Artschwager: The Hydraulic Door Check (catalogue) Piece Unique, Paris Susanne Hilberry Gallery, Ferndale, Michigan

1992 Galerie Franck + Schulte, Berlin, Richard Artschwager: Neue Arbeiten (catalogue) * Museum of Fine Arts, Boston, Connections: Richard Artschwager (catalogue) 1993 Alfonso Artiaco, Naples, Italy Galerie Ghislaine Hussenot, Paris Galerie Gisela Capitain, Cologne, Richard Artschwager: Zeichnungen, 1970 –1990 Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, Works by Richard Artschwager Mary Boone Gallery, New York Nolan/Eckman Gallery, New York, Richard Artschwager: A Selection from Two Decades of Drawing (catalogue) Portikus, Frankfurt, Richard Artschwager: Archipelago. Traveled to Lenbachhaus / Kunstforum München, Munich (catalogue)

Artschwager preparing for his one-person exhibition at the Fondation Cartier pour l’art contemporain, Paris, 1994

1994 Daniel Weinberg Gallery, San Francisco, Richard Artschwager: Crate Constructions Fondation Cartier pour l’art contemporain, Paris (catalogue) Mary Boone Gallery, New York 1995 Galeria Antoni Estrany, Barcelona Kent Gallery, New York Xavier Hufkens, Brussels

192 exhibition history

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1959 Art Directions Gallery, New York, Dick Artschwager and Richard Rutkowski Oklahoma Art Center, Oklahoma City, First Annual Southwest American Painting Exhibition

2003 Anthony Grant, New York, Richard Artschwager: Four Decades (catalogue) Deutsche Guggenheim, Berlin, Up and Down / Back and Forth. Traveled to Museum Moderner Kunst – Stiftung Wörlen, Passau, Germany (catalogue) Domaine de Kerguéhennec, Bignan, France, Step to Entropy (catalogue) Gagosian Gallery, London (catalogue) Kunstmuseum Winterthur, Switzerland, Richard Artschwager: Bilder, Zeichnungen, Objekte, 1960 – 2002. Traveled to Museum Haus Lange und Haus Esters, Krefeld, Germany; Staatliche Graphische Sammlung in der Pinakothek der Moderne, Munich (catalogue) Museum of Contemporary Art, North Miami, Florida, Richard Artschwager: “Painting,” Then and Now Nolan / Eckman Gallery, New York, Richard Artschwager: Drawings (catalogue)

1964 Albright-Knox Art Gallery, Buffalo, New York, Light and Lively Davidson Arts Center, Wesleyan University, Middletown, Connecticut, The New Art (catalogue) * Dwan Gallery, Los Angeles, Box Show (catalogue) * Leo Castelli Gallery, New York, Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Stella, Warhol Leo Castelli Gallery, New York, Introducing Artschwager, Christo, Hay, Watts 1965 The Pace Gallery, New York, Beyond Realism (catalogue) *

2004 Judin Belot, Zurich, Richard Artschwager: Drawings, 1970 – 2004 Palazzo Santa Margherita, Modena, Italy, Richard Artschwager: Grafiche e Multipli (catalogue) Sprüth Magers, Cologne 2005 Georg Kargl, Vienna, Gegenwärtig aber ungenau 2006 David Nolan Gallery, New York, Interactions (catalogue) Gagosian Gallery, Beverly Hills, California, Richard Artschwager: New Paintings Leo Castelli Gallery, New York, From the Factory to the Studio: Reoccurring Motifs Sprüth Magers, Munich

Richard and Ann Artschwager with Dr. Hans Moll at the opening for Artschwager’s one-person exhibition at Sprüth Magers, Cologne, 2004

2008 David Nolan Gallery, New York, Richard Artschwager: Objects as Images of Objects (catalogue) Gagosian Gallery, New York (catalogue) Palais Provincial, Liège, Belgium, Sculptures Soka University of America, Aliso Viejo, California, Richard Artschwager: Large Concepts in Small Formats 2009 Nolan Judin, Berlin, Landscapes: Recent Drawings Sprüth Magers, Berlin 2010 Contemporary Art Museum, St. Louis, Missouri, Richard Artschwager: Hair Xavier Hufkens, Brussels 2011 Barbara Krakow Gallery, Boston Carlson Gallery, London Corbett vs. Dempsey, Chicago, Richard Artschwager: In the Driver’s Seat (catalogue) David Nolan Gallery, New York “T” Space, Rhinebeck, New York, Richard Artschwager: Art and Action (catalogue) 2012 Susanne Hilberry Gallery, Ferndale, Michigan Leo Castelli, New York, Richard Artschwager: Early Works from the 1960s The National Exemplar, New York, Richard Artschwager: Chair Table Mirror

Exhibition History Group Exhibitions

1966 Finch College Museum of Art, New York, Art in Process: The Visual Development of Structure. Traveled to Eleanor Rigelhaupt Gallery, Boston (catalogue) * The Jewish Museum, New York, Primary Structures: Younger American and British Sculptors (catalogue) Leo Castelli Gallery, New York, Benefit Show for Experiments in Art and Technology, Inc. Richard Bellamy / Noah Goldowsky Gallery, New York, From Arp to Artschwager Solomon R. Guggenheim Museum, New York, The Photographic Image (catalogue) Whitney Museum of American Art, New York, Annual Exhibition 1966: Sculpture and Prints (catalogue) Whitney Museum of American Art, New York, Contemporary American Sculpture: Selection 1 (catalogue) William Rockhill Nelson Gallery and Atkins Museum of Fine Arts, Kansas City, Missouri, Sound, Light, Silence: Art That Performs (catalogue) 1967 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, Cool Art —1967 (catalogue) Bianchini Gallery, New York, Richard Artschwager / Joe Goode / Claes Oldenburg / Robert Watts / H. C. Westermann Galerie Ricke, Cologne, Program I Ithaca College Museum of Art, New York, Selected New York Artists, 1967 (catalogue) * Jones Hall Art Center, University of Saint Thomas, Houston, Mixed Masters (catalogue) * Kent State University School of Art Gallery, Ohio, First Kent Invitational (catalogue) Leo Castelli Gallery, New York, Leo Castelli: Ten Years (catalogue) Museum of Art, University of Oklahoma, Norman, and Oklahoma Art Center, Oklahoma City, East Coast —West Coast Paintings. Traveled to Philbrook Art Center, Tulsa, Oklahoma (catalogue) The Museum of Modern Art, New York, The 1960s: Painting and Sculpture from the Museum Collection (catalogue) * Richard Bellamy / Noah Goldowsky Gallery, New York, From Arp to Artschwager II Richard Bellamy / Noah Goldowsky Gallery, New York, Richard Artschwager / Myron Stout / Peter Young University Art Gallery, Oakland University, Rochester, Michigan, Personal Preferences: Paintings and Sculptures from the Collection of Mr. and Mrs. S. Brooks Barron (catalogue) * York University Art Gallery, Toronto, American Art of the Sixties in Toronto Private Collections (catalogue) * 1968 Galerie Schöne Aussicht, Kassel, Germany, Documenta 4 (catalogue) Galerie-Verein München, Neue Pinakothek, Haus der Kunst, Westflügel, Munich, Sammlung 1968 Karl Ströher. Traveled to Kunstverein Hamburg, Germany; Neue Nationalgalerie, Berlin (catalogue) Milwaukee Art Center, Options. Traveled to Museum of Contemporary Art, Chicago (catalogue) Richard Bellamy / Noah Goldowsky Gallery, New York, From Arp to Artschwager III Vassar College Art Gallery, Poughkeepsie, New York, Realism Now (catalogue) * Whitney Museum of American Art, New York, 1968 Annual Exhibition: Contemporary American Sculpture (catalogue)

194 exhibition history

195

1969 American Federation of Arts, New York (organizer), American Painting: The 1960s. Traveled to University of Georgia, Georgia Museum of Art, Athens (catalogue) Cultural Center, New Jersey State Museum, Trenton, Soft Art (catalogue) Galerie Ricke, Cologne, 6 Künstler: Artschwager, Bollinger, Buthe, Kuehn, Serra, Sonnier Galerie Ricke, Cologne, Drawings of American Artists Hayward Gallery, London, Pop Art Redefined (catalogue) Indianapolis Museum of Art, Painting and Sculpture Today: 1969 (catalogue) The Jewish Museum, New York, A Plastic Presence. Traveled to Milwaukee Art Center; San Francisco Museum of Modern Art (catalogue) Kunsthalle Bern, Switzerland, Live in Your Head. When Attitudes Become Form: Works – Concepts – Processes – Situations – Information. Traveled to Institute of Contemporary Arts, London; Museum Haus Lange and Haus Esters, Krefeld, Germany; Städtisches Museum, Leverkusen, Germany (catalogue) Leo Castelli Gallery, New York, Benefit Exhibition: Art for the Moratorium Milwaukee Art Center, Directions 2: Aspects of a New Realism. Traveled to Contemporary Arts Museum, Houston; Akron Art Institute, Ohio (catalogue) Museum of Contemporary Art, Chicago, Art by Telephone (LP record as catalogue) Seattle Art Museum Pavilion, 557,087. Traveled to Vancouver Art Gallery as 955,000 (catalogue) Snite Museum of Art, University of Notre Dame, South Bend, Indiana, Erotic Art Wallraf-Richartz Museum and Museum Ludwig, Cologne, Kunst der sechziger Jahre: Sammlung Ludwig (catalogue) Wide White Space Gallery, Antwerp, Belgium, Young American Artists 1970 Brooklyn Museum, New York, Seventeenth National Print Exhibition (catalogue) Galerie Ricke, Cologne, Program III The Jewish Museum, New York, Using Walls (Indoors) (catalogue) Museum of Contemporary Art, Chicago, Radical Realism (catalogue) * The Museum of Modern Art, New York, Information (catalogue) The Museum of Modern Art, New York, New Media, New Methods Neue Galerie der Stadt Aachen, Germany, Klischee und Antiklischee (catalogue) Paula Cooper Gallery, New York, Drawing Show University of Maryland Art Gallery, Baltimore, Editions in Plastic (catalogue) * Whitney Museum of American Art, New York, 1970 Annual Exhibition: Contemporary American Sculpture (catalogue)

1971 Albright-Knox Art Gallery, Buffalo, New York, Kid Stuff? (catalogue) San Francisco Museum of Art, Color / Constructivism / Realism in Contemporary Graphics (catalogue)* Utrecht, The Netherlands, Utrecht Projekt contribution to Sonsbeek Buiten de Perken, Park Sonsbeek, Arnhem, The Netherlands (catalogue)

Poster for Utrecht Projekt, Artschwager’s contribution to Sonsbeek Buiten de Perken, Park Sonsbeek, Arnhem, The Netherlands, 1971

1972 Ente Manifestazione Genovesi, Genoa, Italy, Immagine per la Citta (catalogue) Galerie des 4 Mouvements, Paris, Hyperréalistes américains (catalogue) Galerie Ricke, Cologne, Querschnitt Galerie Ricke, Cologne, Zeichnungen Indianapolis Museum of Art, Painting and Sculpture Today (catalogue) La Jolla Museum of Contemporary Art, California, Dealer’s Choice Madison Art Center, Wisconsin, New American Abstract Paintings (catalogue) Neue Galerie and Museum Fridericianum, Kassel, Germany, Documenta 5 (catalogue) Neue Galerie der Stadt Aachen, Germany, Kunst um 1970 / Art Around 1970 (catalogue) Whitney Museum of American Art, New York, 1972 Annual Exhibition: Contemporary American Painting (catalogue) 1973 Barbara Cysach Gallery, Houston, Drawings Castelli Graphics, New York, Mirrors: Artschwager, Johns, Lichtenstein, Pistoletto, Rauschenberg, Rosenquist Galerie Arditti, Paris, Hyperréalistes américains (catalogue) Kunstmuseum Luzern, Lucerne, Switzerland, Ein grosses Jahrzehnt amerikanischer Kunst: Sammlung Peter Ludwig (catalogue) Leo Castelli Gallery, New York, Group Exhibition: Artschwager, Lichtenstein, Rosenquist Leo Castelli Gallery, New York, Summer Group Exhibition: Artschwager, Chamberlain, Davis, Kelly, Lichtenstein, Morris, Owen, Rauschenberg, Rosenquist, Stella Louisiana Museum of Modern Art, Humlebaek, Denmark, Ekstrem Realisme (catalogue) Lunds Konsthall, Lund, Sweden, Amerikansk Realism (catalogue)* Meadow Brook Art Gallery, Oakland University, Rochester, Michigan, American Realism: Post Pop (catalogue) Museum of Art, Rhode Island School of Design, Providence, Selection III: Contemporary Graphics from the Museum Collection (catalogue)* Paula Cooper Gallery, New York, Drawings and Other Work 1974 Jared Sable Gallery, Toronto, An Exhibition of Works on Paper Leo Castelli Gallery, New York, Group Drawing Exhibition: Artschwager, Bontecou, Chamberlain, Daphnis, Darboven, Davis, Flavin, Huebler, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Owen, Rauschenberg, Rosenquist, Ruscha, Serra, Stella, Twombly Leo Castelli Gallery, New York, Group Graphic Show Leo Castelli Gallery, New York, In Three Dimensions Paula Cooper Gallery, New York, Drawings and Other Work Prints on Prince Street, New York, Works by Richard Artschwager, Joel Shapiro, Joe Zucker Whitney Museum of American Art, New York, American Pop Art (catalogue)

Artschwager in Live in Your Head. When Attitudes Become Form: Works – Concepts – Processes – Situations – Information, Kunsthalle Bern, Switzerland, 1969

196 exhibition history

Wall, 1970. Artschwager’s contribution to Using Walls (Indoors), The Jewish Museum, New York, 1970

1975 Brooke Alexander Gallery, New York, Works on Paper Bykert Gallery, New York, Richard Artschwager, Robert Gordon, John Torreano, Joe Zucker Fine Arts Center Gallery, State University of New York, College at Oneonta, New York, Some Local Painters Galleria dell’Ariete, Milan, Revisione 1 Galerie Charles Kirwin, Brussels, Aspects de l’Art Americain Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Painting, Drawing and Sculpture of the ’60s and ’70s from the Dorothy and Herbert Vogel Collection. Traveled to Contemporary Arts Center, Cincinnati; The Clocktower, Institute for Art and Urban Resources, New York (catalogue)

197

Art Museum; Art Museum of South Texas, Corpus Christi; Krannert Art Museum, University of Illinois, Champaign (catalogue) Bodley Gallery, New York, Art Begins with A Daniel Weinberg Gallery, San Francisco, Up Against the Wall Galerie Gillespie – de Laage, Paris Institute for Art and Urban Resources (organizer), Detective Show; Gorman Park, New York Marian Goodman Gallery, New York, Objects! (catalogue) * Mary Boone Gallery, New York, Drawing Show Mead Art Gallery, Amherst College, Massachusetts, New York Now Montclair Art Museum, New Jersey, Two Decades: American Art from the Collection of the Smith College Museum of Art The Museum of Modern Art, New York, Selections from the Collection Northpark National Bank, Dallas, Leo Castelli Gallery at Northpark National Bank Paula Cooper Gallery, New York, A Changing Group Exhibition

Leo Castelli Gallery, New York, Autumn Group Exhibition: Artschwager, Chamberlain, Davis, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta Leo Castelli Gallery, New York, Summer Group Exhibition: Artschwager, Chamberlain, Darboven, Grisi, Huebler, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Warhol Musée d’Ixelles, Brussels, Je / Nous (catalogue) Paula Cooper Gallery, New York Städtisches Museum Leverkusen, and Städtisches Museum Schloss Morsbroich, Leverkusen, Germany, USA Zeichnungen 3 (catalogue) Texas Gallery, Houston, A Group Show Selected by Klaus Kertess 1976 Daniel Weinberg Gallery, San Francisco, Richard Artschwager, Chuck Close, Joe Zucker. Traveled to La Jolla Museum of Contemporary Art, California; University of California, Davis (catalogue) Fine Arts Center Gallery, University of Massachusetts, Amherst, Critical Perspectives in American Art (catalogue) Leo Castelli Gallery, New York, 300 Artists to Support the New York Studio School Leo Castelli Gallery, New York, Summer Group Drawing Exhibition: Artschwager, Barry, Bontecou, Darboven, Flavin, Morris, Ruscha Leo Castelli Gallery, New York, Summer Group Exhibition: Artschwager, Chamberlain, Daphnis, Dibbets, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Noland, Oldenburg, Owen, Rauschenberg, Serra, Stella, Weiner Nationalgalerie Berlin, New York in Europa: Amerikanische Kunst aus europäischen Sammlungen (catalogue) P.S.1, Institute for Art and Urban Resources, New York, Rooms (catalogue) Sable-Castelli Gallery, Toronto, Survey — Part II United States Pavilion, Venice, La XXXVII Biennale di Venezia (catalogue) Whitney Museum of American Art, New York, 200 Years of American Sculpture (catalogue) Zolla / Lieberman Gallery, Chicago, Inaugural Exhibition

Two Studies for Destruction series, c. 1972 Newspaper, tape, gelatin silver print, graphite, and pen on cardboard, 11 × 10 1/2 in. (27.9 × 26.7 cm)

1977 Archer M. Huntington Galleries, Art Museum, University of Texas at Austin, New in the Seventies (catalogue) The Art Institute of Chicago, Society for Contemporary Art 35th Exhibition: Drawings of the ’70s (catalogue)* Brooke Alexander Gallery, New York, Selected Prints, 1960 –1977 (catalogue) Castelli Graphics, New York, Drawings: Artschwager, Flavin, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Waldman, Warhol Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Improbable Furniture. Traveled to La Jolla Museum of Contemporary Art, California (catalogue) La Jolla Museum of Contemporary Art, California, Recent Acquisitions: Selected Works, 1974 –1977 Lunds Konsthall, Lund, Sweden, Americans (catalogue)* Madison Art Center, Wisconsin, Recent Works on Paper by Contemporary American Artists (catalogue) * Margo Leavin Gallery, Los Angeles, Fine Paintings and Drawings Multiples Inc., New York, Group Exhibition Museum of Contemporary Art, Chicago, A View of a Decade (catalogue) Renaissance Society at the University of Chicago, Ideas in Sculpture, 1965 –1977 (catalogue)* Sable-Castelli Gallery, Toronto, Drawings Sculpture Now Gallery, New York, Cornell Then, Sculpture Now. Traveled to Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (catalogue) * Thorpe Intermedia Gallery, Sparkill, New York, Outside the City Limits: Landscape by New York City Artists (catalogue) University of Michigan Art Museum, Ann Arbor, Works from the Collection of Dorothy and Herbert Vogel (catalogue) Worcester Art Museum, Massachusetts, For Collectors 1977 1978 Albright-Knox Art Gallery, Buffalo, New York, American Painting of the 1970s. Traveled to Newport Harbor Art Museum, Newport Beach, California; Oakland Museum, California; Cincinnati

198 exhibition history

1979 Aspen Center for the Visual Arts, Colorado, American Portraits of the Sixties and Seventies (catalogue) Castelli Graphics, New York, Drawings by Castelli Artists Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Corners (catalogue) The Museum of Modern Art, New York, Contemporary Sculpture: Selections from the Collection of The Museum of Modern Art (catalogue) Sunne Savage Gallery, Boston, Thirty Years of Box Construction Texas Gallery, Houston, From Allen to Zucker University of Hartford, West Hartford, Connecticut, Imitations of Life

Exit — Don’t Fight City Hall, Artschwager’s site-specific installation for P.S.1’s inaugural exhibition, Rooms, 1976

1980 Amelie A. Wallace Gallery, State University of New York, Old Westbury, Pedagogical Exhibition: Images, Objects, Ideas Art Latitude Gallery, New York, The Image Transformed Bell Gallery, Brown University, Providence, Rhode Island, Brown Invitational Exhibition Brooklyn Museum, New York, American Drawing in Black and White: 1970 –1980 (catalogue) * Castelli Graphics, New York, Amalgam Castelli Graphics, New York, Master Prints by Castelli Artists Galerie Ricke, Cologne, Die ausgestellten Arbeiten sind zwischen 1966 und 1972 entstanden Joe and Emily Lowe Art Gallery, Syracuse University, New York, All in a Line Joe and Emily Lowe Art Gallery, Syracuse University, New York, Current / New York Kunsthaus Zürich, Zurich, Reliefs. Traveled to Westfälisches Landesmuseum, Münster, Germany (catalogue) * Leo Castelli Gallery, New York, Drawing to Benefit the Foundation for Contemporary Performance Arts, Inc. The Museum of Modern Art, New York, Printed Art: A View of Two Decades (catalogue) Neuberger Museum of Art, State University of New York, Purchase, Hidden Desires United States Pavilion, Venice, La XXXIX Biennale di Venezia, Drawings: The Pluralist Decade. Traveled to Kunstforeningen Museum, Copenhagen; Henie-Onstad Kunstsenter, Høvikodden, Norway; Museu Calouste Gulbenkian, Lisbon, Portugal; Biblioteca Nationale, Madrid; Institute of Contemporary Art, University of Pennsylvania, Philadelphia; Museum of Contemporary Art, Chicago (catalogue) 1981 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, New Dimensions in Drawing, 1950 –1980 (catalogue) * Arthur A. Houghton, Jr., Gallery, Cooper Union, New York, Window Room Furniture: Projects (catalogue) Brooklyn Museum, New York, Twenty-Second National Print Exhibition (catalogue) Galerie Gillespie – de Laage – Salomon, Paris, Trois Dimensions — Sept Américains Galerie Ricke, Cologne, Neunzehnhundertachtundsechzig Harm Bouckaert Gallery, New York, Drawing Invitational Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Rooms: Installations by Richard Artschwager, Cynthia Carlson, Richard Haas (catalogue) Internationale Ausstellung Köln 1981, Cologne, Westkunst: Zeitgenössische Kunst seit 1939 (catalogue)

199

Kunsthalle Basel, Switzerland, Amerikanische Zeichnungen der siebziger Jahre (catalogue) Landfall Gallery, Chicago, Possibly Overlooked Publications Louisiana Museum of Modern Art, Humlebaek, Denmark, Drawing Distinctions: American Drawings of the Seventies. Traveled to Kunsthalle Basel, Switzerland; Städtische Galerie im Lenbachhaus, Munich; Wilhelm-Hack-Museum, Ludwigshafen, Germany (catalogue) Magnuson Lee Gallery, Boston, Artists and Furniture Margo Leavin Gallery, Los Angeles, Cast, Carved, and Constructed Museen und Messe der Stadt Köln, Cologne, Westkunst: Zeitgenössische Kunst seit 1939 (catalogue) Neil Ovsey Gallery, Los Angeles, Selections from Castelli: Drawings and Works on Paper Neuberger Museum of Art, State University of New York, Purchase, Soundings (catalogue) P.S. 1, Institute for Art and Urban Resources, New York, Eight Funny Artists: Wit and Irony in Art Quay Gallery, San Francisco, Sculptors’ Works on Paper Rosa Esman Gallery, New York, Architecture by Artists Sewell Art Gallery, Rice University, Houston, Variants: Drawings by Contemporary Sculptors. Traveled to Art Museum of South Texas, Corpus Christi; High Museum of Art, Atlanta (catalogue)* Zabriskie Gallery, New York, Art for ERA (Exhibition and Sale to Benefit Equal Rights Amendment) 1982 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, Postminimalism (catalogue) * Aspen Center for the Visual Arts, Colorado, Castelli and His Artists: 25 Years. Traveled to La Jolla Museum of Contemporary Art, California; Leo Castelli Gallery, New York; Portland Center for the Visual Arts, Oregon; Laguna Gloria Art Museum, Austin, Texas (catalogue) Avery Center for the Arts, Bard College, Annandale-on-Hudson, New York, The Rebounding Surfaces Barbara Gladstone Gallery, New York, Cruciform Contemporary Arts Center, Cincinnati, Tableaux: Nine Contemporary Sculptors (catalogue) Joe and Emily Lowe Art Gallery, Syracuse University, New York, Outside New York City: Drawing to Sculpture Margo Leavin Gallery, Los Angeles, Works in Wood Metro Pictures, New York, Painting Museum Fridericianum, Kassel, Germany, Documenta 7 (catalogue) Pratt Graphics Center, New York, The Destroyed Print University of California, Davis, Sculptors at UC Davis: Past and Present (catalogue) 1983 Asher / Faure, Los Angeles, Limited Palettes Baskerville + Watson, New York, Borrowed Time Castelli Graphics, New York, Black and White: A Print Survey The Clocktower, Institute for Art and Urban Resources, New York, Habitats Daniel Weinberg Gallery, Los Angeles, Drawing Conclusions: A Survey of American Drawings, 1958 –1983 Daniel Weinberg Gallery, Los Angeles, Group Show Freedman Gallery, Albright College, Reading, Pennsylvania, Day In / Day Out: Ordinary Life as a Source for Art (catalogue) * Galerie Ricke, Cologne, Kunst ist nichts, wenn sie nicht neu ist Grey Art Gallery, New York University, New York, The Permanent Collection: Highlights and Recent Acquisitions Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Connections: Bridges, Ladders, Ramps, Staircases, Tunnels (catalogue) Mathews Hamilton Gallery, Philadelphia, 19th and 20th Century Fine Art Marian Goodman Gallery, New York, An Exhibition of Small Paintings, Drawings, Sculptures, and Photographs Marian Goodman Gallery, New York, Group Show Museum of Contemporary Art, Chicago, 10 Years of Collecting at the Museum of Contemporary Art Parrish Art Museum, Southampton, New York, The Painterly Figure (catalogue) Pratt Graphics Center, New York, From the Beginning Ronald Feldman Fine Arts, New York, 1984 — A Preview

200

exhibition history

Susanne Hilberry Gallery, Birmingham, Michigan, Drawings Tate Gallery, London, New Art at the Tate Gallery (catalogue) Whitney Museum of American Art, New York, 1983 Biennial Exhibition (catalogue) Whitney Museum of American Art, New York, Minimalism to Expressionism 1984 Barbara Toll Fine Arts, New York, Drawings Daniel Weinberg Gallery, Los Angeles, Richard Artschwager, John Chamberlain, Donald Judd Donald Young Gallery, Chicago, American Sculpture. Traveled to Margo Leavin Gallery, Los Angeles First Street Forum, Saint Louis, Missouri, Familiar Forms / Unfamiliar Furniture (catalogue) * Fuller Goldeen Gallery, San Francisco, 50 Artists / 50 States Harm Bouckaert Gallery, New York, Synthetic Art: The Big Show Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., Content: A Contemporary Focus, 1974 –1984 (catalogue) La Jolla Museum of Contemporary Art, California, American Art Since 1970: Painting, Sculpture and Drawings from the Collection of the Whitney Museum of American Art, New York. Traveled to Museo Tamayo, Mexico City; North Carolina Museum of Art, Raleigh; Sheldon Memorial Art Gallery, University of Nebraska, Lincoln; Center for Fine Arts, Miami (catalogue) Leo Castelli Gallery, New York, Cunningham Dance Foundation Benefit Art Sale Leo Castelli Gallery, New York, Summer Group Exhibition: Artschwager, Blell, Chia, Johns, Judd, Kelly, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Salle, Warhol Meadow Brook Art Gallery, Oakland University, Rochester, Michigan, Contemporary Art in the Collection of Florence and S. Brooks Barron (catalogue) Musée national d’art moderne, Centre Georges Pompidou, Paris, Alibis (catalogue) Museum of Art, Rhode Island School of Design, Providence, Furniture, Furnishings: Subject and Object. Traveled to Ezra and Ceclie Zilkha Gallery Center for the Arts, Wesleyan University, Middletown, Connecticut; Munson-Williams-Proctor Institute, Utica, New York; Berkshire Museum, Pittsfield, Massachusetts; Vassar College Art Gallery, Poughkeepsie, New York; Brattleboro Museum and Art Center, Vermont; Maryland Institute College of the Arts, Baltimore (catalogue) Paula Cooper Gallery, New York, A Changing Group Exhibition Tanja Grunert / Regine Tafel, Stuttgart, Germany, Idea (catalogue) University Art Museum, University of California at Berkeley, New Wall Sculpture. Traveled to Wadsworth Atheneum, Hartford, Connecticut Visual Arts Gallery, Florida International University, Miami, Sculptors’ Drawings, 1910 –1980: Selections from the Permanent Collection (of the Whitney Museum of American Art, New York). Traveled to Aspen Art Museum, Colorado; Art Museum of South Texas, Corpus Christi; Philbrook Art Center, Tulsa, Oklahoma (catalogue) 1985 ARCA, Marseille, France, New York 85 (catalogue) Brooke Alexander Gallery, New York, Drawing: Paintings and Sculpture Daniel Weinberg Gallery, Los Angeles, Now and Then: A Selection of Recent and Earlier Paintings Donald Young Gallery, Chicago, Artschwager, Judd, Nauman: 1965 –1985 Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, New York, The Maximal Implications of the Minimal Line (catalogue) Galerie Ghislaine Hussenot, Paris Holly Solomon Gallery, New York, Paintings, Sculpture, and Furnishings International With Monument, New York, Group Exhibition Knight Gallery, Charlotte, North Carolina, Drawings La Grande Halle de La Villette, Paris, La Nouvelle Biennale de Paris (catalogue) Larry Gagosian Gallery, Los Angeles, ’60s Color Larry Gagosian Gallery, Los Angeles, Actual Size Mary Boone Gallery / Michael Werner Gallery, New York, B.A.M. Benefit Museum of Contemporary Art, Chicago, Selections from the William J. Hokin Collection (catalogue) Solomon R. Guggenheim Museum, New York, Transformations in Sculpture: Four Decades of American and European Art (catalogue) Susanne Hilberry Gallery, Birmingham, Michigan, Figurative Sculpture

201

Whitechapel Art Gallery, London, In Tandem: The Painter-Sculptor in the Twentieth Century (catalogue) Whitney Museum of American Art, New York, Sacred Images in Secular Art (catalogue)

Whitney Museum of American Art at Philip Morris, New York, The Box Transformed (catalogue)* Whitney Museum of American Art, New York, Drawing Acquisitions, 1981 – 85 (catalogue) Whitney Museum of American Art at Champion International Corporation, Stamford, Connecticut, Affiliations: Recent Sculpture and Its Antecedents (catalogue)* 1986 Althea Viafora Gallery, New York, Works on Paper Bell Gallery, Brown University, Providence, Rhode Island, Definitive Statements: American Art, 1964 – 66. Traveled to Parrish Art Museum, Southampton, New York (catalogue) Bess Cutler Gallery, New York, When Attitudes Becomes Form Boca Raton Museum of Art, Florida, Art in the Environment (catalogue) Brooke Alexander Gallery, New York, Benefit for the Kitchen Daniel Weinberg Gallery, Los Angeles, Objects from the Modern World Donald Young Gallery, Chicago, Recent Acquisitions Donald Young Gallery, Chicago, Works on Paper Gabrielle Breyers Gallery, New York, Leo Castelli and Castelli Graphics at Gabrielle Breyers Harm Bouckaert Gallery, New York, Richard Artschwager, Alan Saret, and Pat Steir Kent Fine Art, Inc., New York, American Myths (catalogue) Kent Fine Art, Inc., New York, Reality Remade (catalogue) Larry Gagosian Gallery, Los Angeles, Leo Castelli at Gagosian Leo Castelli Gallery, New York, Summer Group Exhibition: Artschwager, Blais, Blell, Brown, Chia, Combas, Gibson, Johns, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Ryman, Salle, Serra, Therrien Loughelton Gallery, New York, Greenberg’s Dilemma Margo Leavin Gallery and Gemini G.E.L., Los Angeles, Preview Exhibition, MOCA Benefit Auction Marian Goodman Gallery, New York, Sculpture Show Museum of Art, Fort Lauderdale, Florida, An American Renaissance: Painting and Sculpture Since 1940 (catalogue) Museum of Contemporary Art, Los Angeles, The Museum of Contemporary Art: The Barry Lowen Collection (catalogue) Park Sonsbeek, Arnhem, The Netherlands, Sonsbeek 86 (catalogue) Pat Hearn Gallery, New York, Drawings Thomas Segal Gallery, Boston, Salute to Leo Castelli University of Arkansas at Little Rock, Drawings from the Collection of Dorothy and Herbert Vogel. Traveled to Moody Gallery of Art, University of Alabama, Tuscaloosa; Pennsylvania State University Museum of Art, University Park (catalogue) Wellesley College Museum, Massachusetts, 1976 –1986: Ten Years of Collecting Contemporary American Art: Selections from the Edward R. Downe, Jr., Collection (catalogue)

Archival image that once belonged to Artschwager’s father and was used by the artist as source material for Chair / Chair, 1987 – 9 0 (see fig. 105)

202

exhibition history

Installation view of Untitled, 1988, temporary sculpture for Beelden in de Stad, commissioned by the Museum Boijmans Van Beuningen, Rotterdam, The Netherlands

1987 Barbara Toll Fine Arts, New York, Monsters: The Phenomena of Dispassion Butler Institute of American Art, Youngstown, Ohio, Leo Castelli: A Tribute Exhibition (catalogue) Centro Cultural Arte Contemporaneo, Mexico City, Leo Castelli and His Artists: 30 Years of Promoting Contemporary Art (catalogue) Donald Young Gallery, Chicago, Artschwager, Federle, Mangold, Marden, Richter, Ryman Douglas S. Cramer Foundation Gallery, Los Olivos, California Flanders Contemporary Art, Minneapolis, A Selection of Works by the Gallery Artists Then and Now Galerie Catherine Issert, Paris, Dessins Galerie Daniel Templon, Paris, Hommage — Leo Castelli: Dedicated to the Memory of Toiny Castelli Galerie Gabrielle Maubrie, Paris, Richard Artschwager, John Baldessari, Lothar Baumgarten, Rebecca Horn, Claes Oldenburg ISD Incorporated, New York, Consonance: A Group Exhibition of Contemporary Painting and Sculpture Lang & O’Hara Gallery, New York, Documentartists 1987 Laurie Rubin Gallery, New York, Facture Leo Castelli Gallery, New York, Art Against AIDS Leo Castelli Gallery, New York, The First Fifteen Years Part 1 Leo Castelli Gallery, New York, Group Exhibition: Artschwager, Barceló, Flavin, Grisi, Simonds Leo Castelli Gallery, New York, Richard Artschwager, Bruce Nauman, and Frank Stella Margo Leavin Gallery, Los Angeles, Sculpture of the Sixties Marian Goodman Gallery, New York, A Sculpture Show Martina Hamilton Gallery, New York, Woodwork Mary Boone / Michael Werner Gallery, New York, An Exhibition to Benefit the Armitage Ballet Michael Kohn Gallery, Los Angeles, The Great Drawing Show, 1587 –1987 Musée Rath, Geneva, Vitra Edition 1987 Museum Fridericianum, Kassel, Germany, Documenta 8 (catalogue) Nicola Jacobs Gallery, London, Black and White Pat Hearn Gallery, New York, Group Show: Ti Shan Hsu, John Armleder and Richard Artschwager Städtische Kunsthalle, Düsseldorf, Germany, Similia / Dissimilia: Modes of Abstraction in Painting, Sculpture, and Photography Today. Traveled to Leo Castelli Gallery, New York; Sonnabend Gallery, New York; Wallach Art Gallery, Columbia University, New York (catalogue) University Art Museum, University of California at Berkeley, Made in U.S.A.: An Americanization in Modern Art, the ’50s and ’60s. Traveled to Nelson-Atkins Museum of Art, Kansas City, Missouri; Virginia Museum of Fine Arts, Richmond (catalogue) Westfälisches Landesmuseum, Münster, Germany, Skulptur Projekte in Münster 1987 (catalogue) Whitney Museum of American Art, New York, 1987 Biennial Exhibition (catalogue) 1988 Blum Helman Gallery, New York, Merce Cunningham Dance Company Benefit Exhibition and Art Sale Brooke Alexander Gallery, New York, Installation Series Carnegie Museum of Art, Pittsburgh, Carnegie International (catalogue) Castelli Graphics, New York, An Exhibition of Selected Works in Honor of Toiny Castelli Daniel Weinberg Gallery, Los Angeles, Artschwager: His Peers and Persuasion, 1963 –1988. Traveled to Leo Castelli Gallery, New York (catalogue) Deste Foundation for Contemporary Art, House of Cyprus, Athens, Greece, Cultural Geometry (catalogue) Feature and Rezac Gallery, Chicago, Information as Ornament (catalogue)* Fundación Juan March, Madrid, Colección Leo Castelli (catalogue) Galerie Charles Cartwright, Paris, Prints and Multiples Galerie Gabrielle Maubrie, Paris, Rendez-vous Manqués Kent Fine Art, New York, Artschwager, Byars, Shapiro (catalogue) Leo Castelli Gallery, New York, Group Exhibition: Artschwager, Kelly, Lichtenstein, Rosenquist, Ruscha, Warhol

203

Quietly With Determination Boycott Exxon, 1989. Artschwager-designed protest poster following the Exxon Valdez oil spill

1989 Adair Margo Gallery, El Paso, Texas, Reach for the Sublime Anders Tornberg Gallery, Lund, Sweden, Object of Thought Art Museum at Florida International University, Miami, From the Collection of Dorothy and Herbert Vogel (catalogue) Barbara Toll Fine Arts, New York, A Good Read: The Book as Metaphor Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisbon, Portugal, Encontros LusoAmericanos (catalogue) Daniel Weinberg Gallery, Los Angeles, A Decade of American Drawing: 1980 –1989 Edward Thorp Gallery, New York, Around the House Frankfurter Kunstverein Schirn Kunsthalle, Frankfurt, Prospect 89 (catalogue) Grossman Gallery, School of the Museum of Fine Arts, Boston, Artschwager / Baldessari Harcus Gallery, Boston, Artists’ Furniture John and Mable Ringling Museum of Art, Abstraction in Question. Traveld to Center for the Fine Arts, Miami (catalogue) Kent Fine Art, New York, Inside World (catalogue) Leo Castelli Gallery, New York, Golden Opportunity: Exhibit to Benefit the Resettlement of Refugees in El Salvador Leo Castelli Gallery, New York, Group Drawing Show: Artschwager, Barry, Brown, Flavin, Johns, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Therrien, Vaisman, Weiner Leo Castelli Gallery, New York, Summer Group Show: Artschwager, Johns, Kosuth, Rosenquist, Ruscha, Salle, Sonnier, Starn Twins Marian Goodman Gallery, New York, A Sculpture Show Nadia Bassanese Studio d’Arte, Trieste, Italy, Leo Castelli Post Pop Artists Paula Cooper Gallery, New York, Richard Artschwager, John Baldessari, Jonathan Borofsky, Robert Gober, Peter Halley, Nancy Shaver Richard Feigen Gallery, Chicago, Filling in the Gap (catalogue) Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, The Desire of the Museum. Traveled to Whitney Museum of American Art at Champion International Corporation, Stamford, Connecticut (catalogue)* Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, Suburban Home Life: Tracking the American Dream (catalogue)* 1990 Asher / Faure Gallery, Los Angeles, Home (catalogue) Charles Cowles Gallery, New York, Newer Sculpture Daniel Weinberg Gallery, Santa Monica, California, Children’s AIDS Project

204 exhibition history

Daniel Weinberg Gallery, Santa Monica, California, Sculpture Edith C. Blum Art Institute, Avery Center for the Arts, Bard College, Annandale-on-Hudson, New York, Art What Thou Eat: Images of Food in American Art (catalogue) Gallery Eric Franck, Geneva, The Practice of the Connoisseurship of Art Hirschl & Adler Modern, New York, Multiples Israel Museum, Jerusalem, Life-Size: A Sense of the Real in Recent Art (catalogue) John Good Gallery, New York, Semi-Objects Kent Fine Art, New York, Group Show Kent Fine Art, New York, Selected Works from the Avant-Garde Kent Fine Art, New York, The Times, The Chronicle, and The Observer (catalogue) Leo Castelli Gallery, New York, The Kitchen Art Benefit Leo Castelli Gallery, New York, The Sixties Revisited: New Concepts / New Materials Leo Castelli Gallery, New York, Summer Group Exhibition: Artschwager, Johns, Kosuth, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Sonnier, Starn Twins, Stella, Vaisman, van Bruggen, Weiner Lorence Monk Gallery, New York, Drawings Lorence Monk Gallery, New York, Richard Artschwager / Joseph Beuys: Prints and Multiples Makuhari Messe Contemporary Art Exhibition, Nippon Convention Center, Tokyo, Pharmakon ’90 (catalogue) Marian Goodman Gallery, New York, A Group Show Nassau County Museum of Art, Roslyn, New York, Two Decades of American Art: The ’60s and ’70s (catalogue) Pence Gallery, Santa Monica, California, House Prints Whitney Museum of American Art at Champion, New York, Early Later: Selected Works from the Permanent Collection of the Whitney Museum of American Art (catalogue)* Whitney Museum of American Art at Philip Morris, New York, With the Grain: Contemporary Panel Painting (catalogue)*

Leo Castelli Gallery and Brooke Alexander Gallery, New York, The 25th Anniversary Exhibition to Benefit the Foundation for Contemporary Performance Arts, Inc. Lorence Monk Gallery, New York, Objects Marian Goodman Gallery, New York, A Sculpture Show: A Changing Exhibition Marian Goodman Gallery, New York, Group Show Museum Boijmans Van Beuningen, Rotterdam, The Netherlands, Beelden in de Stad (catalogue) Museum of Contemporary Art, Chicago, Three Decades: The Oliver-Hoffmann Collection (catalogue) PS Gallery, Tokyo, Artschwager / Fischl / Polke / Warhol Reinhold-Brown Gallery, New York, SMS (The Portable Museum of Original Multiples in Six Portfolios, Published in 1968 by The Letter Edged in Black Press) Sidney Janis Gallery, New York, ’60s / ’80s: Sculpture Parallels Susanne Hilberry Gallery, Birmingham, Michigan, Anniversary Show Tiroler Landesgalerie, Taxipalais, Innsbruck, Austria, Locations (catalogue) University Art Galleries, Wright State University, Dayton, Ohio, Recent Acquisitions University Art Galleries, Wright State University, Dayton, Ohio, Redefining the Object. Traveled to Cleveland Center for Contemporary Art, Cleveland, Ohio (catalogue) University Gallery, Fine Arts Center, University of Massachusetts, Amherst, Twenty-Four Cubes Whitney Museum of American Art at Champion International Corporation, Stamford, Connecticut, American Print Renaissance, 1958 –1988: Selections from the Permanent Collection of the Whitney Museum of American Art (catalogue)*

Performance of Orson Welles’s adaptation of Christopher Marlowe’s play The Tragical History of Doctor Faustus with Artschwager-designed set, University of Southern California, Los Angeles,

1990

1991 Adair Margo Gallery, El Paso, Texas, On Paper. Traveled to Weber State University, Ogden, Utah; Arlington Museum, Texas (catalogue) Asher / Faure Gallery, Los Angeles, Not on Canvas Centre Georges Pompidou, Paris, Mémoire de la Liberté: Les artistes imagent la liberté Donald Young Gallery, Seattle, Group Show Galeria Weber, Alexander y Cobo, Madrid Galerie Metropol, Vienna, Das Bild nach dem letzten Bild — The Picture After the Last Picture (catalogue) Galerie Rudolf Zwirner, Cologne, Siah Armajani, Richard Artschwager, Scott Burton, Tom Otterness Indianapolis Museum of Art, Power: Its Myths and Mores in American Art, 1961 –1991. Traveled to Akron Art Museum, Ohio; Virginia Museum of Fine Arts, Richmond (catalogue) Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Devil on the Stairs: Looking Back on the Eighties. Traveled to Newport Harbor Art Museum, Newport Beach, California (catalogue) Kent Fine Art, New York, Persona Leo Castelli Gallery, New York, Summer Group Exhibition: Artschwager, Flavin, Johns, Kelly, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Stella, Therrien, Vaisman, Warhol, Weiner Loughelton Gallery, New York, Re: Framing Cartoons. Traveled to Wexner Center for the Arts, Ohio State University, Columbus (catalogue)* Marian Goodman Gallery, New York, Franklin Furnace’s 15th Anniversary Art Sale Martin-Gropius-Bau, Berlin, Metropolis (catalogue) The New York Academy of Art, New York, Expressive Drawings: European and American Art Through the 20th Century Nicola Jacobs Gallery, London, Fond Farewell Rosa Esman Gallery, New York, To Wit: Timely Objects with Ironic Tendencies Royal Academy of Arts, London, Pop Art. Traveled to Museum Ludwig, Cologne; Centro de Arte Reina Sofía, Madrid (catalogue) Saatchi Collection, London, Group Show: Richard Artschwager, Richard Wilson, Cindy Sherman (catalogue)

205

Serpentine Gallery, London, Objects for the Ideal Home: The Legacy of Pop Art (catalogue) Setagaya Art Museum, Tokyo, Beyond the Frame: American Art, 1960 –1990. Traveled to National Museum of Art, Osaka, Japan; Fukuoka Art Museum, Japan (catalogue) Weatherspoon Art Gallery, Greensboro, North Carolina, The Chair: From Artifact to Object (catalogue)

Work in progress for Documenta 9, Museum Fridericianum, Kassel, Germany, 1992

1996 Apex Art, New York, Alice’s Looking Glass: A Glimpse of the Non-linear Barbara Mathes Gallery, New York, The House Transformed Bertha and Karl Leubsdorf Art Gallery, Hunter College, City University of New York, Handmade Readymades (catalogue) * Brooke Alexander Gallery, New York, Richard Artschwager, John Baldessari, Donald Judd, Robert Rauschenberg The Factory, Athens School of Fine Arts, Greece, Everything That’s Interesting Is New: The Dakis Joannou Collection. Traveled to Museum of Modern Art, Copenhagen; Guggenheim Museum SoHo, New York (catalogue) Fogg Art Museum, Harvard University, Cambridge, Massachusetts, The Mediated Object: Selections from the Eli Broad Collection. Traveled to Forum for Contemporary Art, Saint Louis, Missouri (catalogue)* Friedrich Petzel Gallery, New York, Screen Galerie Bugdahn und Kaimer, Düsseldorf, Germany, Black, Grey and White — Part I Kent Fine Art, New York, Richard Artschwager (space) Donald Judd Lehmann Maupin Gallery, New York, Moving Structures Marian Goodman Gallery, New York, Recaptured Nature Museum of Contemporary Art, North Miami, Florida, Painting into Photography, Photography into Painting (catalogue) The Museum of Modern Art, New York, From Bauhaus to Pop: Masterworks Given by Philip Johnson One Great Jones, New York, Summer Group Show Whitney Museum of American Art, New York, Views from Abroad: European Perspectives on American Art 2 (catalogue)

1992 Battery Park City and the World Financial Center, New York, Cross Section Brooke Alexander Gallery, New York, Drawings Heckscher Museum, Huntington, New York, The Book as Art Kunstnernes Hus, Oslo, John M. Armleder, Richard Artschwager, Ashley Bickerton, Jan Vercruysse. Traveled to Porin Taidemuseo, Pori, Finland (catalogue) * Leo Castelli Gallery, New York, The Art Show Lingotto, Turin, Italy, Arte Americana, 1930 –1970 (catalogue) Museum Fridericianum, Kassel, Germany, Documenta 9 (catalogue) Rosa Esman Gallery, New York, Twenty Twenty Rubin Spangle Gallery, New York Suzanne Lemberg Usdan Gallery, Bennington College, Vermont, Photography, Reproduction, Production (catalogue) * 1993 Lannan Foundation, Los Angeles, Tables: Selections from the Lannan Foundation Collection Leo Castelli Gallery, New York, Group Exhibition: Artschwager, Kosuth, Morris, Ruscha, Starn Twins, Vaisman Lillehammer Art Museum, Norway, Medaljens Bakside: Pirouettes: Utvalg fra Olympiassamlingen Lisson Gallery, London, Out of Sight, Out of Mind Martin-Gropius-Bau, Berlin, American Art in the Twentieth Century — Painting and Sculpture. Traveled to Royal Academy of Arts, London (catalogue) Whitney Museum of American Art at Champion, Stamford, Connecticut, The Elusive Object (catalogue) 1994 Bard College, Center for Curatorial Studies, Annandale-on-Hudson, New York, Exhibited (catalogue) Brooke Alexander Gallery, New York, Drawn in the 1970s Daniel Weinberg Gallery, San Francisco, Selected Works Deichtorhallen Hamburg, Germany, Das Jahrhundert des Multiple von Duchamp bis zur Gegenwart (catalogue) Kent Gallery, New York, Where Is Home? Leo Castelli Gallery, New York, Major Works: Artschwager, Judd, Flavin, Lichtenstein, Nauman, Rauschenberg, Starn Twins, Therrien The Museum of Modern Art, New York, For 25 Years: Brooke Alexander Editions National Gallery of Art, Washington, D.C., From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection. Traveled to Archer M. Huntington Art Gallery in Austin, Texas; Portland Art Museum, Oregon; Tel Aviv Museum of Art; Wäinö Aaltonen Museum of Art, Turku, Finland (catalogue) Villa Merkel, Esslingen, Germany, Neue Möbel für die Villa (catalogue) 1995 Carnegie Museum of Art, Pittsburgh, 1995 Carnegie International (catalogue) Corcoran Gallery of Art, Washington, D.C., Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting (catalogue) Independent Curators Incorporated (organizer), Critiques of Pure Abstraction. Traveled to Sarah Campbell Blaffer Gallery, University of Houston; Illingworth Kerr Gallery, Alberta College of Art, Calgary; Sheldon Memorial Art Gallery, University of Nebraska, Lincoln; Armand Hammer Museum of Art, University of California, Los Angeles; Crocker Art Museum, Sacramento, California; Lowe Museum, University of Miami, Coral Gables, Florida; Frederick R. Weisman Museum, University of Minnesota, Minneapolis (catalogue) Knoedler & Company, New York, American Interiors Leo Castelli Gallery, New York, Richard Artschwager, Ed Ruscha, Robert Therrien Musée d’Art Moderne de la Ville de Paris, Passions Privées (catalogue) Whitney Museum of American Art, New York, Altered and Irrational: Selections from the Permanent Collection

206

exhibition history

Richard Artschwager, photographed by Ann Artschwager, Cape Cod, Massachusetts, 1998

1997 Deichtorhallen Hamburg, Germany, Birth of the Cool: Amerikanische Malerei. Traveled to Kunsthaus Zürich, Zurich (catalogue) Fisher Landau Center, New York, Woodwork FORDE, Geneva, Jeopardy: Richard Artschwager — John Miller Greene Naftali Gallery, New York, Broken Home Haus der Kunst, Munich, Deep Storage. Traveled to Nationalgalerie SMPK, Sonderausstellungshalle am Kulturforum, Berlin; Kunstmuseum Düsseldorf im Ehrenhof, Germany; P.S. 1 Contemporary Art Center, New York; Henry Art Gallery, University of Washington, Seattle (catalogue) Hirshhorn Museum and Sculpture Garden, Washington, D.C., The Hirshhorn Collects: Recent Acquisitions, 1992 –1996 (catalogue) Italian Pavilion, Venice, La XXXVII Biennale di Venezia, Future, Present, Past, 1967 –1997 (catalogue) Marian Goodman, New York, A Summer Show Marlborough Gallery, New York, Cityscapes: A Survey of Urban Landscape (catalogue) The Museum of Modern Art, New York, On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection (catalogue) Nolan / Eckman Gallery, New York, Richard Artschwager Joe Zucker Paint Creek Center for the Arts, Rochester, Michigan, Furniture: Form, Function, or Metaphor (catalogue) * Whitney Museum of American Art, New York, Views from Abroad: European Perspectives on American Art 3: American Realities (catalogue) 1998 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, Pop Surrealism (catalogue) Asheville Art Museum, North Carolina, Off the Wall Feigen Contemporary, New York, Inglenook Gallery at Dieu Donné Papermill, New York, Paper +: Works on Dieu Donné Paper Harn Museum, University of Florida, Gainesville, Inner Eye: Contemporary Art from the Marc and Livia Straus Collection. Traveled to Knoxville Museum of Art, Tennessee; Georgia Museum of Art, University of Georgia, Athens; Chrysler Museum of Art, Norfolk, Virginia; Neuberger Museum of Art, State University of New York, Purchase (catalogue) Institute of Contemporary Art, University of Pennsylvania, Philadelphia, From Warhol to Mapplethorpe: Three Decades of Art at ICA

207

Josef Haubrich Kunsthalle, Cologne, Mai 98: Positionen zeitgenössischen Kunst seit den 60er Jahren (catalogue) Kunsthalle Wien, Vienna, Crossings: Kunst zum Hören und Sehen (catalogue) Maison Lavanneur, Centre national de l’estampe et de l’art imprimé, Chatou, France, Le cercle, le ring (catalogue) Mary Boone, New York, View [Two]: Richard Artschwager, Louise Bourgeois, Fischli / Weiss, Roni Horn, Glen Seator Museu d’Art Contemporani de Barcelona, Artificial: Figuracions Contemporànies (catalogue) Museum of American Art of the Pennsylvania Academy of Fine Arts, Philadelphia, Pop Abstraction Museum of Fine Arts, Boston, PhotoImage: Printmaking ’60s to ’90s. Traveled to Des Moines Art Center, Iowa (catalogue) Museum voor Moderne Kunst, Ostend, Belgium, René Magritte and Contemporary Art (catalogue) Nolan / Eckman Gallery, New York, The Imagined World Orlando Museum of Art, Florida, The Edward R. Broida Collection (catalogue) Paula Cooper Gallery, New York, Travel & Leisure P.S. 1 Contemporary Art Center, New York, 10 Years PORTIKUS Frankfurt Tate Gallery, London, Contemporary Art: The Janet Wolfson de Botton Gift (catalogue) 1999 Carpenter Center for the Visual Arts, Cambridge, Massachusetts, Richard Artschwager and Ross Bleckner Kunstmuseum Wolfsburg, Germany, Collected Works I: Contemporary Art since 1968 (catalogue) Museu de Arte Contemporânea de Serralves, Porto, Portugal, Circa 1968 (catalogue) Museum of Contemporary Art, San Diego, Recent Gifts from the Lannan Foundation Nolan / Eckman Gallery, New York, Summer Group Exhibition Paine Webber Art Gallery, New York, Comfort Zone Paula Cooper Gallery, New York, Wall Works. Traveled to Museum Villa Stuck, Munich Pepperdine University, Malibu, California, Frederick R. Weisman: Los Angeles Collector Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, The Opening (catalogue) Whitney Museum of American Art, New York, The American Century: Art and Culture, 1900 – 2000 (catalogue) 2000 Curt Marcus Gallery, New York, In Process: Photographs from the ’60s and ’70s Daniel Weinberg Gallery, Los Angeles, Sculpture by Richard Artschwager, Lee Bontecou, John Chamberlain Fashion Institute of Design and Merchandising, Los Angeles, The Intuitive Eye: Selections from the Frederick R. Weisman Collection Galerie Thomas Schulte, Berlin, Works on Paper Leo Castelli Gallery, New York, Portraits of Leo Musée du Louvre, Paris, 2000 Ans de Creation . . . D’après l’Antique The Museum of Modern Art, New York, MoMA 2000 Part III: Open Ends (catalogue) Neuberger Museum of Art, State University of New York, Purchase, End Papers (catalogue) Palais des Beaux-Arts, Brussels, Voici, 100 ans d’art contemporain (catalogue) Rose Art Museum, Brandeis University, Waltham, Massachusetts, Stephen Antonakos: Time Boxes 2000, with Richard Artschwager, Daniel Buren, Sol LeWitt and Robert Ryman (catalogue) Staatliche Kunsthalle Baden-Baden, Germany, Daumenwolle: Birgit Werres und Richard Artschwager (catalogue) * Ubu Gallery, New York, Destruction / Creation Yale University Art Gallery, New Haven, Connecticut, The Persistence of Photography in American Portraiture 2001 ATM Gallery, New York, The Empire Strikes Back AXA Gallery, New York, Hard Pressed: 600 Years of Prints and Process. Traveled to Boise Art Museum, Idaho; Museum of Fine Arts, Santa Fe, New Mexico; Naples Museum of Art, Florida Barbara Mathes Gallery, New York, Selected Landscapes Brooke Alexander Editions, New York, Letters, Signs, and Symbols High Museum of Art, Atlanta, The Lenore and Burton Gold Collection of 20th-Century Art (catalogue)

208 exhibition history

Kunstmuseum Winterthur, Switzerland, Von Edgar Degas bis Gerhard Richter: Arbeiten auf Papier aus der Sammlung des Kunstmuseums Winterthur. Traveled to Nationalgalerie Prag, Prague; Rupertinum, Salzburg, Austria; Westfälisches Landesmuseum, Münster, Germany; Neues Museum, Staatliches Museum für Kunst und Design, Nuremberg, Germany (catalogue) Lawing Gallery, Houston, Locating Drawing Margarete Roeder Gallery, New York, Wall > Sculpture Museum of Art, Rhode Island School of Design, Providence, About Objects: Selections from the Permanent Collection Museum of Fine Arts, Houston, Contemporary Art and Photography Neus Museum Weserburg Bremen, Germany, Out of Print: An Archive as Artistic Concept. Traveled to Centre National de l’Estampe et de l’Art Imprimé, Chatou, France; Museu d’Art Contemporanei de Barcelona; Mednarodni Grafični Likovni Center, Ljubljana, Slovenia; Muzej Suvremene Umjetnosti, Zagreb, Croatia; Museu de Arte Contemporânea de Serralves, Porto, Portugal; Städtische Galerie, Erlangen, Germany (catalogue) Sean Kelly Gallery, New York, Re-Location: On Moving Terrain Gallery, New York, 45th Anniversary Exhibition Xavier Hufkens, Brussels, Richard Artschwager, Louise Bourgeois, Roni Horn, Allan McCollum 2002 Brent Sikkema Gallery, New York, Multiples Centre Canadien d’Architecture, Montreal, Herzog & de Meuron: Archéologie de l’imaginaire (catalogue) Chelsea Art Museum, New York, Memoir of Freedom Colby College Museum of Art, Waterville, Maine, Drawn from a Family: Contemporary Works on Paper (catalogue) Daimler Contemporary, Berlin, Private / Corporate (catalogue) The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, From Pop to Now: Selections from the Sonnabend Collection. Traveled to Wexner Center for the Arts, Ohio State University, Columbus, Milwaukee Art Museum, Wisconsin (catalogue) Grant Selwyn Fine Art, New York, Selected Works Institute of Contemporary Art, University of Pennsylvania, Philadelphia, The Photogenic: Photography through Its Metaphors in Contemporary Art James Cohan Gallery, New York, Painting Matter John Hansard Gallery, Southampton, England, Once Again (catalogue) Kunstmuseum Winterthur, Switzerland, Night Sky: Neuerwerbungen der Graphischen Sammlung Musée d’Art Moderne et Contemporain, Geneva, French Collection Musée de Grenoble, France, L’art aujourd’hui: un choix dans la collection du Fonds National d’Art Contemporain Museum Boijmans Van Beuningen, Rotterdam, The Netherlands, Imagine, You Are Standing Here in Front of Me: Caldic Collection (catalogue) Museum of Contemporary Art, Chicago, Life Death Love Hate Pleasure Pain (catalogue) Neue Galerie Graz am Landesmuseum Joanneum, Graz, Austria, Collector’s Choice Neues Museum, Staatliches Museum für Kunst und Design, Nuremberg, Germany, Einfach Kunst: Sammlung Rolf Ricke (catalogue) Nolan / Eckman Gallery, New York, 5 Sculptors’ Drawings from the 1970s Nolan / Eckman Gallery, New York, Summer Exhibition Philamena Meyer, Munich, Group Show Pinakothek der Moderne, Munich, Meisterwerke der Graphischen Sammlung Pinakothek der Moderne, Munich, Raum-Bilder Spike Gallery, New York, 1969 Sprüth Magers, Munich, Things 2003 Alfonso Artiaco, Pozzuoli, Italy, Corso Terracciano 56 Daimler Contemporary, Berlin, Minimalism and After II (catalogue) Galerie Rolf Ricke, Cologne, Der weite Blick Georg Kargl, Vienna, Re-Produktion 2 James Cohan Gallery, New York, A Simple Plan Kent Gallery, New York, Arp, Artschwager, Tuttle

209

Kunstraum Innsbruck, Austria, Schokolade, Was denn sonst: Sammlung Rolf Ricke Luckman Gallery, California State University, Los Angeles, Pop and More from the Frederick R. Weisman Art Foundation Collection Musée d’Art Moderne et Contemporain, Strasbourg, France, Hyperréalismes USA, 1965 –1975 (catalogue) New York State Museum, Albany, Strangely Familiar: Approaches to Scale in the Collection of the Museum of Modern Art, New York Sprüth Magers Salzburg, Austria, Shadow and Light ZKM — Museum für Neue Kunst, Karlsruhe, Germany, The DaimlerChrysler Collection 2004 Anthony Grant, Inc., New York, Woodwork Barbara Mathes Gallery, New York, Interior / Exterior BE-PART, Waregem, Belgium, De Spiegel van Foucault Brooke Alexander Editions, New York, Under $2,000 Albers < Zaugg Brooke Alexander Gallery and Leo Castelli Gallery, New York, Richard Artschwager / Ed Ruscha CAPC Musée d’Art Contemporain de Bordeaux, France, À Angle Vifs (catalogue) Carrie Haddad Gallery, Hudson, New York, On Paper Cooper-Hewitt National Design Museum, New York, Design Is Not Art: Functional Objects from Donald Judd to Rachel Whiteread. Traveled to Museum of Design, Atlanta; Aspen Art Museum, Colorado (catalogue) Gagosian Gallery, London, Drawings (catalogue) Gagosian Gallery, New York, What’s Modern? (catalogue) Georg Kargl, Vienna, From Above Hudson Valley Center, Peekskill, New York, Repetition Hudson Valley Center, Peekskill, New York, Symbolic Space Institute of Contemporary Art, University of Pennsylvania, Philadelphia, The Big Nothing (catalogue) Kunsthaus Klosterneuburg, Vienna, Visions of America: Ikonen Zeitgenössischer Amerikanischer Kunst aus der Sammlung Essl und der Sonnabend Collection, New York Marian Goodman Gallery, New York, Reflecting the Mirror Musée des Beaux-Arts de Dole, France, La Lettre Volée (catalogue) Museum of Contemporary Art, Los Angeles, A Minimal Future? Art as Object, 1958 –1968 (catalogue) Museum of Contemporary Art San Diego, California, Specific Objects: The Minimalist Influence (catalogue)* Museum voor Hedendaagse Kunst Antwerpen, Antwerp, Belgium, Collection Spring 2004 Neue Galerie Graz am Landesmuseum Joanneum, Austria, Support: Die Neue Galerie als Sammlung 1950 – Heute Neue Nationalgalerie, Berlin, Das MoMA in Berlin: Meisterwerke aus dem Museum of Modern Art, New York (catalogue) New Orleans Museum of Art, The Eclectic Eye: Selections from the Frederick R. Weisman Art Foundation. Traveled to Bakersfield Museum of Art, California State University; The Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California (catalogue) Pretoria Art Museum, South Africa, The Daimler Art Collection and Education Project. Traveled to Museum Africa, Johannesburg, South Africa; Iziko South African National Art Gallery, Cape Town, South Africa P.S.1 Contemporary Art Center, New York, WPS1 Art Radio Senior & Shopmaker Gallery, New York, Symmetries Susan Inglett Gallery, New York, Featuring Swiss Institute, New York, None of the Above Villa Manin, Centro d’Arte Contemporanea, Codroipo, Italy, Love / Hate: From Magritte to Cattelan: Masterpieces from the Collection of the Museum of Contemporary Art Weber Fine Art, Chatham, New York, Manhattan Transfer Worcester Art Museum, Massachusetts, How Sculptors See 2005 Baumgartner Gallery, New York, 25 Years Friedrich Petzel Gallery, New York, Grey Flags Gagosian Gallery, Beverly Hills, California, Works on Paper Gagosian Gallery, London, Imageless Icons: Abstract Thoughts (catalogue)

210 exhibition history

Galerie Biedermann, Munich, Internationale Zeichner Kunstmuseum St. Gallen, Switzerland, Sweet Temptations Lucas Schoormans Gallery, New York, Structure The Museum of Modern Art, New York, Contemporary Voices: Works from the UBS Art Collection. Traveled to Fondation Beyler, Basel, Switzerland (catalogue) The Museum of Modern Art, New York, Drawing from the Modern, 1945 –1975 (catalogue) New York State Museum, Albany, Extra-ordinary: The Everyday Object in American Art, Selections from the Whitney Museum of American Art. Traveled to Frist Center for the Visual Arts, Nashville, Tennessee; Austin Museum of Art, Texas Senior & Shopmaker Gallery, New York, Summer 2005 Susanne Hilberry Gallery, Ferndale, Michigan, Drawings

Artschwager at Gemini G.E.L., Los Angeles, 2008

2006 Barbara Mathes Gallery, New York, Gallery Selections Corcoran Gallery of Art, Washington, D.C., Redefined David Nolan Gallery, New York, Drawing Through It: Works on Paper from the 1970s to Now Domaine de Kerguéhennec, Centre d’Art Contemporain, Bignan, France, Chers Amis The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, Twice Drawn (catalogue) Gagosian Gallery, Beverly Hills, California, Sculpture Galerie Gabrielle Maubrie, Paris, 20ème anniversaire Georg Kargl Fine Arts, Vienna, I Still Love the 20th Century Georg Kargl Fine Arts, Vienna, Prints and Multiples Joslyn Museum of Art, Omaha, Nebraska, Art on the Edge Kunstmuseum Stuttgart, Germany, Piktogramme: Die Einsamkeit der Zeichnen (catalogue) Kunstmuseum Winterthur, Switzerland, Plane / Figure (catalogue) Locks Gallery, Philadelphia, Fête Los Angeles County Museum of Art, Magritte and Contemporary Art: The Treachery of Images (catalogue) Museum of Contemporary Art, Tokyo, Collection of the Fondation Cartier pour l’art Contemporain (catalogue) The Museum of Modern Art, New York, Against the Grain: Contemporary Art from the Edward R. Broida Collection (catalogue) National Gallery of Art, Washington, D.C., Selections from the Collection of Edward R. Broida Opera City Art Gallery, Tokyo, Conversation with Art, on Art: Bauhaus to Contemporary Art: Daimler Chrysler Collection Palazzo delle Arti, Naples, Italy, Dedica, 1986 – 2006: Twenty Years of the Alfonso Artiaco Gallery (catalogue) Paula Cooper Gallery, New York, 1970 –1975 Richard Gray Gallery, New York, Contemporary and Modern Masters Richard Gray Gallery, New York, Masterworks Wilhelm Lehmbruck Museum, Duisburg, Germany, Was ist Plastik? 100 Jahre, 100 Köpfe: Das Jahrhundert Moderner Skulptur (catalogue) Zone Chelsea, New York, Manhattan Transfer 2007 The Columns, Seoul, Art Market Now Fisher Landau Center for Art, New York, Paper Friedrich Petzel Gallery, New York, The Lath Picture Show Gagosian Gallery, London, Pop Art Is: (catalogue) Galerie Lelong, New York, Shadow Hayward Gallery, London, The Painting of Modern Life. Traveled to Castello di Rivoli, Museum of Contemporary Art, Turin, Italy (catalogue) Kunsthalle Wien, Vienna, True Romance: Allegories of Love from the Renaissance to the Present. Traveled to Museum Villa Stuck, Munich; Kunsthalle zu Kiel, Germany (catalogue) Kunstmuseum Liechtenstein, Vaduz, Lust for Life: Die Sammlung Ricke Marian Goodman Gallery, New York, 30 / 40: A Selection of Forty Artists From Thirty Years of Marian Goodman Gallery (catalogue) Museum of Fine Arts, Boston, Drawing: A Broader Definition Scuderie del Quirinale, Rome, Pop Art!

211

Sprüth Magers, Cologne, Mondi Possibili Xavier Hufkens, Brussels, Richard Artschwager, Louise Bourgeois, Roni Horn, Raymond Pettibon ZKM — Museum für Neue Kunst, Karlsruhe, Germany, Klio: Eine Kurze Geschichte der Kunst in Euramerika Nach 1945 2008 Carrie Haddad Gallery, Hudson, New York, Wood Edward Thorp, New York, Mirror Mirror Gagosian Gallery, New York, Prefab Katonah Museum of Art, New York, Here’s the Thing: The Single Object Still Life (catalogue) Kunstmuseum Wolfsburg, Germany, Interieur / Exterieur: Living in Art (catalogue) Leo Castelli Gallery, New York, Wall Sculptures Mori Art Museum, Tokyo, Art Is For the Spirit: From the UBS Art Collection (catalogue) Museum for Contemporary Art, Leipzig, Germany, Gedichteder Fakten: Aus der sammlung von Arend und Brigitte Oetker (catalogue) The Museum of Modern Art, New York, Artist’s Choice + Muniz = Rebus O.K. Harris, New York, The Karp Bicentennial Friendship Quilt Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, The Hands of Art (catalogue) Villa Merkel, Esslingen, Germany, Arbeiten mit der Sammlung Rolf Ricke (catalogue)* WUK – Kunsthalle Exnergasse, Vienna, Egypted 2009 Barbara Krakow Gallery, Boston, Reading & Writing Bonnefantenmuseum, Maastricht, The Netherlands, Exile on Main St.: Humor, exaggeration, and anti-authoritarianism in American art (catalogue) Fisher Landau Center for Art, New York, We Are the World: Figures and Portraits Gagosian Gallery, New York, Go Figure (catalogue) Galerie Lang & Pult, Zurich, Wall Table Chair Hamburger Bahnhof, Berlin, Die Kunst ist Super! Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, Contemporary Art in the Barron Collection International Print Center, New York, New Prints 2009 / Spring Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, Gipfeltreffen der Moderne: Das Kunstmuseum Winterthur. Traveled to MART: Museo di Arte Moderna e Contemporanea di Trento e Roverto, Italy; Museum der Moderne Salzburg, Austria (catalogue) Kunsthalle Bielefeld, Germany, 1968: Die Grosse Unschuld (catalogue) Kunstmuseum Stuttgart, Germany, Drei: Das Tryptichon in der Moderne (catalogue) Kunstmuseum Wolfsburg, Germany, 15 Jahre Sammlung Kunstmuseum Wolfsburg: Gegen den Strich Locks Gallery, Philadelphia, Edition / Addition Magasin: Centre National d’art Contemporain de Grenoble, France, Portrait de l’artiste en motocycliste Mary Boone Gallery, New York, A Tribute to Ron Warren Musée d’Art Contemporain Lyon, France, N’importe quoi (catalogue) Museo Regionale di Messina, Italy, Twentysix Gasoline Stations ed altri libri d’Artista: Una Collezione Museu de Arte Contemporânea de Serralves, Porto, Portugal, Serralves 2009: The Collection Museum of Contemporary Art, Chicago, Constellations: Paintings from the MCA Collection The Museum of Modern Art, New York, Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection (catalogue) New Galerie de France, Paris, Visages NRW Forum Kultur und Wirtschaft, Düsseldorf, Germany, UFO — Grenzgänge zwischen Kunst und Design (catalogue) P.S.1 Contemporary Art Center, New York, 1969 Pinakothek der Moderne, Munich, Die Gegenwart der Linie Quai des Antilles, Ile de Nantes, France, + de realité (catalogue) Sprüth Magers, Berlin, Robert Elfgen, Richard Artschwager, Robert Thierren Sprüth Magers, Berlin, Source Codes Staatliche Kunsthalle Baden-Baden, Germany, Entre deux actes —Loge de comédienne (catalogue) Umjetnička galerija Dubrovnik, Croatia, American Printmaking since 1960 Whitney Museum of American Art, New York, Synthetic

212 exhibition history

2010 Albright-Knox Art Gallery, Buffalo, New York, The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States Boston University Art Gallery, Boston, The Shape of Abstraction (catalogue) Carolina Nitsch Project Room, New York, Ten Years: Carolina Nitsch Editions, 2000 – 2010 Daniel Weinberg Gallery, Los Angeles, Wall to Wall David Nolan Gallery, New York, Summer Group Show Domaine de Kerguéhennec, Centre d’Art Contemporain, Bignan, France, Collection / Porto: Museu Serralves Gagosian Gallery, London, Crash: Homage to JG Ballard (catalogue) Galerie Jan Wentrup, Berlin, Crosstown Traffic Georg Kargl BOX, Vienna, Fine Line Hudson Opera House, Hudson, New York, Local Self Portraits (catalogue) MARTa Herford, Germany, Ich weiss gar nicht was Kunst ist, Eine Blicke in eine private Sammlung Momenta Art, Brooklyn, New York, The Arbitrariness of Signs Mudam Luxembourg, Musée d’Art Moderne, Grand-Duc Jean, Luxembourg, Just Love Me: Regard Sur une Collection Privée Musée des Arts Contemporains, Site de Grand-Hornu, Boussu, Belgium, Le Fabuleux Destin du Quotidien (catalogue) Museum of Contemporary Art, Chicago, Rewind: 1970s to 1990. Works from the MCA Collection Whitney Museum of American Art, New York, Collecting Biennials 2011 Brooke Alexander Gallery, New York, Sweet Dreams: Comics, Cartoons, and Contemporary Art Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy, Arte Povera International (catalogue) Deichtorhallen Hamburg, Germany, Zwei Sammler: Thomas Olbricht und Harald Flackenberg Kathleen Cullen, New York, You Would Museum of Arts and Design, New York, Crafting Modernism: Midcentury American Art and Design (catalogue) Museum of Contemporary Art, Chicago, The Language of Less (Then and Now) (catalogue) Nolan Judin, Berlin, The Art Show Walker Art Center, Minneapolis, Absentee Landlord 2012 Brooke Alexander Gallery, New York, The Way We Live Now Galerie Reinhard Hauff, Stuttgart, Living with Art Golden Gallery, New York, Richard Artschwager, Gaylen Gerber, John Henderson

213

1964 Alloway, Lawrence. The New Art. Middletown, CT: Wesleyan University, 1964. Boxes. Los Angeles: Dwan Gallery, 1964. 1965 Kirby, Michael. Beyond Realism. New York: The Pace Gallery, 1965. 1966 Alloway, Lawrence. Contemporary American Sculpture: Selection I. New York: Whitney Museum of American Art, 1966.

Selected Bibliography Books, Exhibition Catalogues, and Brochures

Documenta 4: Katalog 1. Kassel, Germany: Druck Verlag, 1968. East Coast — West Coast Paintings. Oklahoma City: Oklahoma Art Center and University of Oklahoma, Norman, 1968. Options. Milwaukee: Milwaukee Art Center, 1968. Realism Now. Poughkeepsie, NY: Vassar College Art Gallery, 1968.

———. The Photographic Image. New York: Solomon R. Guggenheim Museum, 1966.

1969 557,087. Seattle: Seattle Art Museum, 1969.

Annual Exhibition 1966: Sculpture and Prints. New York: Whitney Museum of American Art, 1966.

American Art of the Sixties in Toronto Private Collections. Downsview, ON: York University, 1969.

Coe, Ralph T. Sound, Light, Silence: Art that Performs. Kansas City, MO: William Rockhill Nelson Gallery and Atkins Museum of Fine Arts, 1966.

Atkinson, Tracy. A Plastic Presence. Milwaukee: Milwaukee Art Center, 1969.

Lippard, Lucy R. Pop Art. New York: Frederick A. Praeger, 1966. McShine, Kynaston. Primary Structures. New York: The Jewish Museum, 1966. Varian, Elayne H. Art in Process: The Visual Development of a Structure. New York: Finch College Museum of Art, 1966. 1967 The 1960s: Painting and Sculpture from the Museum Collection. New York: The Museum of Modern Art, 1967. Aldrich, Larry. Cool Art –1967. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1967. First Kent Invitational Exhibition of Painting and Sculpture. Kent, OH: Kent State University, 1967. Personal Preferences: Paintings and Sculptures from the Collection of Mr. and Mrs. S. Brooks Barron. Rochester, MI: University Art Gallery, Oakland University, 1967. Selected N.Y.C. Artists 1967. Ithaca, NY: Ithaca College Museum of Art, 1967. Von Meier, Kurt. Mixed Masters. Houston: University of Saint Thomas, 1967. Whitney, David. Leo Castelli: Ten Years. New York: Leo Castelli Gallery, 1967. 1968 1968 Annual Exhibition: Contemporary American Sculpture. New York: Whitney Museum of American Art, 1968.

214

Battcock, Gregory. Minimal Art: A Critical Anthology. New York: E. P. Dutton, 1968.

Green, Samuel Adams. American Painting: The 1960s. New York: American Federation of Arts, 1969. Osten, Gert von der. Kunst der sechziger Jahre: Sammlung Ludwig im WallrafRichartz Museum. Cologne: Wallraf-Richartz Museum, 1969. Painting and Sculpture Today: 1969. Indianapolis: Indianapolis Museum of Art, 1969. Pomeroy, Ralph. Soft Art. Trenton, NJ: New Jersey State Museum, 1969. Russell, John. Pop Art Redefined. London: Hayward Gallery, 1969. Sammlung 1968 Karl Ströher. Munich: Klein und Volbert, 1969. Szeemann, Harald. Live in Your Head: When Attitudes Become Form: Works – Concepts – Processes – Situations – Information. Bern, Switzerland: Kunsthalle Bern, 1969. Tillim, Sidney and William S. Wilson. Aspects of a New Realism. Milwaukee: Milwaukee Art Center, 1969. van der Marck, Jan. Art by Telephone. LP, with jacket notes. Chicago: Museum of Contemporary Art, 1969. 1970 955,000. Vancouver: Vancouver Art Gallery, 1970.

1970 Annual Exhibition: Contemporary American Sculpture. New York: Whitney Museum of American Art, 1970. Die Handzeichnung der Gegenwart. Stuttgart, Germany: Staatsgalerie Stuttgart, 1970. Editions in Plastic: An International Survey of Works of Art Involving the Use of Plastic and Published in Editions. Baltimore: University of Maryland Art Gallery, 1970.

Immagine per la Città. Genoa, Italy: Ente Manifestazioni Genovesi, 1972. Neue Galerie der Stadt Aachen, Der Bestand ’72: Kunst um 1970 (Art around 1970). Cologne: W. König, 1972. New American Abstract Painting. Madison, WI: Madison Art Center, 1972. Painting and Sculpture Today. Indianapolis: Indianapolis Museum of Art, 1972.

Goodman, Susan Tumarkin. Using Walls (Indoors). New York: The Jewish Museum, 1970.

1973 Amerikansk realism. Lund, Sweden: Galleri Östergren, 1973.

Karp, Ivan C. Radical Realism. Chicago: Museum of Contemporary Art, 1970.

Ammann, Jean-Christophe and Marianne Eigenheer. Ein Grosses Jahrzehnt amerikanischer Kunst. Lucerne, Switzerland: Kunstmuseum Luzern, 1973.

Klischee und Antiklishee: Bildformen der Gegenwart. Aachen, Germany: Neue Galerie der Stadt Aachen, 1970. McShine, Kynaston. Information. New York: The Museum of Modern Art, 1970. Miller, Jo. Seventeenth National Print Exhibition. New York: Brooklyn Museum, 1970. Zeichnungen amerikanischer Künstler. Cologne: Galerie Ricke, 1970. 1971 Burback, William, Charlotte B. Johnson, and Gordon M. Smith. Kid Stuff? Buffalo, NY: Albright-Knox Art Gallery, 1971. Color / Constructivism / Realism in Contemporary Graphics. San Francisco: San Francisco Museum of Modern Art, 1971. Kotte, Walter. Sonsbeek Buiten de Perken. Arnhem and Utrecht, The Netherlands: Park Sonsbeek, 1971. Richard Artschwager, John Chamberlain, Nassos Daphnis, Ron Davis, Jasper Johns, Roy Lichtenstein, Robert Morris, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Frank Stella, Cy Twombly, Andy Warhol. New York: Castelli Graphics, 1971. 1972 1972 Annual Exhibition: Contemporary American Painting. New York: Whitney Museum of American Art, 1972. Artschwager, Richard. Artschwager: Utrecht Projekt. Utrecht, The Netherlands: Gemeente Utrecht, 1972. (Accompanied by record.) Documenta 5. Kassel, Germany: Bertelsmann Verlag, 1972.

Arnold, Ulrich. Amerikanische und Englische Graphik der Gegenwart aus der Graphi schen Sammlung der Staatsgalerie Stuttgart. Stuttgart, Germany: Staatsgalerie Stuttgart, 1973. Ekstrem Realisme. Humlebaek, Denmark: Louisiana Museum of Modern Art, 1973. Hogan, Carroll Edward. Hyperréalistes américains. Paris: Galerie Arditti, 1973. Lippard, Lucy R. Six Years: The Demateriali zation of the Art Object from 1966 –1972. New York: Praeger, 1973. Richard Artschwager. Chicago: Museum of Contemporary Art, Chicago, 1973. Sager, Peter. Neue Formen des Realismus: Kunst zwischen Illusion und Wirklichkeit. Cologne: M. DuMont Schauberg, 1973. Section III: Contemporary Graphics from the Museum’s Collection. Providence, RI: Museum of Art, Rhode Island School of Design, 1973. 1974 Abadie, Daniel. Kijken Naar De Werkelijk heid: Amerikaanse Hyperrealisten, Europese Realisten. Rotterdam, The Netherlands: Museum Boijmans Van Beuningen, 1974. Alloway, Lawrence. American Pop Art. New York: Whitney Museum of American Art, 1974. Contemporary Sculpture Lent by the Whitney Museum of American Art. Palm Beach, FL: Society of the Four Arts, 1974.

1975 Alloway, Lawrence. Topics in American Art Since 1945. New York: W. W. Norton, 1975. Collections of the Seventies: A Series of Presentations About Collectors of Contemporary Art. Selections from the Collection of Dorothy and Herbert Vogel. New York: Institute for Art and Urban Resources, 1975. Delehanty, Suzanne. Painting, Drawing and Sculpture of the ’60s and ’70s from the Dorothy and Herbert Vogel Collection. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1975. Szeemann, Harald. Je/Nous. Brussels: Musée d’Ixelles, 1975. Wedewer, Rolf, and Rolf Ricke. USA Zeichnungen 3. Leverkusen, Germany: Städtisches Museum Schloss Morsbroich, 1975. 1976 Armstrong, Tom, et al. 200 Years of American Sculpture. New York: Whitney Museum of American Art, 1976. Basket, Table, Door, Window, Mirror, Rug: 53 Drawings. New York: Leo Castelli Gallery, 1976. Forge, Andrew. 300 Artists to Support the New York Studio School. New York: Leo Castelli Gallery, 1976. Hunter, Sam, Rosalind Krauss, and Marcia Tucker. Critical Perspectives in American Art. Amherst, MA: University of Massachusetts, 1976. Richard Artschwager, Chuck Close, Joe Zucker. San Francisco: Daniel Weinberg Gallery, 1976. 1977 Americans. Lund, Sweden: Lunds Konsthall, 1977. Bailey, Holly M. Cornell Then, Sculpture Now. Ithaca, NY: Cornell University, 1977. Brundage, Susan, and Janelle Reiring, eds. Leo Castelli: Twenty Years. New York: Leo Castelli Gallery, 1977. Davidson, Nancy, and Donald Sultan, eds. Name Book I: Statements on Art. Chicago: N.A.M.E. Gallery, 1977. Friedman, Martin L., Peter Gray, and Robert Pincus-Witten. A View of a Decade. Chicago: Museum of Contemporary Art, 1977.

Hyperréalistes américains. Paris: Galerie des 4 Mouvements, 1972.

215

Howrigan, Roger. Outside the City Limits: Landscape by New York City Artists. Sparkill, NY: Thorpe Intermedia Gallery, 1977. Ideas in Sculpture, 1965 – 1977. Chicago: Renaissance Society at the University of Chicago, 1977. Joachim, Harold. Society for Contemporary Art 35th Exhibition: Drawings of the ’70s. Chicago: The Art Institute of Chicago, 1977. Krauss, Rosalind. Works on Paper: American Art, 1945 –1975. Seattle: Washington Art Consortium, 1977. New in the Seventies. Austin, TX: University of Texas, 1977. Pincus-Witten, Robert. Improbable Furniture. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1977. Recent Works on Paper by Contemporary American Artists. Madison, WI: University of Wisconsin, Madison, 1977. Selected Prints, 1960 –1977. New York: Brooke Alexander Gallery, 1977. Works from the Collection of Dorothy and Herbert Vogel. Ann Arbor, MI: University of Michigan Museum of Art, 1977. 1978 Alexander, Brooke, and John Arthur. Brooke Alexander: A Decade of Print Publishing. Boston: Brooke Alexander, 1978.

Richard Artschwager’s Theme(s). Buffalo, NY: Albright-Knox Art Gallery, 1979. Ulen, Sarah. Two Decades: American Art from the Collection of the Smith College Museum of Art. Easthampton, MA: Smith College Museum of Art, 1979. 1980 American Drawing in Black and White. New York: Brooklyn Museum, 1980. Castleman, Riva. Printed Art: A View of Two Decades. New York: The Museum of Modern Art, 1980. Drawings: The Pluralist Decade. Phila delphia: Institute of Contemporary Art, University of Pennsylvania, 1980. Eisenberg, Sondra Ward, and Richard G. Stein. The 900 – 910 Art Collection. Chicago: Uptown Service Corp., Richard Stein, 1980. Güse, Ernst-Gerhard and Nicola BorgerKeweloh. Reliefs: Formprobleme zwischen Malerei und Skulptur im 20 Jahrhundert. Münster: Westfälisches Landesmuseum für Kunst und Kulturgeschichte, 1980. La Biennale di Venezia: Settore Arti Visive: Catalogo generale 1980. Venice: La Biennale di Venezia, 1980. 1981 The American Landscape: Recent Develop ments. New York: Whitney Museum of American Art, 1981.

Artschwager, Richard, and Catherine Kord. Richard Artschwager: Beschreibungen, Definitionen, Auslassungen. Hamburg, Germany: Kunstverein Hamburg, 1978.

Baro, Gene. Twenty-Second National Print Exhibition. New York: Brooklyn Museum, 1981.

Cathcart, Linda L. American Painting of the 1970s. Buffalo, NY: Albright-Knox Art Gallery, 1978.

Glozer, Laszlo. Westkunst: Zeitgenössische Kunst seit 1939. Cologne: DuMont Buchverlag, 1981.

Objects! New York: Marian Goodman Gallery, 1978.

The Image of the House in Contemporary Art. Houston: University of Houston Lawndale Annex, 1981.

Plous, Phyllis. Contemporary Drawing / New York. Santa Barbara, CA: University of California, Santa Barbara Art Museum, 1978.

Soundings. Purchase, NY: Neuberger Museum, State University of New York, Purchase, 1981. Variants: Drawings by Contemporary Sculptors. Houston: Sewell Art Gallery, 1981. Williams, Tod and Ricardo Scofidio. Window Room Furniture: Projects. New York: Rizzoli, 1981. 1982 Castelli and His Artists: 25 Years. Aspen, CO: Aspen Center for the Visual Arts, 1982. Documenta 7. Kassel, Germany: D. V. P. Dierichs, 1982. Postminimalism. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1982. Prints by Contemporary Sculptors. New Haven, CT: Yale University Art Gallery, 1982. Sculptors at UC Davis: Past and Present. Davis, CA: The Regents of the University of California, 1982. Tableaux: Nine Contemporary Sculptors. Cincinnati: Contemporary Arts Center, 1982. 1983 1983 Biennial Exhibition. New York: Whitney Museum of American Art, 1983. Compton, Michael. New Art at the Tate Gallery. London: Tate Gallery, 1983. Kardon, Janet. Connections: Bridges, Ladders, Ramps, Staircases, Tunnels. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1983.

Grunert, Tanja, and Rüdiger Schöttle. Idea. Stuttgart, Germany: Staatsgalerie Stuttgart, 1984. Jacob, Mary Jane. The Museum of Contemporary Art, Chicago: Selections from the Permanent Collection Volume 1. Chicago: Museum of Contemporary Art, 1984. Lewallen, Constance. Richard Artschwager: MATRIX 71. Berkeley, CA: University Art Museum, University of California at Berkeley, 1984. Marshall, Richard. American Art Since 1970: Painting, Sculpture, and Drawings from the Collection of the Whitney Museum of American Art, New York. New York: Whitney Museum of American Art, 1984. Pulitzer, Emily Rauh. Familiar Forms / Unfamiliar Furniture. St. Louis, MI: First Street Forum, 1984. 1985 Affiliations: Recent Sculpture and its Antecedents. New York: Whitney Museum of American Art, 1985. Ammann, Jean-Christophe, and Margrit Suter. Richard Artschwager. Basel, Switzerland: Kunsthalle Basel, 1985.

1986 1976 –1986: Ten Years of Collecting Contemporary American Art. Selections from the Edward R. Downe, Jr., Collection. Wellesley, MA: Wellesley College Museum, 1986. American Myths. New York: Kent Fine Art, Inc., 1986. The Barry Lowen Collection. Los Angeles: Museum of Contemporary Art, 1986. Boca Raton Museum of Art Presents Art in the Environment. Boca Raton, FL: Boca Raton Museum of Art, 1986. Bos, Saskia, and Jan Brand. Sonsbeek 86: International Sculpture Exhibition. Utrecht, The Netherlands: Veen / Reflex, 1986. Cooke, Lynne, Nicholas Serota, and Rachel Kirby. In Tandem: The Painter-Sculptor in the Twentieth Century. London: Whitechapel Art Gallery, 1986. Daniel, Malcolm R., and Sam Hunter. An American Renaissance: Painting and Sculpture Since 1940. Ft. Lauderdale, FL: Museum of Art, 1986. Definitive Statements: American Art, 1964 – 66. Providence, RI: Brown University, 1986. Drawings from the Collection of Dorothy and Herbert Vogel. Little Rock, AK: University of Arkansas at Little Rock, 1986.

The Box Transformed. New York: Whitney Museum of American Art, 1985.

Ratcliff, Carter. Day In / Day Out: Ordinary Life as a Source for Art. Reading, PA: Freedman Gallery, 1983.

Cummings, Paul. Drawing Acquisitions, 1981 – 85. New York: Whitney Museum of American Art, 1985.

Marshall, Richard. 50 New York Artists: A Critical Selection of Painters and Sculptors Working in New York. San Francisco: Chronicle Books, 1986.

The Trisolini Print Project. Athens, OH: Trisolini Gallery of Ohio University, 1983.

New York 85. Marseille, France: Editions ARCA, 1985.

Reality Remade. New York: Kent Fine Art, Inc., 1986.

Nouvelle Biennale de Paris: 1985. Paris: Electa Moniteur, 1985.

Richard Artschwager. New York: Mary Boone / Michael Werner, 1986.

Selections from the William J. Hokin Collection. Chicago: Museum of Contemporary Art, 1985.

Sacred Images in Secular Art. New York: Whitney Museum of American Art, 1986.

1984 Alibis. Paris: Centre Georges Pompidou, 1984.

1979 Augur, Julie. American Portraits of the Sixties and Seventies. Aspen, CO: Aspen Center for the Visual Arts, 1979.

New Dimensions in Drawing, 1950 –1980. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1981.

Art of Our Time: The Saatchi Collection. London: Lund Humphries; New York: Rizzoli, 1984.

Corners: Painterly and Sculptural Work. Cambridge, MA: Massachusetts Institute of Technology, 1979.

Sidlauskas, Susan. Rooms: Installations by Richard Artschwager, Cynthia Carlson, Richard Haas. Cambridge, MA: MIT Committee on the Visual Arts, 1981.

Contemporary Art in the Collection of Florence and S. Brooks Barron. Rochester, MI: Meadow Brook Art Gallery, Oakland University, 1984.

216 bibliogr aphy

Fox, Judith Hoos. Furniture, Furnishings: Subject and Object. Providence, RI: Museum of Art, Rhode Island School of Design, 1984.

Weintraub, Linda. The Maximal Implications of the Minimal Line. Annandale-on-Hudson, NY: Edith C. Blum Art Institute, Bard College, 1985.

Kertess, Klaus. The Painterly Figure. Southampton, NY: Parrish Art Museum, 1983.

Kren, Alfred. Drawing Distinctions: American Drawings of the Seventies. Munich: Alfred Kren, 1981.

McShine, Kynaston. Contemporary Sculp ture: Selections from the Collection of The Museum of Modern Art. New York: The Museum of Modern Art, 1979.

Fox, Howard N. Content: A Contemporary Focus, 1974 –1984. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 1984.

Cummings, Paul. Sculptors’ Drawings, 1910 –1980: Selections from the Permanent Collection (of the Whitney Museum of American Art, New York). Miami: Visual Arts Gallery, Florida International University, 1984.

Waldman, Diane. Transformations in Sculpture: Four Decades of American and European Art. New York: Solomon R. Guggenheim Museum, 1985.

1987 Armstrong, Richard, et al. 1987 Biennial Exhibition. New York: Whitney Museum of American Art, 1987. Bussmann, Klaus, and Kasper König. Skulptur Projekte in Münster 1987. Cologne: DuMont Buchverlag, 1987.

Corà, Bruno, and Peter Pakesch. Bildhauer zeichnungen. Graz, Austria: Grazer Kunstverein, 1987. Documenta 8. Kassel, Germany: Weber and Weidemeyer, 1987. Fantastic Furniture. Lake Worth, FL: Lannan Museum, 1987. Gordon, Peter H., ed. Diamonds Are Forever: Artists and Writers on Baseball. San Francisco: Chronicle, 1987. Leo Castelli: A Tribute Exhibition. Youngstown, OH: Butler Institute of American Art, 1987. Stich, Sidra. Made in USA: An Americanization in Modern Art, the ’50s and ’60s. Berkeley and Los Angeles: University of California Press, 1987. 1988 Armstrong, Richard. Richard Artschwager. New York: Whitney Museum of American Art, 1988. Artschwager: His Peers and Persuasion, 1963 –1988. Los Angeles: Daniel Weinberg Gallery, 1988. Beecher, Pamela. From the Collection of Dorothy and Herbert Vogel. Kansas City, MO: Mid-America Arts Alliance, 1988. Beelden in de stad Rotterdam: Rotterdam ’88: de stad als podium. Utrecht, The Netherlands: Veen / Reflex, 1988. Carnegie International. Pittsburgh: Carnegie Museum of Art, 1988. Colección Leo Castelli. Madrid: Fundación Juan March, 1988. Crone, Rainer. Similia / Dissimilia. New York: Rizzoli, 1988. Dauw, Norbert, and Jan Hoet. Signaturen. Ghent, Belgium: Museum van Hedendaagse Kunst, 1988. Deitch, Jeffrey. Cultural Geometry. Athens, Greece, and New York: Deste Foundation for Contemporary Art, 1988. Feinstein, Roni. American Print Renaissance. New York: Whitney Museum of American Art, 1988. Information as Ornament. Chicago: Feature and Rezac, 1988. Joel Shapiro, James Lee Byars, Richard Artschwager. New York: Kent Fine Art, Inc., 1988.

Castelli, Leo. Leo Castelli y sus Artistas. Mexico City: Centro Cultural Arte Contemporaneo, 1987.

217

Locations. Innsbruck, Austria: Tiroler Landesgalerie; Salzburg, Austria: Galerie Thaddaeus Ropac, 1988.

Blau, Douglas. The Times, The Chronicle, and The Observer. New York: Kent Fine Art, Inc., 1990.

Richard Artschwager: Selected Works, 1964 –1988. London: Nicola Jacobs Gallery, 1988.

Castelli, Leo. Two Decades of American Art: The ’60s and ’70s. Roslyn Harbor, NY: Nassau County Museum of Art, 1990.

Rosenberg, Barry A. Redefining the Object. Dayton, OH: University Art Galleries, Wright State University, 1988.

Cindy Sherman, Richard Wilson, Richard Artschwager. London: Saatchi Collection, 1990.

Schoon, Talitha and Karel Schampers, eds. Het Meubel verbeeld: recente tendensen in sculptuur. Rotterdam, The Netherlands: Museum Boijmans Van Beuningen, 1988.

Feinstein, Roni. With the Grain: Contemporary Panel Painting. New York: Whitney Museum of American Art, 1990.

Three Decades: The Oliver-Hoffmann Collection. Chicago: Museum of Contemporary Art, 1988. 1989 Armstrong, Elizabeth, and Sheila McGuire. First Impressions: Early Prints by Forty-six Contemporary Artists. New York: Hudson Hill Press in association with Walker Art Center, Minneapolis, 1989. Contemporary American Sculpture: Signs of Life. Lisbon, Portugal: Fundação Calouste Gulbenkian, 1989. The Desire of the Museum. New York: Whitney Museum of American Art, 1989. Jacobs, Joseph, et. al. Abstraction in Question. Sarasota, FL: The John and Mable Ringling Museum of Art, 1989. Detterer, Martina, Petra Kirchberg, and Peter Weiermair. Prospect 89: Eine internationale Ausstellung aktueller Kunst. Frankfurt: Frankfurter Kunstverein Schirn Kunstalle, 1989. Ostrow, Saul. Filling in the Gap. Chicago: Feigen, 1989. Prince, Richard. Inside World. New York: Kent Fine Art, Inc., and Thea Westreich, 1989. Schjeldahl, Peter. Richard Artschwager: New Works. Tokyo: Akira Ikeda Gallery, 1989. Suburban Home Life: Tracking the American Dream. New York: Whitney Museum of American Art, 1989. 1990 Amagasaki, Kikuko. Pharmakon ’90. [Japan]: Akira Ikeda Corp., 1990.

Fleiss, Elein. No, not that one it’s not a chair. Paris: Galerie 1900 – 2000, 1990.

Richard Artschwager: PUBLIC (public). Madison, WI: Elvehjem Museum of Art, University of Wisconsin, 1991. Richardson, Trevor. The Chair: From Artifact to Object. Greensboro, NC: Weatherspoon Art Gallery, 1991. Silent Interiors. Seattle: Security Pacific Gallery, 1991. Storr, Robert, and Judith Tannenbaum. Devil on the Stairs: Looking Back on the Eighties. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1991.

1994 Kortun, Vasif, Norman Batkin, and Reesa Greenberg. Exhibited. Annandale-onHudson, NY: Edith C. Blum Art Institute, Bard College, 1994. Paoletti, John T., and Ruth Fine. From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection. Washington, D.C.: National Gallery of Art, 1994. Richard Artschwager. Paris: Fondation Cartier pour l’art contemporain, 1994. Wiehager, Renate, and Matthias Pätzold. Neue Möbel für die Villa. Stuttgart, Germany: Cantz, 1994.

Hindry, Ann. L’Art et l’objet: Arman, John Armleder, Richard Artschwager, Ashley Bickerton, Robert Gober, Mike Kelley, Bert rand Lavier, Cady Noland, Claes Oldenb urg, Daniel Spoerri, Haim Steinbach. Paris: Artstudio, 1990. Home. Los Angeles: Asher / Faure Gallery, 1990.

Ukropina, James R., Susan B. Rush, and Jan Butterfield. The Art Collection of Pacific Enterprises. Los Angeles: Pacific Enterprises, 1991.

Zdenek, Felix. Das Jahrhundert des Multiple von Duchamp bis zur Gegenwart. Stuttgart, Germany: Oktagon, 1994.

Weintraub, Linda, ed. Art What Thou Eat: Images of Food in American Art. Mount Kisco, NY: Moyer Bell Limited, 1991.

1995 Carnegie International 1995. Pittsburgh: Carnegie Museum of Art, 1995.

Kirshner, Judith Russi, et al. The Refco Collection. Chicago: Refco Group, 1990.

1992 Baigell, Matthew. Arte Americana 1930 – 1970. Milan: Fabbri, 1992.

Kord, Catherine. Richard Artschwager: Gemälde, Skulpturen, Zeichnungen, 1962 – 89. Frankfurt: Galerie Neuendorf, 1990. Landau, Suzanne, ed. Life-size: A Sense of the Real in Recent Art. Jerusalem: Israel Museum, 1990. On Paper: Terry Allen, Gregory Amenoff, Richard Artschwager, James Drake, Donald Sultan, John Torreano. El Paso, TX: Adair Margo Gallery, 1990. 1991 Ammann, Jean-Christophe, Christian Meyer, and Peter Weibel. Das Bild nach dem letzten Bild — The Picture After the Last Picture. Vienna: Galerie Metropol; Cologne: Walther König, 1991. Beyond the Frame: American Art, 1960 –1990. Tokyo: Committee for Beyond the Frame, 1991.

Documenta 9. Stuttgart: Cantz, 1992. John M. Armleder, Richard Artschwager, Ashley Bickerton, Jan Vercruysse. Oslo: Kunstnernes Hus, 1992. Richard Artschwager: New Works, 1991 – 92. Berlin: Galerie Franck + Schulte, 1992. Tillim, Sidney. Photography, Reproduction, Production: The Work of Art in the Age of Mechanical Representation. Bennington, VT: Bennington College, 1992. Zummer, Tom, and Ann Bremner. Re:Framing Cartoons. Columbus: Wexner Center for the Arts, Ohio State University, 1992. 1993 Perkins, Pamela Gruninger. The Elusive Object. New York: Whitney Museum of American Art, 1993. Richard Artschwager: Archipelago. Frankfurt: Portikus, 1993.

Day, Holliday T. Power: Its Myths and Mores in American Art. Indianapolis: Indianapolis Museum of Art, 1991.

Richard Artschwager: Drawings. New York: Nolan / Eckman Gallery, 1993.

Joachimides, Christos M., and Norman Rosenthal. Metropolis. New York: Rizzoli, 1991.

Wall Works: Wall Installations in Editions, 1992 – 93. Cologne and New York: Edition Schellmann, 1993.

Livingstone, Marco, ed., et al. Pop Art. London: Royal Academy of Arts, 1991. Livingstone, Marco, Julia Peyton-Jones, and Andrea Schlieker. Objects for the Ideal Home: The Legacy of Pop Art. London: Serpentine Gallery, 1991.

218 bibliogr aphy

Richard Artschwager: Complete Multiples. New York: Brooke Alexander Editions, 1991.

Flam, Jack. The PaineWebber Art Collection. New York: Rizzoli, 1995. Hakkens, Anna. A Collection: Sculptures. Rotterdam, The Netherlands: Caldic Collection, 1995. Noever, Peter. Silent and Violent: Selected Artists’ Editions. Los Angeles: MAK–Center for Art and Architecture L.A., 1995. Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting. Washington, D.C.: Corcoran Gallery of Art, 1995. Passions Privées: Collections particulières d’art modern et contemporain en France. Paris: Musée d’art moderne de la ville de Paris, 1995. Puvogel, Renate. Lehrgeld: Zwanzig Künstler-Portraits. [Germany]: Oktagon, 1995. Rosenthal, Mark. Critiques of Pure Abstraction. New York: Independent Curators Incorporated, 1995. 1996 Beudert, Monique. The Froehlich Foundation: German and American Art from Beuys and Warhol. London: Tate Gallery, 1996. Clearwater, Bonnie. Painting into Photography, Photography into Painting. North Miami, FL: Museum of Contemporary Art, 1996.

Deitch, Jeffrey, and Stuart Morgan. Everything That’s Interesting is New: The Dakis Joannou Collection. Ostfildern, Germany: Cantz, 1996.

Storr, Robert. On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection. New York: The Museum of Modern Art, 1997.

Fröhlich, Sylvia, and Birgit Herbst. Sammlungsblöcke. Ostfildern, Germany: Cantz, 1996.

Veit, Johannes. Der Einwohner: Eine Sammlung aus Kunst und Haus. Salzburg, Austria: Landshut, 1997.

Morgan, Jessica. The Mediated Object: Selections from the Eli Broad Collections. Cambridge, MA: Harvard University Art Museums, 1996. Shone, Richard. From Figure to Object: A Century of Sculptors’ Drawings. London: Frith Street Gallery / Karsten Schubert, 1996. Weaver, Thomas. Handmade Readymades. New York: Hunter College, City University of New York, 1996. Weinberg, Adam D., et al. Views from Abroad: European Perspectives on American Art 2. New York: Whitney Museum of American Art, 1996. 1997 XLVII esposizione internazionale d’arte: la Biennale di Venezia. Venice: La Biennale di Venezia, 1997. Cityscapes: A Survey of Urban Landscape. New York: Marlborough, 1997. Curiger, Bice. Birth of the Cool: American Painting from Georgia O’Keeffe to Christopher Wool. Ostfildern, Germany: Cantz, 1997. Eickel, Nancy. The Hirshhorn Collects: Recent Acquisitions 1992 – 1996. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 1997. Furniture: Form, Function, or Metaphor. Rochester, MI: Paint Creek Center for the Arts, 1997. Kesten, Joanne, ed. The Portraits Speak: Chuck Close in Conversation with 27 of His Subjects. New York: A.R.T. Press, 1997. Kölle, Brigitte, ed. Portikus Frankfurt am Main: 1987 –1997. Frankfurt: Portikus, 1997. Serota, Nicholas, Sandy Nairne, and Adam D. Weinberg. Views from Abroad: European Perspectives on American Art 3: American Realities. New York: Whitney Museum of American Art, 1997.

1998 Ackley, Clifford S. PhotoImage: Printmaking ’60s to ’90s. Boston: Museum of Fine Arts, 1998. Anselmo, Giovanni. Le cercle, le ring. SaintGermain-en-Laye, France: A.I.C.L.A., 1998. Artificial: Figuracions Contemporànies. Barcelona: Museu d’Art Contemporani, 1998. Beudert, Monique, and Sean Rainbird, eds. Contemporary Art: The Janet Wolfson de Botton Gift. London: Tate Gallery, 1998. Bozovic, Zoran L. Razgovori O Likovnoj Umetnosti III. Belgrade, Yugoslavia: Cicero, 1998. Causey, Andrew. Sculpture Since 1945. Oxford, England: Oxford University Press, 1998. Inner Eye: Contemporary Art from the Marc and Livia Straus Collection. Gainesville, FL: Harn Museum, University of Florida, 1998. Klein, Richard, Dominique Nahas, and Ingrid Schaffner. Pop Surrealism. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1998. Oetker, Brigitte, and Christiane Schneider. Mai 98: Positionen zeitgenössischer Kunst seit den 60er Jahren. Cologne: Oktagon, 1998. Pichler, Cathrin. Crossings: Kunst zum Hören und Sehen. Vienna: Cantz, 1998. René Magritte en de hedendaagse kunst: Een doorstroming van ideëen en gegevens of een raadsel nooit opgelost [René Magritte and Contemporary Art: An Influence of Ideas and Information, or the Puzzle Never Solved]. Ostend, Belgium: PMMK Museum voor Moderne Kunst, 1998. Richard Artschwager. Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 1998. Schaffner, Ingrid, and Matthias Winzen. Deep Storage: Collecting, Storing, and Archiving in Art. Munich and New York: Prestel, 1998. Scott, Sue. The Edward R. Broida Collection: A Selection of Works. Orlando, FL: Orlando Museum of Art, 1998.

219

Semff, Michael. Von Baselitz bis Winters: Vermächtnis Bernd Mittelsten Scheid. Munich: Staatliche Graphische Sammlung München, 1998. Wolfe, Steve. Dust Breeding: Photographs, Sculpture & Film. San Francisco: Fraenkel Gallery, 1998. 1999 Hoet, Jan. S.M.A.K. Museum of Contemporary Art, Ghent: The Collection. Ghent, Belgium: Ludion, 1999. Kunstmuseum Wolfsburg Gesammelte Werke. Ostfildern, Germany: Hatje Cantz, 1999. Phillips, Lisa. The American Century: Art and Culture, 1950 – 2000. New York: Whitney Museum of American Art, 1999. Schellmann, Jörg, ed. Wall Works. New York: Edition Schellmann, 1999. Todoli, Vincent. Circa 1968. Lisbon, Portugal: Fundação de Serralves, 1999. 2000 Collischan, Judy. End Papers: Drawings 1890 –1900 and 1990 – 2000. Purchase, NY: Neuberger Museum of Art, State University of New York, Purchase, 2000. Daumenwolle: Birgit Werres und Richard Artschwager. Baden-Baden, Germany: Staatliche Kunsthalle Baden-Baden, 2000. de Duve, Thierry. Voici, 100 ans d’art contemporain. Paris: Flammarion, 2000. Falk, Tilman. Dialog über Jahrhunderte: Erwerbungen und Stiftungen, 1990 – 2000. Munich: Staatliche Graphische Sammlung München, 2000. Fiell, Charlotte. 1000 Chairs. New York: Taschen, 2000. Kertess, Klaus. 00: Drawings 2000 at Barbara Gladstone Gallery. New York: Barbara Gladstone Gallery, 2000. Ketner, Joseph D. Stephen Antonakos: Time Boxes 2000, with Richard Artschwager, Daniel Buren, Sol LeWitt, and Robert Ryman. Waltham, MA: Rose Art Museum, Brandeis University, 2000. Platzker, David, and Elizabeth Wycoff. Hard Pressed: 600 Years of Prints and Process. New York: Hudson Hills Press in association with International Print Center New York, 2000.

Schwarz, Dieter. Von Edgar Degas bis Gerhard Richter: Arbeiten auf Papier aus der Sammlung des Kunstmuseums Winterthur. Winterthur, Switzerland: Kunstmuseum Winterthur; Düsseldorf, Germany: Richter Verlag, 2000. Semff, Michael. Ein Bildhandbuch: Staatliche Graphische Sammlung München. Munich: Staatliche Graphische Sammlung München, 2000. Varnedoe, Kirk, Paola Antonelli, and Joshua Siegel, eds. Modern Contemporary: Art at MoMA Since 1980. New York: The Museum of Modern Art, 2000. 2001 Grigoteit, Ariane. Ein Jahrhundert [One Century]. Frankfurt: Deutsche Bank, 2001. Morrin, Peter, Carrie Przybilla, et al. The Lenore and Burton Gold Collection of 20th-Century Art. Atlanta: High Museum of Art, 2001. Princenthal, Nancy, and Jennifer Dowley. A Creative Legacy: A History of the National Endowment for the Arts Visual Artists’ Fellowship Program, 1966 –1995. New York: Harry N. Abrams, 2001. Richard Artschwager. London: Serpentine Gallery, 2001. Richard Artschwager: Up and Across. Nuremberg, Germany: Verlag für Moderne Kunst, 2001. Schaffner, Ingrid, and Melissa E. Feldman. About the Bayberry Bush. Southampton, NY: Parrish Art Museum, 2001. Schraenen, Guy. Out of Print: An Archive as Artistic Concept. Bremen, Germany: Neues Museum Weserberg, 2001. Schulte, Thomas. 10 Jahre Galerie Franck + Schulte. Berlin: Galerie Thomas Schulte, 2001. 2002 Adrichem, Jan van, Jelle Bouwhuis, and Mariette Dölle. Sculpture in Rotterdam. Rotterdam, The Netherlands: Centre for the Arts, 2002. Anderson, Maxwell. American Visionaries: Selections from the Whitney Museum of American Art. New York: Whitney Museum of American Art, 2002. Drawn from a Family: Contemporary Works on Paper. Waterville, ME: Colby College Museum of Art, 2002. Grisebach, Lucius. Einfach Kunst: Sammlung Rolf Ricke. Nuremberg, Germany: Neues Museum, Verlag für Moderne Kunst, 2002.

220

bibliogr aphy

Harris, Jane, and Nicholas de Ville. Once Again. Southampton, England: John Hansard Gallery, 2002.

Richard Artschwager: Drawings. New York: Nolan / Eckman Gallery, 2003.

Hummel, Maria, and Karen Lofgren. 25 Artists, 25 Builders, 25 Years of MOCA, 1979 – 2004. Los Angeles: Museum of Contemporary Art, 2004.

Imagine, you are standing here in front of me: Caldic Collection. Rotterdam: Museum Boijmans Van Beuningen, 2002.

Schwarz Dieter, ed. Richard Artschwager: Texts and Interviews. Winterthur, Switzerland: Kunstmuseum Winterthur, 2003.

Noever, Peter, ed. Richard Artschwager: The Hydraulic Door Check. Cologne: Walther König, 2002.

Schwarz, Dieter, and Michael Semff. Richard Artschwager: Zeichnungen. 1960 – 2002. Düsseldorf, Germany: Richter Verlag, 2003.

Noever, Peter. References to the Undefined: Art, the Artists, the Art Museum. Vienna: MAK, 2004.

Private / Corporate: Werke aus der Sammlung Daimler Chrysler und aus der Sammlung Paul Maenz. Berlin: Daimler Chrysler Contemporary, 2002.

Sommer, Silke S. Richard Artschwager: Four Decades. New York: Anthony Grant, Inc., 2003.

What’s Modern? New York: Gagosian Gallery, 2004.

Relayea, Lane. Richard Artschwager: Wall Works; (With)drawn from Life; Floor Works. New York: Gagosian Gallery, 2002. Rorimer, Anne. Richard Artschwager. Chicago: Arts Club of Chicago, 2002. Smith, Elizabeth A.T. Life, Death, Love, Hate, Pleasure, Pain: Selected Works from the Museum of Contemporary Art, Chicago, Collection. Chicago: Museum of Con temporary Art, 2002. Sundell, Margaret, ed. From Pop to Now: Selections from the Sonnabend Collection. Saratoga Springs, NY: The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, 2002. Ursprung, Philip, ed. Herzog and De Meuron: Natural History. Montreal: Canadian Centre for Architecture and Lars Muller Publishers, 2002. 2003 Ammann, Jean-Christophe, and Richard Artschwager. Step to Entropy. Bignan, France: Domaine de Kerguéhennec, 2003. Clearwater, Bonnie. Richard Artschwager: “Painting” Then and Now. North Miami, FL: Museum of Contemporary Art, 2003.

2004 The Big Nothing. Philadelphia: Institute of Contemporary Art, University of Pennsyl vania, 2004. Bloemink, Barbara, and Joseph Cunningham. Design Does Not Equal Art: Functional Objects from Donald Judd to Rachel Whiteread. London and New York: Merrell, 2004. Drawings. London: Gagosian Gallery, 2004. The Eclectic Eye: Selections from the Frederick R. Weisman Art Foundation. Los Angeles: Frederick R. Weisman Foundation, 2004. Elderfield, John, and Angela Schneider. Das MoMA in Berlin: Meisterwerke aus dem Museum of Modern Art, New York. Ostfildern, Germany: Hatje Cantz, 2004. El estado de las cosas: El objeto en el arte de 1960 a nuestros días: Colecciones de los fondos regionales de arte contemporáneo de Francia. Vigo, Spain: Fundación MARCO; Álava, Spain: Artium, 2004. Féchuret, Maurice. À angles vifs. Bordeaux, France: CAPC Musée d’Art Contemporain de Bordeaux; Lyon, France: Fage Éditions, 2004.

Matzner, Florian. Public Art: A Reader. Ostfildern, Germany: Hatje Cantz, 2004.

Wye, Deborah. Artists and Prints: Masterworks from The Museum of Modern Art. New York: The Museum of Modern Art, 2004. 2005 Colección Alfonso Artiaco: Out of Sight, Out of Mind. Saragosa, Spain: Palacio de Sástago, 2005. Francis, Mark, and Stefan Ratibor, eds. Imageless Icons: Abstract Thoughts. London: Gagosian Gallery, 2005. Friedman, Martin L. Close Reading: Chuck Close and the Artist Portrait. New York: Harry N. Abrams, 2005. Garrels, Gary. Drawing from the Modern, 1945 –1975. New York: The Museum of Modern Art, 2005. Pécoil, Vincent. La Lettre Volée. Dijon, France: Les Presses du réel, 2005. Plummer, Johanna. 40 years, 6 interviews. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2005. Temkin, Ann. Contemporary Voices: Works from the UBS Art Collection. New York: The Museum of Modern Art, 2005.

Hainley, Bruce, and John Waters. Art: A Sex Book. New York: Thames and Hudson, 2003.

Fondation Cartier pour l’art contemporain. Paris: Fondation Cartier pour l’art contemporain, 2004.

2006 Ackermann, Marion. Piktogramme: die Einsamkeit der Zeichen. Munich: Deutscher Kunstverlag, 2006.

Lebensztejn, Jean-Claude, et al. Hyperréalismes USA, 1965 –1975. Paris: Hazan; Strasbourg, France: Les Musées de Strasbourg, 2003.

Goldstein, Ann. A Minimal Future? Art as Object, 1958 –1968. Los Angeles: Museum of Contemporary Art; Cambridge, MA: The MIT Press, 2004.

Barron, Stephanie, and Michel Draguet, et al. Magritte and Contemporary Art: The Treachery of Images. Los Angeles: Los Angeles County Museum of Art, 2006.

Lobel, Michael. Richard Artschwager. London: Gagosian Gallery, 2003.

Guadagnini, Walter. Richard Artschwager Grafiche e Multipli. Milan: Silvana Editoriale, 2004.

Minimalism and After II. Stuttgart, Germany: Daimler Chrysler, 2003. Richard Artschwager: Auf und Nieder / Kreuz und Quer. Frankfurt: Deutsche Bank; Bonn, Germany: VG-Bild-Kunst, 2003.

Hanor, Stephanie. Specific Objects: The Minimalist Influence. La Jolla, CA: Museum of Contemporary Art San Diego, 2004.

Berry, Ian, and Jack Shear. Twice Drawn: Modern and Contemporary Drawings in Context. Saratoga Springs, NY: Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, 2011. Brockhaus, Christoph. Das Jahrhundert Moderner Skulptur. Cologne: Walther König, 2006.

Broida, Edward R., John Elderfield, and Ann Temkin. Against the Grain: Contemporary Art from the Edward R. Broida Collection. New York: The Museum of Modern Art, 2006. Celant, Germano, and Lisa Dennison, eds. New York, New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video. Milan: Skira; Monaco: Grimaldi Forum, 2006. Foiru, Yugen Kaisha, Collection of the Fondation Cartier pour l’art contemporain. Tokyo: Foiru, 2006. Grigoteit, Ariane, and Zaha Hadid. All the Best: The Deutsche Bank Collection and Zaha Hadid. Frankfurt: Deutsche Bank Art, 2006. Holl, Steven. Hybrid Instrument. Iowa City: University of Iowa School of Art and Art History, 2006. Plane / Figure: Amerikanische Kunst aus Schweizer Privatsammlungen und aus dem Kunstmuseum Winterthur. Winterthur, Switzerland: Kunstmuseum Winterthur, 2006. Raczka, Bob. 3-D ABC: A Sculptural Alphabet. Minneapolis: Milbrook Press, 2006. Reisman, Sara. The Only Book. New York: Center for Book Arts, 2006. Richard Artschwager: Interactions. New York: David Nolan Gallery, 2006. 2007 1996 – 2006: Troisième Epoque. Limoges, France: Fonds régional d’art contemporain Limousin, 2007. Buchloh, Benjamin H. D. 30 / 40: A Selection of Forty Artists from Thirty Years at Marian Goodman Gallery. New York: Marian Goodman Gallery, 2007. Clearwater, Bonnie, et al. Julian Schnabel: Versions of Chuck and Other Works. Derneburg, Germany: Derneburg Publications, 2007. Collins, Judith. Sculpture Today. London and New York: Phaidon, 2007. Draganovic, Julia. Dedica: 1986 – 2006, venti anni della Galleria Alfonso Artiaco. Naples: Electa Napoli, 2007. Francis, Mark. Pop Art Is. New Haven, CT, and London: Yale University Press, 2007.

221

Gardner, Belinda Grace, ed., et al. True Romance: Allegories of Love from the Renaissance to the Present. Cologne: DuMont, 2007. Rugoff, Ralph, et al. The Painting of Modern Life: 1960s to Now. London: Hayward Publishing, 2007.

Ackermann, Marion. Drei: Das Triptychon in der Moderne. Ostfildern, Germany: Hatje Cantz, 2009.

2011 Celant, Germano. Arte povera 2011. Milan: Electa, 2011.

1959 Judd, Donald. “Dick Artschwager, Richard Rutkowski.” Artnews 58 (October 1959): 63.

Frings, Jutta, and Helga Willinghöfer. Gipfeltreffen der Moderne: Das Kunstmuseum Winterthur. Düsseldorf, Germany: Richter Verlag, 2009.

Darling, Michael. The Language of Less (Then and Now). Chicago: Museum of Contemporary Art, 2011.

Tillim, Sidney. “Dick Artschwager, Richard Rutkowski.” Arts Magazine 34, no. 1 (October 1959): 61.

Tinterow, Gary, Lisa Mintz Messinger, and Nan Rosenthal, eds. Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 2007.

Grevenstein, Alexander van, and Robert Storr. Exile on Main St. Maastricht, The Netherlands: Bonnefantenmuseum, 2009.

2008 Ball, Don. The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States. Washington, D.C.: National Endowment for the Arts, 2008.

Kraus, Karola, and Janette Laverrière. Entre deux actes — Loge de comédienne. Cologne: Walther König, 2009.

Breuer, Gerda, Markus Brüderlin, and Annelie Lütgens. Interieur / Exterieur: Living in Art. Ostfildern, Germany: Hatje Cantz, 2008. Brody, Jennifer DeVere. Punctuation: Art, Politics, and Play. Durham, NC, and London: Duke University Press, 2008. Celant, Germano. The American Tornado: Art in Power, 1949 – 2008. Milan: Skira, 2008. Cottingham, Robert. Here’s the Thing: The Single Object Still Life. Katonah, NY: Katonah Museum of Art, 2008. The Hands of Art: Artist’s Handbook. Ghent, Belgium: Stedelijk Museum voor Actuele Kunst, 2008. Kataoka, Mami. Art is for the Spirit: Works for the UBS Art Collection. Tokyo: Mori Art Museum, 2008. Meyer-Stoll, Christiane. Sammlung Rolf Ricke: Ein Zeitdokument. Ostfildern, Germany: Hatje Cantz, 2008. Nolan, David, and Alexi Worth. Richard Artschwager: Objects as Images of Objects. New York: David Nolan Gallery, 2008. Oetker, Brigitte. Gedichte der Fakten: Aus der Sammlung von Arend und Brigitte Oetker. Cologne: Walther König, 2008. Yau, John. Richard Artschwager. New York: Gagosian Gallery, 2008. 2009 1968: Die Grosse Unschuld. Cologne: DuMont, 2009.

bibliogr aphy

1964 Campbell, Lawrence. “Richard Artschwager, Christo, Alex Hay, and Robert Watts.” Artnews 63, no. 4 (July 1964): 15.

Halper, Vicki, and Diane Douglas. Choosing Craft: The Artist’s Viewpoint. Chapel Hill, NC: University of North Carolina Press, 2009.

Lippert, Werner. UFO: Grenzgänge zwischen Kunst und Design. Düsseldorf: NRW-Forum Kunst und Wirtschaft, 2009. Neri, Louise. Go Figure. New York: Gagosian Gallery, 2009. N’importe quoi. Lyon, France: Musée d’Art Contemporain de Lyon; Dijon, France: Presses du réel, 2009. Plus de Réalite. Paris: Editions Jannink, 2009. Rattemeyer, Christian. Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection. New York: The Museum of Modern Art, 2009. Riley II, Charles A. Art at Lincoln Center: The Public Art and List Print and Poster Collections. New York: John Wiley and Sons, 2009. Schellmann, Jörg, ed. Forty Are Better than One: Edition Schellmann, 1969 – 2009. Ostfildern, Germany: Hatje Cantz, 2009. Selby, Aimee. Art and Text. London: Black Dog, 2009. Serralves 2009: The Collection Images. Porto, Portugal: Fundação de Serralves, 2009. 2010 Ades, Dawn, and Will Self. Crash: Homage to JG Ballard. New York: Gagosian Gallery, 2010. Arauz, Rachael. The Shape of Abstraction. Boston: Boston University Art Gallery, 2010. Foulon, Françoise, and Veerle Wenes. Le fabuleux destin du quotidien. Hornu, Belgium: Musées des Arts Contemporains, 2010. Local Self Portraits. Kinderhook, NY: Columbia County Historical Society, 2010.

222

Richard Artschwager: In the Driver’s Seat. Chicago: Corbett vs. Dempsey, 2011.

Factor, Donald. “An Exhibition of Boxes.” Artforum 2, no. 10 (April 1964): 21 – 23. Judd, Donald. “Four.” Arts Magazine 38, no. 10 (September 1964): 69 – 70. 1965 Campbell, Lawrence. “Richard Artschwager.” Artnews 64, no. 1 (March 1965): 17.

Selected Bibliography Periodicals

Judd, Donald. “Richard Artschwager.” Arts Magazine 39, no. 6 (March 1965): 60. Judd, Donald. “Specific Objects.” Arts Yearbook 8 (1965): 74 – 82 McDevitt, January. “The Object: Still Life. Interviews with the New Object Makers, Richard Artschwager and Claes Oldenburg, on Craftsmanship, Art, and Function.” Craft Horizons 25, no. 5 (September – October 1965): 28 – 32, 54. Plumb, Barbara. “Furnishings With Wit On View at Galleries.” The New York Times (May 26, 1965): 50.

“Strange Primary Structures: Obvious Forms, Boxes and Presences Will Be the Shape of Art for Some Time to Come.” Life (July 28, 1967). Siegel, Jeanne. “Arp to Artschwager.” Arts Magazine 42, no. 1 (September – October 1967): 60. 1968 Baker, Elizabeth C. “Artschwager’s Mental Furniture.” Artnews 66, no. 9 (January 1968): 48 – 49, 58 – 61. Battcock, Gregory. “Richard Artschwager.” Arts Magazine 42, no. 4 (February 1968): 67. Baur, John I. H., “The Whitney on the Road,” Arts Magazine 42, no. 4 (February 1968): 43. Canady, John. “The Quiet Anger of Jacob Lawrence.” The New York Times (January 6, 1968): 25. Glueck, Grace. “Finch College Museum Displays Works With Their Pedigrees.” The New York Times (November 2, 1968): 34. Perreault, John. “The New-Old Look.” Village Voice (January 11, 1968): 18. Pincus-Witten, Robert. “Richard Artschwager, Castelli Gallery.” Artforum 6, no. 7 (March 1968): 58 – 59. Willard, Charlotte. “Richard Artschwager: Leo Castelli Gallery.” New York Post (January 6, 1968): 46.

Rose, Barbara. “ABC Art.” Art in America 53, no. 5 (October 1965): 57 – 69.

1969 Pomeroy, Ralph. “New York: And Now, AntiMuseum Art?” Art and Artists 4, no. 2 (March 1969): 58 – 6 0.

1966 Kramer, Hilton. “Lipman Sculpture Collection on View at Whitney.” The New York Times (April 9, 1966): 14.

Russell, John. “Pop Reappraised.” Art in America 57, no. 4 (July – August 1969): 78 – 89.

Pincus-Witten, Robert. “New York: The Photographic Image.” Artforum 4, no. 7 (March 1966): 47 – 50. 1967 Alloway, Lawrence. “Art as Likeness.” Arts Magazine (May 1967): 34 – 39. Artschwager, Richard. “The Hydraulic Door Check.” Arts Magazine 42, no. 2 (November 1967): 41 – 43. Benedikt, Michael. “Richard Artschwager, Myron Stout, and Peter Young.” Artnews 65, no. 10 (February 1967): 10.

“Sculpture: Floating Wit.” Time Magazine (January 3, 1969): 44. 1970 Amaya, Mario. “Collectors: Mr. and Mrs. Jack W. Glenn.” Art in America 58, no. 2 (March – April 1970): 86 – 93. Battcock, Gregory. “Informative Exhibition.” Arts Magazine 44, no. 8 (summer 1970): 24 – 27. Plagens, Peter. “Los Angeles: Richard Artschwager.” Artforum 8, no. 10 (June 1970): 89 – 90.

Pincus-Witten, Robert. “Sound, Light and Silence in Kansas City.” Artforum 5, no. 5 (January 1967): 51 – 52.

223

1971 Karp, Ivan. “Rent is the Only Reality or the Hotel Instead of the Hymn.” Arts Magazine 46, no. 3 (December 1971 – January 1972): 47 – 51.

Perreault, John. “’Classic’ Pop Revisited.” Art in America 62, no. 2 (March – April 1974): 64 – 68.

1972 Battcock, Gregory. “New York.” Art and Artists 7, no. 3 (June 1972): 50 – 51.

Thomsen, Barbara. “Richard Artschwager.” Artnews 73, no. 1 (January 1974): 89 – 90.

Josephson, Mary. “Richard Artschwager at Castelli.” Art in America 60, no. 5 (September – October 1972): 116 –17. Kerber, Bernhard. “Documenta 5 und Szene Rhein-Rhur.” Art International XIV, no. 8 (October 1972): 68 – 77. Kingsley, April. “Richard Artschwager.” Artnews 71, no. 3 (May 1972): 10. Lubell, Ellen. “New York Galleries Reviewed by Ellen Lubell.” Arts Magazine 46, no. 7 (May 1972): 67. Pozzi, Lucio. “Super Realisti USA.” Bolaffiarte (March 1972): 54 – 63. Ratcliff, Carter. “New York Letter.” Art International 16, no. 6 (summer 1972): 72 – 80. 1973 Belocan, Andrea G., and Francesco Mendini. “Il Componente al Bagno.” Casabella (May 1973): 14 –16. Marshall, W. Neil. “Toronto Letter.” Art International XVII, no. 6 (summer 1973): 40 – 43. 1974 Baldwin, Carl R. “On the Nature of Pop.” Artforum 12, no. 10 (June 1974): 34 – 38. Collins, James. “Richard Artschwager, Castelli Gallery Uptown.” Artforum 12, no. 6 (February 1974): 75. Derfner, Phyllis. “New York.” Art Inter national XVIII, no. 1 (January 1974): 18 – 20. ——— . “New York Letter.” Art International XVIII, no. 6 (summer 1974): 46 – 51. Kerber, Bernhard. “Richard Artschwager.” Kunstforum International 2, no. 10 (January 1974): 124 –31. McDonald, Robert H. “Richard Artschwager Paintings.” Artweek 5, no. 20 (May 18, 1974): 7.

Stitelman, Paul. “Richard Artschwager.” Arts Magazine 48, no. 4 (January 1974): 72.

1975 Griffin, Steve. “Four Artists.” 951: an arts magazine (November 1975): 16 – 24. Lorber, Richard. “Group Show.” Arts Magazine 50, no. 4 (December 1975): 24 – 25. Russell, John. “Art.” The New York Times (March 22, 1975): 26. Smith, Roberta. “Richard Artschwager.” Artforum 13, no. 10 (summer 1975): 74. Zimmer, William. “Richard Artschwager.” Arts Magazine 49, no. 10 (June 1975): 8. 1976 Albright, Thomas. “Hanging Around Gal leries.” San Francisco Chronicle (January 3, 1976): 30.

“Multiples and Objects and Artists’ Books.” Print Collector’s Newsletter (July 1980): 104.

Levin, Kim. “Double Takes.” Village Voice (April 26, 1983): 91 – 92, 108.

Kipphoff, Petra. “Ausstellung: Richard Artschwager in Hamburg; Marmorierte Melancholie: Bilder, Objekte, Zeichnungen.” Die Zeit (October 13, 1978).

Smith, Valerie. “Richard Artschwager, Leo Castelli Gallery, New York.” Flash Art, no. 105 (December 1980 – January 1981): 57.

“Multiples and Objects and Artists’ Books.” Print Collector’s Newsletter (September 1983): 145.

Tolnick, Judith. “Richard Artschwager.” Art New England, no. 1 (April 1980).

Russell, John. “Why the Latest Whitney Biennial Is More Satisfying.” The New York Times (March 25, 1983): C1.

Mosch, Inge. “’Blps’ in der Halle des Kollegen.” Hamburger Abendblatt (September 4, 1978): 9. “Szene: Artschwager — Schau in Hamburg.” Der Spiegel (October 2, 1978): 236. Welish, Marjorie. “The Elastic Vision of Richard Artschwager.” Art in America 66, no. 3 (May – June 1978): 85 – 87. Winter, P. “Kunstverein in Hamburg; Neue Galerie, Aachen; Ausstellungen.” Kunstwerk 31 (December 1978): 64 – 65. Winter, Peter. “Die Graue Tarnhülle der Wirklichkeit.” Frankfurter Allgemeine Zeitung (October 2, 1978): 25. Zimmer, William. “Artschwager: Castelli Uptown.” The Soho Weekly News (January 26, 1978): 42.

Beamguard, Bud. “Close, Zucker, Artschwager.” Artweek 7, no. 33 (October 2, 1976): 1, 24.

1979 Bleckner, Ross. “Transcendent AntiFetishism.” Artforum 17, no. 7 (March 1979): 50 – 55.

Foote, Nancy. “The Apotheosis of the Crummy Space.” Artforum 15, no. 2 (October 1976): 28 – 37.

Donohue, Victoria. “The Tide Turns for an Eccentric.” Philadelphia Inquirer (November 19, 1979): K12.

Martin, Henry. “The 37th Venice Biennale.” Art International XX, no. 7 – 8 (September 1976): 14 – 24, 59.

Ehrlich, Robbie. “Richard Artschwager.” Arts Magazine (December 1979): 26.

Morrison, C. L. “Chicago: Richard Artschwager, Walter Kelly Gallery.” Artforum 14, no. 8 (April 1976): 78 – 79. 1977 Frackman, Noel. “Richard Artschwager.” Arts Magazine 51, no. 5 (January 1977): 25 – 26. Schwartz, Ellen. “Richard Artschwager.” Artnews 76, no. 7 (September 1977): 100 –102. 1978 Brenken, Erika. “Artschwager — Ausstellung in Hamburg: Rattenlöcher und ‘blps.’” Rheinische Post (October 3, 1978). Frackman, Noel. “Richard Artschwager / Mary Ellen Mark.” Arts Magazine 52, no. 8 (April 1978): 32. Frank, Peter. “Richard Artschwager.” Artnews 77, no. 8 (October 1978): 175.

224 bibliogr aphy

Glueck, Grace. “Art People.” The New York Times (April 14, 1978): C19.

Russell, John. “Art: The Sculpture of Louise Bourgeois.” The New York Times (October 5, 1979): C21. ——— . “Artschwager’s ‘Climate of Ambiguity.’” The New York Times (July 22, 1979): D27. Smith, Roberta. “The Artschwager Enigma.” Art in America 67, no. 10 (October 1979): 93 – 95. 1980 Armstrong, Richard. “Richard Artschwager, Asher / Faure Gallery, Los Angeles.” Flash Art, no. 96 (March – April 1980): 30. Bourdon, David. “Richard Artschwager’s Theme(s).” Vogue (January 1980): 26. Kalil, S. “Artschwager’s Wonderland — Contemporary Arts Museum, Houston.” Artweek 11, no. 15 (April 19, 1980): 1.

1981 “Prints and Photographs Published.” Print Collector’s Newsletter (July 1981): 82. Raynor, Vivien. “Art: 17 New Paintings By Tamayo on 57th St.” The New York Times (November 27, 1981): C20. Slesin, Suzanne. “Blurring the Boundaries Between Art and Furniture.” The New York Times (February 12, 1981): C1. Taylor, Robert. “Other Voices, Other Rooms.” Boston Sunday Globe (February 8, 1981): B13. “When Artists Make Furniture, Is It Furniture or Is It Art?” Artnews (February 1981): 93 – 98. Wohlfert, Lee. “New York’s Young Sculp tors.” Town and Country (September 1981): 258 – 59. 1982 Caldwell, John. “Postminimalism Show at the Aldrich Disappoints.” The New York Times (October 24, 1982): CN18. Cavaliere, Barbara. “Richard Artschwager.” Arts Magazine 56, no. 6 (February 1982): 17. Rotzler, Willy. “Kunstmöbel und Möbelkunst.” DU 9 (September 1982): 50 – 62. Vernet, Gwynne. “Drawing Invitational 1981.” Arts Magazine 56, no. 6 (February 1982): 25. “William Copley, Richard Artschwager.” Art Press 57 (March 1982): 18 –19. 1983 Ashbery, John. “Biennials Bloom in the Spring.” Newsweek (April 18, 1983): 93 – 94. Fox, Judith Hoos. Rhode Island School of Design Museum Notes 70, no. 2 (October 1983): 28 – 29. Glueck, Grace. “Art: ‘Habitats,’ a Show By 21 at the Clocktower.” The New York Times (March 18, 1983): C23. Kuspit, Donald. “Richard Artschwager at Mary Boone.” Art in America 71, no. 8 (September 1983): 171 – 72.

Smith, Roberta. “Expression Without the Ism.” Village Voice (March 29, 1983): 81. ——— . “Taking Consensus.” Village Voice (April 26, 1983): 91 – 92. Van Bruggen, Coosje. “Richard Artschwager.” Artforum 22 (September 1983): 44 – 51. 1984 Levin, Gail. “The Office Image in the Visual Arts.” Arts Magazine, no. 59 (September 1984): 98 –103. 1985 Sultan, Donald. “Nueva York: Cuatro Poetas Y Cuatro Pintores.” Poesia 25 (1985 – 86): 111 – 29. Tazzi, Pier Luigi. “Richard Artschwager, Leo Castelli Gallery.” Artforum 23 (summer 1985): 108. Yau, John. “Richard Artschwager’s Linear Investigations.” Drawing XI, no. 5 (January 1985): 97 –100. 1986 Artschwager, Richard. “Drawing in the 80s.” WhiteWalls, no. 13 (spring 1986): 29. Dienst, Rolf-Gunter. “Richard Artschwager: Kunsthalle Basel, Stedelijk Van Abbemuseum, Eindhoven, Musée d’Art Contemporain de Bordeaux.” Kunstwerk 39 (February 1986): 69 – 70. Indiana, Gary. “Square Roots.” Village Voice (October 21, 1986): 84. Poirier, Maurice. “When Attitudes Become Form.” Artnews (December 1986): 163. Schjeldahl, Peter. “A Visit to the Salon of Autumn 1986.” Art in America 74, no. 12 (December 1986): 15 – 21. Staniszewski, Mary Anne. “Variations on a Thing.” Manhattan, Inc. (October 1986): 188.

Zimmer, William. “Art: 1960s Sculptures of Richard Artschwager.” The New York Times (October 17, 1986). 1987 Cameron, Dan. “Art and Its Double.” Flash Art, no. 134 (May 1987): 57 – 72. Hueck-Ehmer, Britta. “Skulptur / Projekte / Münster 1987.” Kunstwerk (September 1987): 52 – 96. Krantz, Claire Wolf. “Richard Artschwager, Donald Young Gallery.” New Art Examiner (February 1987): 48 – 49. Kuspit, Donald. “The Critic’s Way: Skulptur Projekte in Münster 1987.” Artforum 26, no. 1 (September 1987): 109 –20. Miller, John. “In the Beginning There Was Formica . . .” Artscribe International, no. 62 (March – April 1987): 36 – 42. Schwabsky, Barry. “Richard Artschwager.” Flash Art, no. 132 (February – March 1987): 105 – 6. Yau, John. “Richard Artschwager.” Artforum 25, no. 5 (January 1987): 110. 1988 Bankowsky, Jack. “Richard Artschwager.” Flash Art, no. 139 (March – April 1988): 80 – 83. Evans-Clark, Phillip. “Richard Artschwager: Una Mostra del Whitney Museum.” Domus (May 1988): 6 – 7. Gardner, Colin. “Artschwager: His Peers and Persuasion, 1963 –1988.” Artforum 27, no. 1 (September 1988): 150. Jones, Ronald. “Arroganz und Interpretation: Das Werk von Richard Artschwager und seine Kritiker.” Wolkenkratzer Art Journal, no. 4 (September 1988): 22 – 27. Kuspit, Donald. “Richard Artschwager.” Artforum 26 (April 1988): 137 – 38. Larson, Kay. “Table Turning.” New York Magazine 21, no. 6 (February 8, 1988): 87 – 88. Lurie, Roberta. “Richard Artschwager, Whitney Museum of American Art.” Craft Arts International (April 1988): 41. Madoff, Steven Henry. “Richard Artschwager’s Sleight of Mind.” Artnews 87, no. 1 (January 1988): 114 –21. McGill, Douglas C. “He Furnishes Objects to Fit a World Gone Awry.” The New York Times (January 17, 1988): H27.

225

Porges, Maria F. “Precursor of the Postmodern.” Artweek (July 23, 1988): 1, 3.

Cyphers, Peggy. “Richard Artschwager.” Arts Magazine (September 1990): 98 – 99.

Smith, Roberta. “Art: Works by Richard Artschwager.” The New York Times (January 29, 1988): C32.

Danto, Arthur C. “On Artschwager on Art.” Parkett 23 (March 1990): 40 – 47.

——— . “Artschwager’s Knack for Hybrid Works.” The New York Times (June 10, 1988): C27. Tallman, Susan. “Richard Artschwager: Multiples and Their Uses.” Arts Magazine 62, no. 10 (June 1988): 11 –12. 1989 Armstrong, Elizabeth. “First Impressions.” Print Collector’s Newsletter (May 1989): 43. Decter, Joshua. “Richard Artschwager.” Flash Art, no. 146 (May – June 1989): 115. Hegewisch, Katharina. “Richard Artschwager: Blp – Das Gleiche – sich selbst – das Verschiedene und der wechselnde Kontext.” Künstler: Kritisches Lexikon der Gegenwartskunst (September 1989): 3 –16. Jocks, Hein-Norbert. “Richard Artschwager.” Kunstforum International, no. 104 (November / December 1989): 352 – 54. “La Mode, La Morale et Artschwager.” Connaissance des Arts (July 1989): 106 –7. Messinger, Lisa Mintz. “Men’s Dormitory.” The Metropolitan Museum of Art Bulletin (September 1989): 66. Mock, Jean-Yves. “Richard Artschwager, Centre Pompidou, Paris.” Cimaise 36, no. 202 (September 1989): 190. Morgan, Robert C. “Richard Artschwager.” Arts Magazine 63, no. 10 (May 1989): 112. Rimanelli, David. “Richard Artschwager.” Flash Art (June 1989): 137 – 38. Shone, Richard. “Richard Artschwager, Palacio de Velázquez, Madrid.” Burlington Magazine CXXXI, no. 1033 (April 1989): 317 –18. 1990 Adams, Brooks. “Artschwager et Gober: d’étranges cousins.” Artstudio, no. 19 (winter 1990): 64 – 77. Artschwager, Richard. “Art and Reason.” Parkett 23 (March 1990): 36 – 38. Curiger, Bice. “Collaboration: Richard Artschwager.” Parkett 23 (March 1990): 34 – 35.

Kohler, Georg. “The Wax and the Mast: The Teachings of Circe.” Parkett 23 (March 1990): 48 – 53. $ Puvogel, Renate. “Richard Artschwager.” Artis: Zeitschrift für Neue Kunst (December 1990 – January 1991): 52 – 57. “Richard Artschwager.” Current Biography (July 1990): 37 – 40. Yood, James. “Richard Artschwager.” Artforum 19, no. 1 (September 1990): 164. 1991 Decter, Joshua. “Richard Artschwager.” Arts Magazine 63, no. 1 (summer 1991): 91. Lieberman, Rhonda. “Richard Artschwager.” Artforum 29, no. 10 (summer 1991): 108. Taylor, Simon. “Richard Artschwager at Leo Castelli.” Art in America 79, no. 11 (November 1991): 151 – 52. 1992 Dana-Friis, Hansen. “Art and Public Space.” SD: Space Design (November 1992): 32. Funken, Peter. “Richard Artschwager.” Arte Factum 46 (December 1992): 48. ——— . “Richard Artschwager.” Artforum 31, no. 4 (December 1992): 106. Gardner, Paul. “Do Titles Really Matter?” Artnews. (February 1992): 92 – 97. Hagen, Charles. “A Show of 5 Artists Who Use the Look of Photo Reproduction.” The New York Times (May 18, 1992): C13. Kimmelman, Michael. “In Boston, A Blend of Wit and Pathos.” The New York Times (May 17, 1992): H29. Kuikjen, Ilse. “Documenta IX (Various Artists).” Kunst & Museumjournal 3, no. 6 (November 1992): 1 –11. Kunz, Martin. “USA – Blickpunkt Eastcoast.” Kunstforum International (August 1992): 164 – 74. Lageira, Jacinto. “Richard Artschwager: Categories de l’art, limite des objects.” Parachute 66 (April / May / June 1992): 5 –10. Liebmann, Lisa. “Documenting Documenta.” Interview (June 1992): 44 – 50. Schlagheck, Irma. “Riskanter Balanceakt mit 186 Artisten.” Art (June 1992): 26 – 46.

226 bibliogr aphy

Wulffen, Thomas. “Berlin: Richard Artschwager.” Flash Art, no. 166 (October 1992): 104. 1993 Artschwager, Richard. “Hay vida después de la fama?” El Europeo 45 (spring 1993): 52.

11,500.00 Bass, Ruth. “Richard Artschwager.” Artnews 92, no. 4 (April 1993): 128. Cotter, Holland. “New Works by Artschwager.” The New York Times (February 5, 1993): C23. Grand Street 45, no. 1 (1993): 192. Hoexter, Corinne K. “Winter Wonderlands.” Spotlight (February 1993): 56 – 57. Holert, Tom. “Artschwager, Steinbach, Kasseböhmer.” Texte zur Kunst 3, no. 10 (June 1993): 155 – 58. 1994 Danto, Ginger. “A Diamond in Mont parnasse.” Artnews 93, no. 7 (September 1994): 58 – 6 0. Pimlott, Mark. “Richard Artschwager: Museum Haus Lange.” Frieze, no. 14 (January – February 1994).

“Very New Art: Richard Artschwager.” Bijutsu Techo (January 1995): 186 – 89. 1996 Adams, Brooks. “Domestic Globalism at the Carnegie.” Art in America, no. 2 (February 1996): 32 – 37. Armstrong, Richard. “Lucid Opacity.” Parkett 46 (May 1996): 64 – 69. Deitcher, David. “No Exit.” Parkett 46 (May 1996): 18 – 24. Forster, Kurt W. “Authentic Imitations of Genuine Replicas.” Parkett 46 (May 1996): 44 – 55. Goodman, Jonathan. “Painting Outside Painting.” Artnews 95, no. 4 (April 1996): 138. Greben, Deidre Stein. “Richard Artschwager.” Artnews 95, no. 6 (June 1996): 148. Karmel, Pepe. “Richard Artschwager.” The New York Times (April 19, 1996): C21. Kuspit, Donald. “Richard Artschwager.” Artforum. (September 1996): 111. Muniz, Vik. “Surface Tension.” Parkett 46 (May 1996): 56 – 63.

Powell, Nicholas. “Cartier’s New Buildings.” Atelier (August 1994): 88 – 92.

Plagens, Peter. “Peeling Paint.” Newsweek (January 15, 1996): 66.

“Richard Artschwager.” New Yorker (November 21, 1994): 32.

Schaffner, Ingrid. “A Short History of the blp.” Parkett 46 (May 1996): 25 – 43.

Schjeldahl, Peter. “Crate Expectations.” Village Voice (December 13, 1994): 54.

Smith, Roberta. “Testing Limits at the Corcoran.” The New York Times (January 6, 1996): 11.

Stein, Deidre. “The Multiple Multiples.” Artnews (May 1994): 85 – 86. 1995 Cotter, Holland. “Art in Review: Richard Artschwager.” The New York Times (February 3, 1995): C27. Glueck, Grace. “Bleckner’s Turn at the Guggenheim: Kitsch as Kitsch Can?” New York Observer (March 13, 1995). Princenthal, Nancy. “Richard Artschwager at Mary Boone.” Art in America 83, no. 1 (January 1995): 91. Schwabsky, Barry. “Richard Artschwager.” Artforum 33, no. 7 (March 1995): 89 – 90. Smith, Roberta. “No Muss, No Fuss at 1995 Carnegie.” The New York Times (November 8, 1995): C13.

1997 Cafopoulos, Catherine. “Crossing over and States of the Intangible.” Arti 36 (1997): 142 – 57. Damianovic, Maia. “Speciale Biennale / Richard Artschwager.” Tema Celeste (May 1997): 53. Griffin, Tim. “Richard Artschwager.” Time Out New York (June 19, 1997): 43. Johnson, Ken. “Art in Review: Richard Artschwager and Joe Zucker.” The New York Times (November 28, 1997): E41. Kimmelman, Michael. “Broken Home.” The New York Times (May 16, 1997): C24. Levin, Kim. “Richard Artschwager.” Village Voice / Voice Choices (May 1997): 15. Rian, Jeff. “Working the Room.” Interior View 9 (January 1997): 72 – 77.

1999 D’Alessandro, Stephanie. “Highlights of the Lannan Collection.” The Art Institute of Chicago Museum Studies 25, no. 1 (1999): 26 – 27. Mack, Gerhard. “Jeder Stuhl birgt eine Idee.” Art: Das Kunstmagazin (August 1999): 24 – 35. Skestos, Stephanie. “Checklist of the Lannan Collection.” The Art Institute of Chicago Museum Studies 25, no. 1 (1999): cat. 3. Smith, Roberta. “Richard Artschwager.” The New York Times (November 12, 1999): E42. Strick, Jeremy. “Fixed and Visible: Lannan Foundation and the Art Institute of Chicago.” The Art Institute of Chicago Museum Studies 25, no. 1 (1999): 6. 2000 Frankel, David. “Curtain Call: The Art of Richard Artschwager.” Artforum 39, no. 3 (November 2000): 120 – 27. Glueck, Grace. “Art in Review: Richard Artschwager: 1960 – 2000, Drawings in Transit.” The New York Times (June 2, 2000): E34. Kletke, Daniel. “Richard Artschwager: Drawings 1960 – 2000.” Art on Paper 5, no. 1 (September – October 2000): 88 – 89. Princenthal, Nancy. “Richard Artschwager at Lehmann Maupin.” Art in America 88, no. 4 (April 2000): 152. Wei, Lilly. “Richard Artschwager.” Artnews 99, no. 1 (January 2000): 161. Weil, Rex. “Richard Artschwager.” Artnews 99, no. 8 (September 2000): 171, 173. 2002 Review of Chicago Art Fair. The Art Newspaper 125 (May 2002): 8. “French Collection.” Les Cahiers du FNAC 2 (October 2002): 6. Glueck, Grace. Review of Richard Artschwager at Gagosian Gallery Chelsea. The New York Times (April 26, 2002): E33. Neri, Louise. “How Things Get Done.” Frieze, no. 66 (April 2002): 37, 74 – 79. “News and Around: French Collection at MAMCO, Geneva, Switzerland.” Tema Celeste (November – December 2002): 120.

Schjeldahl, Peter. “Richard Artschwager.” New Yorker (May 6, 2002): 20. Stein, Judith E. “Art’s Wager: Richard Artschwager and the New York Art World in the ‘60s.” The Reading Room 4 (2002): 84 –100. 2003 Baker, Kenneth. “The Minimalist Challenge: Surprising Affinities among Diverse Works.” San Francisco Chronicle (November 8, 2003): D1. Criqui, Jean-Pierre, and Jean-Claude Lebensztejn. “Locus Focus.” Artforum 41, no. 10 (summer 2003): 148 – 53. Lamm, April Elizabeth. “Review: Richard Artschwager at Deutsche Guggenheim Berlin.” Tema Celeste 99 (September – October 2003): 94. Paul, Frederic. “Portrait de l’astronome en jouer de boules.” Les Cahiers du Musée national d’art moderne 83 (spring 2003): 56 – 79. Turner, Elisa. “Painting Sur Double-Take.” The Miami Herald (December 28, 2003): M3. 2004 Demos, T. J. Review of The Big Nothing at Institute of Contemporary Art, University of Pennsylvania. Artforum 43, no. 1 (September 2004): 263. Feinstein, Roni. “Artschwager Pinxit.” Art in America 92, no. 9 (October 2004): 140 – 43, 171. Godfrey, Mark. “Dimensions variable.” Frieze, no. 84 (summer 2004): 116 – 21. Heartney, Eleanor. Review of Richard Artschwager at Anthony Grant & Nolan / Eckman. Art in America 92, no. 4 (April 2004): 130. Johnson, Ken. Review of Richard Artschwager / Ed Ruscha at Brooke Alexander and Leo Castelli. The New York Times (June 4, 2004): E31. Landi, Ann. Review of Muse at Kent. Artnews (May 2004): 150. Schudel, Matt. “Roughing It in Shades of Gray.” Sun-Sentinel (January 18, 2004): 7. Wei, Lilly. “Richard Artschwager at Grant, Anthony and Nolan / Eckman.” Artnews (January 2004): 136. “The Year in Prints: The First Annual New Prints Review.” Art on Paper 9, no. 2 (November – December 2004): 56 – 71.

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2005 Larson, Kay. “Take Two.” Artnews (November 2005): 176 – 77.

Konigsberg, Eric. “Artists Salute Unsung Multitasker.” The New York Times (October 19, 2009): C1.

Smith, Roberta. “Corporate Taste in Art, And the Art of Donation.” The New York Times (February 4, 2005): E37.

Volke, Daniel. “Eine Kirche dem Zweifel.” Monopol, no. 10 (October 2009): 84 – 97.

Vogel, Carol. “The Modern Gets a Sizable Gift of Contemporary Art.” The New York Times (October 12, 2005): E1.

2011 Johnson, Ken. “The Uncluttered Look Has Its Day.” The New York Times (March 4, 2011): C24.

2006 Drohohojowska-Philp, Hunter. “Everything Fits.” Artnet (December 7, 2006).

Rosenberg, Karen. “Hewn, Spun, Joined, Sandwiched, Cemented.” The New York Times (October 28, 2011): C33.

Feldman, Melissa E. Review of Richard Artschwager at Gagosian Gallery. Art US (July – September 2006): 4.

Schwendener, Martha. “The Complex 1980s, Viewed by 47 Artists.” The New York Times (November 6, 2011): WE12.

Frank, Peter. Review of Richard Artschwager at Gagosian Gallery. Artnews (May 2006): 174.

Sheets, Hilarie M. “John Waters, The Artful Dodger.” The New York Times (June 26, 2011): AR21.

Glueck, Grace. Review of Richard Artschwager at Nolan / Eckman. The New York Times (May 12, 2006): E32.

Smith, Roberta. “Richard Artschwager.” The New York Times (November 11, 2011): 28.

Harvey, Doug. “This is Not an Art Review.” LA Weekly (November 30, 2006). Holte, Michael Ned. Review of Richard Artschwager at Gagosian Gallery. Artforum 44, no. 7 (March 2006): 300 – 301. “In L.A., With Your Feet in the Clouds.” Washington Post (November 19, 2006): 7. Maine, Stephen. Review of Richard Artschwager at Gagosian Gallery. Art in America 94, no. 6 (June – July 2006): 202 – 3. Myers, Terry. Review of Richard Artschwager at Gagosian Gallery. Modern Painters (April 2006): 109 –10. Pagel, David. “Mix and match, messy yet crisp.” Los Angeles Times (January 20, 2006): E25. 2008 Green, Elliott. “Richard Artschwager at Gagosian.” Artnews (April 2008): 138 – 39. Yau, John. “Richard Artschwager at Gagosian Gallery.” The Brooklyn Rail (February 2008): 34 – 37. 2009 Galligan, Gregory. Review of Richard Artschwager at David Nolan Gallery. Art in America 97, no. 2 (February 2009): 129. Khadivi, Jesi. “Richard Artschwager: Sprüth Magers.” Modern Painters (September 2009): 71.

228

bibliogr aphy

2012 Johnson, Ken. “‘The Way We Live Now.’” The New York Times (April 13, 2012): 25. Rosenberg, Karen. “Richard Artschwager: ‘Early Works from the 1960s.’” The New York Times (April 13, 2012): 25.

Untitled, c. 1950 Watercolor and pastel on paper 10 7/8 × 13 15/16 in. (27.6 × 35.4 cm) Whitney Museum of American Art, New York; purchase, with funds from the Drawing Committee 2012.8 Road to Damascus, 1960 Charcoal on paper 19 × 25 in. (48.3 × 63.5 cm) Private collection [ fig 4 ] Portrait Zero, 1961 Plywood 45 × 27 × 6 in. (114.3 × 68.6 × 15.2 cm) Sender Collection [ fig 3 ]

Checklist of the Exhibition

Plowed Field and Grove, 1962 Acrylic on Celotex 40 × 50 3/4 in. (101.6 × 128.9 cm) Private collection [ fig 44 ] Untitled, 1962 Acrylic on Celotex, with wood frame 47 11/16 × 49 5/8 in. (121.1 × 126.1 cm) Private collection; courtesy Leo Castelli Gallery [ fig 48 ] Triptych, 1962 Acrylic on wood and Formica 38 × 54 × 2 1/4 in. (96.5 × 137.2 × 5.7 cm) Museum of Contemporary Art Chicago; gift of Lannan Foundation, 1997.19 [ fig 2 ] Untitled, 1962 Acrylic on canvas 45 1/2 × 61 in. (115.6 × 154.9 cm) Collection of Mrs. David Hermelin [ fig 13 ] Baby, 1962 Acrylic on Celotex, with metal frame 49 1/4 × 41 5/16 in. (125.1 × 105 cm) Kunstmuseum Winterthur on permanent loan from a private collection [ fig 2 ] Seated Group, 1962 Acrylic on Celotex, with painted wood frame 42 × 60 in. (106.7 × 152.4 cm) The Museum of Modern Art, New York; partial and promised gift of UBS, 2012 [ fig 9 ] Untitled, 1963 Formica and wood 10 1/4 × 6 1/4 × 3 in. (26 × 15.9 × 7.6 cm) Collection of Bob Monk [ fig 8 ]

Portrait II, 1963 Formica on wood 68 × 26 × 13 in. (172.8 × 66 × 33 cm) Yale University Art Gallery, New Haven; promised gift of Anna Marie and Robert F. Shapiro, B.A. 1956 [ fig 12 ] Untitled (Diptych), 1963 Acrylic on Celotex, with Formica frames 13 × 17 × 7 1/4 in. (35.6 × 40.6 × 18.4 cm) each Yale University Art Gallery, New Haven; gift of Eve and Norman Dolph, B.E. 1960 in honor of Paul Weiss and George Heard Hamilton [ fig 51 ] Swivel, 1964 Formica on wood 40 1/2 × 26 × 14 3/8 in. (102.6 × 66.4 × 36.5 cm) The Metropolitan Museum of Art, New York; gift of Vivian and Justin Ebersman, 1984 (1984.538) [ fig 15 ] Untitled (Book), 1964 Formica on wood 9 3/4 × 21 3/8 × 14 1/4 in. (24.8 × 54.4 × 36.2 cm) Collection of Brooke Alexander [ fig 58 ] Whitney Museum, 1964 Acrylic on Celotex 58 × 50 in. (147.3 × 127 cm) The Schweber Art Fund [ fig 55 ] New Housing, 1964 Acrylic on Celotex, with Formica frame 41 1/2 × 37 1/4 in. (105.4 × 94.6 cm) Private collection [ fig 56 ] Description of a Table, 1964 Formica on plywood 26 1/8 × 31 7/8 × 31 7/8 in. (66.4 × 81 × 81 cm) Whitney Museum of American Art, New York; gift of the Howard and Jean Lipman Foundation, Inc. 66.48 [ fig 117 ] Piano #1, 1965 Formica and wood 20 × 6 15/16 × 1 1/8 (50.8 × 43 × 2.9 cm) National Gallery of Art, Washington, D.C.; The Dorothy and Herbert Vogel Collection, Ailsa Mellon Bruce Fund, Patrons’ Permanent Fund and Gift of Dorothy and Herbert Vogel 1991.241.10

229

Exclamation Point, 1966 Painted wood and Formica 50 1/2 × 8 1/2 × 2 5/8 in. (128.3 × 21.6 × 6.7 cm) overall Collection of Barbara and Richard S. Lane [ fig 122 ] Bread, 1966 Acrylic on Celotex, with metal frame 22 1/8 × 25 1/8 in. (56.2 × 63.8 cm) The Metropolitan Museum of Art, New York; The Muriel Kallis Steinberg Newman Collection, gift of Muriel Kallis Newman, 2006 (2006.32.3) [ fig 50 ] Triptych (With Nude) (Diptych IV), 1966 Acrylic on Celotex and Formica on wood 38 1/2 × 38 × 12 in. (96.5 × 114.3 × 40.6 cm) The Eli and Edythe L. Broad Collection, Los Angeles [ fig 17 ] Construction with Indentation, 1966 Formica on plywood 59 7/8 × 47 15/16 × 9 9/16 in. (152.1 × 121.8 × 25 cm) Whitney Museum of American Art, New York; gift of Philip Johnson 72.32 [ fig 107 ] Logus (Blue Logus), 1967 Formica on wood 35 × 45 1/2 × 48 in. (88.9 × 115.6 × 121.9 cm) Museum Ludwig, Cologne [ fig 16 ] Portrait of Holly Solomon, 1967 – 68 Acrylic on Celotex mounted on masonite, with metal frame 60 1/4 × 40 in. (153 × 101.6 cm) Private collection [ fig 59 ] Blps, 1968 Black paint on wood Five parts: 6 3/4 × 3 1/2 × 1 in. (17.2 × 8.9 × 2.5 cm) each Collection of Corinne Michaela Flick Brush, 1968 Wood and brush bristles 5 × 10 × 5 in. (12.7 × 25.4 × 12.7 cm) Yale University Art Gallery, New Haven; anonymous gift (p. 190) Hair Blp, 1968 Hair 10 × 3 3/4 × 1 in. (25.4 × 9.5 × 2.5 cm) Collection of Paula Cooper

230 checklist of the exhibition

Wood Blp, 1968 Wood 12 × 3 × 1 in. (30.5 × 7.6 × 2.5 cm) Collection of Paula Cooper Train Wreck, 1968 Acrylic on Celotex, with aluminum frame 46 1/2 × 42 3/4 in. (118.1 × 108.6 cm) Collection of Thomas H. Lee and Ann Tenenbaum [ fig 63 ] Plaque, 1968 Rubberized horsehair 19 1/2 × 24 × 2 1/2 in. (57 × 61 × 5 cm) Kunstmuseum Winterthur; purchase, 2000 [ fig 64 ] Five Scratches, 1969 Charcoal on paper 25 1/4 × 18 7/8 in. (64.1 × 47.9 cm) Museum of Fine Arts, Boston; Sophie M. Friedman Fund [ fig 62 ] Hair Sculpture— Shallow Recess Box,

1969 Rubberized horsehair 30 3/4 × 11 × 7 3/4 in. (78.1 × 27.9 × 19.7 cm) National Gallery of Art, Washington, D.C.; The Dorothy and Herbert Vogel Collection, Ailsa Mellon Bruce Fund, Patrons’ Permanent Fund and Gift of Dorothy and Herbert Vogel, 1965 1991.241.12 [ fig 66 ] Locations, 1969 Formica on wood; and five blps made of wood; glass; Plexiglas; and rubberized horsehair, with Formica Box: 15 × 10 3/4 × 5 inches (38.1 × 27.3 × 12.7 cm) Edition of 90 Published by Brooke Alexander Editions and Castelli Graphics Whitney Museum of American Art, New York; purchase with funds from the Dorothea L. Leonhardt Foundation, Inc. 94.52a–f [ fig 80 ]

The Bush, 1971 Acrylic on composition board, with metal frame 48 1/4 × 71 × 1 1/2 in. (122.6 × 180.3 × 3.8 cm) Whitney Museum of American Art, New York; purchase, with funds from Virginia F. and William R. Salomon 72.13 [ fig 156 ] Untitled, 1971 Wood, brass, glass, horsehair, and Formica 11 1/2 × 14 5/8 × 13 1/2 in. (29.2 × 37.2 × 34.3 cm) Edition of 50 Published by Castelli Graphics and Multiples, Inc. Collection of Dr. Irving Smokler [ fig 124 ] Two Studies for Destruction series, c. 1972 Newspaper, tape, gelatin silver print, graphite, and pen on cardboard 11 × 10 1/2 in. (27.9 × 26.7 cm) Collection of Charles LeDray (p. 198) Destruction I, 1972 Acrylic on Celotex 36 × 31 in. (91.4 × 78.7 cm) Private collection [ fig 19 ] Destruction II, 1972 Acrylic on Celotex 23 × 29 in. (58.4 × 73.7 cm) Collection of Lizzie and Jonathan Tisch [ fig 20 ] Destruction III, 1972 Acrylic on Celotex, with metal frames 74 × 88 in. (188 × 223.5 cm) Stefan T. Edlis Collection [ fig 21 ] Destruction IV, 1972 Acrylic on Celotex, with metal frame 40 × 48 in. (101.6 × 121.9 cm) Kolodny Family Collection [ fig 22 ]

Untitled, 1969 Rubberized hair 28 × 28 × 6 1/2 in. (71.1 × 71.1 × 16.5 cm) Kolodny Family Collection [ fig 65 ]

Destruction V, 1972 Acrylic on Celotex, with metal frames 39 3/4 × 46 1/4 in. (101 × 117.5 cm) The Eli and Edythe L. Broad Collection, Los Angeles [ fig 23 ]

Polish Rider I, 1970 – 71 Acrylic on Celotex, with metal frame 45 1/2 × 61 9/16 in. (115.6 × 156.4 cm) Museum of Contemporary Art Chicago; gift of Mrs. Robert B. Mayer, 1984.2 [ fig 155 ]

Destruction VI, 1972 Acrylic on Celotex, with metal frames 40 × 46 in. (101.6 × 116.8 cm) Private collection [ fig 24 ]

Triptych V, 1972 Acrylic on Celotex, with metal frames 81 1/2 × 140 1/4 in. (207 × 356 cm) overall The Eli and Edythe L. Broad Collection, Los Angeles [ fig 157 ] Bushes III, 1972 Acrylic on Celotex, with metal frame 44 1/2 × 54 in. (113 × 137 cm) Collection of Elisabeth and Reinhard Hauff [ fig 1 ] Interior (North), 1973 Acrylic on Celotex, with metal frames Two panels: 52 3/4 × 88 1/2 in. (134 × 224.8 cm) top; 52 × 88 1/2 in. (132.1 × 224.8 cm) bottom Collection of Barbara and Richard S. Lane [ fig 158 ] Weaving #14, 1973 Acrylic on Celotex 17 5/8 × 15 1/2 in. (44.8 × 39.4 cm) Collection of Donald Young [ fig 109 ] Yes / No Ball, 1974 Bowling ball Diameter: 10 in. (25.4 cm) Edition of 12 Published by Leo Castelli Museum of Contemporary Art Chicago, gift of the artist, 1976.1 [ fig 96 ] Door Window Table Basket Mirror Rug, 1974 Ink and graphite on paper Eigthteen sheets: 11 × 13 in. (27.9 × 33 cm) each Collection of Pat and Bill Wilson [ fig 131 ] Door Window Table Basket Mirror Rug #10, 1974 Graphite and ink on paper 22 3/4 × 31 1/4 in. (57.8 × 79.4 cm) Private collection [ fig 132 ] Door, Mirror, Table, Basket, Rug, Window D, 1975 Ink and graphite on board 26 3/4 × 30 in. (67.9 × 76.2 cm) Whitney Museum of American Art, New York; purchase with funds from the Burroughs Wellcome Purchase Fund 84.1 [ fig 134 ]

Interior #2, 1977 Drypoint Sheet: 22 3/8 × 19 13/16 in. (56.8 × 50.3 cm); plate: 9 15/16 × 11 15/16 in. (25.2 × 30.3 cm) Edition of 35, 12 AP Published by Multiples, Inc.; printed by Aeropress The Museum of Modern Art, New York; Janet K. Ruttenberg Fund, 1978 [ fig 97 ] Table, 1977 Ink on Formica 30 × 23 in. (76.2 × 58.4 cm) Collection of William Monaghan [ fig 27 ] Untitled (Project for Hamburg), 1978 Gelatin silver print, with paper collage and graphite 13 3/8 × 19 7/8 in. (34 × 50.5 cm) The Museum of Modern Art, New York; gift of The Contemporary Arts Council in memory of Eugene M. Schwartz [ fig 78 ] Untitled, 1978 Graphite on paper 31 1/4 × 41 in. (79 × 104 cm) The Sonnabend Collection [ fig 135 ] Bookcase III, 1979 Formica on wood 60 1/2 × 35 × 14 1/2 in. (153.7 × 88.9 × 36.8 cm) The Broad Art Foundation, Santa Monica [ fig 136 ] t, w, m, d, r, b, 1979 Drypoint Sheet: 22 × 26 in. (55.9 × 66 cm); plate: 12 × 15 in. (30.5 × 38.1 cm) Edition no. 23 of 30 Printed by Aeropress Yale University Art Gallery, New Haven; Richard Brown Baker, B.A. 1935, Collection Untitled (Quotation Marks), 1980 Formica on painted wood 13 × 11 × 2 in. (33 × 27.9 × 5.1 cm) Edition of 25 Published by Castelli Graphics and Multiples, Inc. Hall Collection [ fig 25 ] Window / Table, 1980 Ink and paper on board, with marbled paper overlay 28 1/2 × 31 (72.4 × 78.7 cm) Whitney Museum of American Art, New York; purchase, with funds from the Drawing Committee 97.10.1a – b [ fig 148 ]

Cactus Scape II, 1981 Drypoint and solvent on Plexiglas on paper 29 1/4 × 34 1/2 in. (74.3 × 87.6 cm) Edition no. 1 of 3 Published by Multiples, Inc; printed by Aeropress Collection of Lois B. Torf City of Man, 1981 Acrylic and charcoal on fiberboard and Formica, with Plexiglas 77 3/4 × 180 5/16 × 5 1/4 in. (197.5 × 458 × 13.3 cm) Whitney Museum of American Art, New York; promised gift of Emily Fisher Landau P.2010.17a–c Williamsburg Pagoda, 1981 Acrylic on Celotex, and Formica 87 × 79 3/4 × 8 in. (221 × 187.3 × 20.3 cm) Virginia Museum of Fine Arts, Richmond; gift of Sydney and Frances Lewis Foundation [ fig 145 ] Basket, Mirror, Window, Rug, Table, Door, 1985 Acrylic on Celotex, with painted wood frame 53 3/4 × 56 1/4 in. (137.2 × 143.5 cm) Frederick R. Weisman Art Foundation, Los Angeles [ fig 28 ] Organ of Cause and Effect III, 1986 Formica and latex paint on plywood 129 × 61 3/4 × 18 in. (327.7 × 156.9 × 45.7 cm) Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 87.6a – f [ fig 128 ] Chair / Chair, 1987 – 90 Red oak, Formica, cowhide, and painted steel 39 × 40 × 52 in. (99.1 × 101.6 × 132.1 cm) Edition of 100 Co-published by the artist and Vitra International Collection of Clara P. and Augustus T. Artschwager [ fig 105 ] Brush Blp, 1988 Bristle and wood 13 × 24 × 16 in. (33 × 61 × 40.6 cm) David Nolan Gallery, New York [ fig 26 ] Thruway, 1988 Acrylic on Celotex, with painted wood frame 53 × 66 in. (134.6 × 167.6 cm) Collection of Ruth Lloyds and William Erlich [ fig 139 ]

231

Double Dinner, 1988 Formica, painted wood, and rubberized hair 36 × 85 × 27 1/2 in. (91.4 × 215.9 × 69.9 cm) The Sonnabend Collection [ fig 29 ] Hair Blp, 1989 – 90 Rubberized horsehair 13 1/2 × 7 × 1 in. (34.3 × 17.8 × 2.5 cm) Hall Collection [ fig 74 ] Untitled, 1990 Charcoal and graphite on paper 37 × 25 in. (94 × 63.5 cm) each David Nolan Gallery, New York [ fig 141 ] Bookends, 1990 Formica on wood 6 3/4 × 6 1/2 × 4 in. (17.2 × 16.5 × 10.2 cm) Edition of 50, 2AP Published by Brooke Alexander Editions Private collection [ fig 100 ] Building Riddled with Listening Devices (Alpha), 1990 Soft-ground, aquatint, spit-bite, etching, and drypoint on paper Sheet: 33 × 35 in. (83.8 × 88.9 cm); plate: 20 5/8 × 24 in. (52.4 × 61 cm) Edition of 60, 12 AP Published by Multiples, Inc.; printed by Branstead Studio Whitney Museum of American Art, New York; purchase, with funds from the Print Committee and the Print Purchase Fund 90.36 [ fig 102 ] Building Riddled with Listening Devices (Beta), 1990 Etching, aquatint, lift-ground, spit-bite, and drypoint on paper Sheet: 32 7/8 × 35 in. (83.5 × 88.9 cm); plate: 20 1/2 × 24 in. (52.1 × 61 cm) Edition of 60, 12 AP Published by Multiples, Inc.; printed by Branstead Studio Whitney Museum of American Art, New York; purchase, with funds from the Print Committee and the Print Purchase Fund 90.37 [ fig 103 ] Horizon, 1990 Etching, aquatint, lift-ground, spit-bite, and drypoint on paper Sheet: 37 × 46 3/4 in. (94 × 118.7 cm); plate: 23 9/16 × 35 7/8 in. (59.9 × 91.1 cm) Edition of 60, 12 AP Published by Multiples, Inc.; printed by Branstead Studio Whitney Museum of American Art, New York; purchase, with funds from the Print Committee and the Print Purchase Fund 90.38 [ fig 104 ]

232

checklist of the exhibition

Four Approximate Objects, 1970 – 91 Mahogany, Formica, brass, chrome-plated brass, and flocking 3 1/2 × 14 5/8 × 13 5/8 in. (8.9 × 37.2 × 34.6 cm) Edition of 30 Published by Brooke Alexander Editions Private collection [ fig 101 ] Journal II, 1991 Formica and acrylic on wood Two panels: 56 × 172 in. (142.2 × 436.9 cm); 80 × 51 in. (203.2 × 129.5 cm) Chazen Museum of Art, University of Wisconsin, Madison, Elvehjem Museum of Art General, Juli Plant Grainger, Walter J. and Cecille Hunt, John S. Lord, Cyril W. Nave, F.J. Sensenbrenner, and Earl O. Vits Endowment Funds purchase, 1991.135a – d [ fig 30 ] The White Cherokee, 1991 Acrylic and Formica on Celotex, with metal frame 57 1/2 × 89 in. (146.1 × 226.1 cm) Speyer Family Collection [ fig 142 ] Tank, 1991 Formica and acrylic on fiber panel and wood, with painted wood and Formica frame 83 × 121 in. (210.8 × 307.4 cm) The Broad Art Foundation, Los Angeles [ fig 143 ] Corner, 1992 Painted wood, Formica, and chromeplated steel 35 1/2 × 15 × 4 1/2 in. (90.2 × 38.1 × 11.4 cm) Edition of 30 Published by Brooke Alexander Editions Hall Collection [ fig 119 ] Sitting and Not, 1992 Acrylic and Formica on Celotex, with painted wood frame 75 × 59 in. (190.5 × 149.9 cm) Collection of Harriet and Larry Weiss [ fig 32 ] The Cave (If you lived here, you’d be home now), 1992 Acrylic and Formica on Celotex, with painted wood frame 85 3/4 × 85 1/2 in. (217.8 × 217.2 cm) Nerman Collection, Leawood, Kansas [ fig 31 ]

Door II, 1992 Formica on wood and aluminum 102 × 59 × 12 in. (259.1 × 149.9 × 30.5 cm) Nerman Collection, Leawood, Kansas [ fig 130 ]

Untitled, 1996 Acrylic on Celotex, with aluminum frame 22 1/2 × 20 1/2 in. (57.2 × 52.1 cm) Collection of Brent Sikkema [ fig 40 ]

Table Prepared in the Presence of Enemies, 1993 Wood, Formica, and aluminum 59 × 60 × 75 in. (149.9 × 152.4 × 190.5 cm) Carnegie Museum of Art, Pittsburgh; Heinz Family Fund 95.108 [ fig 129 ]

Untitled (Potatoes V), 1997 Acrylic on Celotex, with wood frame 53 × 32 in. (134.6 × 81.3 cm) Stefan T. Edlis Collection [ fig 146 ]

Untitled, 1994 Wood and metal 46 × 13 1/2 × 16 1/4 in. (116.8 × 34.3 × 41.3 cm) The Museum of Modern Art, New York; gift of Agnes Gund and Anna Marie and Robert F. Shapiro Fund, 1994 Untitled, 1994 Wood and metal 80 × 29 × 12 1/2 in. (203.2 × 73.7 × 31.8 cm) The Museum of Modern Art, New York; gift of Agnes Gund and Anna Marie and Robert F. Shapiro Fund, 1994 Untitled, 1994 Wood and metal 29 1/2 × 32 1/2 × 42 in. (74.9 × 82.6 × 106.6 cm) The Museum of Modern Art, New York; gift of Agnes Gund and Anna Marie and Robert F. Shapiro Fund, 1994 Natural Selection, 1995 Acrylic on Celotex, with aluminum frame 28 1/2 × 34 1/2 in. (72.4 × 87.6 cm) Private collection [ fig 38 ] Untitled (Natural Selection), 1995 – 96 Ink on newsprint with tape 9 1/2 × 9 3/8 in. (24.1 × 23.8 cm) Collection of Brent Sikkema Bristle Corner, 1995 Acrylic bristles and wood 24 × 8 × 8 in. (61 × 20.3 × 20.3 cm) Edition of 12 Published by Brooke Alexander Editions Collection of Brooke Alexander [ fig 77 ] RA-26, 1995 Fir, plywood, and spruce 73 1/2 × 48 × 22 in. (186.7 × 121.9 × 55.9 cm) Collection of Rod Steinkamp Untitled (1000 Cubic Inches), 1996 Plywood, pine, and steel hardware Dimensions variable Edition of 60 Published by Parkett Editions Barbara Krakow Gallery, Boston

Pastoral IV, 1999 Acrylic on fiber panel on Celotex, with painted wood and Formica frame 58 1/2 × 82 in. (148.6 × 208.3 cm) Private collection [ fig 149 ] Chair, 1965 – 2000 Acrylic and gelatin silver prints on wood 40 1/2 × 20 1/2 × 20 in. (102.9 × 52.1 × 50.8 cm) Courtesy Gagosian Gallery, New York [ fig 94 ] Satyr, 2001 Acrylic on rubberized horsehair on Masonite 57 × 32 × 2 1/2 in. (144.8 × 81.3 × 6.4 cm) Courtesy Gagosian Gallery, New York Still Life, 2002 Acrylic on fiber panel on Celotex, with metal frame 12 × 12 in. (30.5 × 30.5 cm) Private collection [ fig 93 ] Arizona, 2002 Acrylic on fiber panel on Celotex, with metal frame 26 × 22 in. (66 × 55.9 cm) Collection of Edward and Danna Ruscha [ fig 7 ] The Hydraulic Door Check, 2002 Boxed catalogue with rubberized horsehair cover 17 × 23 3/4 in. (43.2 × 60.3 cm) Published by Walther König Museum of Fine Arts, Boston; gift of Alvin and Barbara Krakow Geo. W. Bush, 2002 Acrylic on fiber panel on Celotex, with metal frame 26 × 20 in. (66 × 50.8 cm) Yale University Art Gallery, New Haven; Janet and Simeon Braguin Fund [ fig 170 ] Osama, 2003 Acrylic on fiber panel on Celotex, with metal frame 29 7/8 × 21 5/8 in. (75.9 × 54.9 cm) Private collection [ fig 169 ]

Self-Portrait, 2003 Acrylic on fiber panel on Celotex, with metal frame 24 1/8 × 25 1/8 in. (61.3 × 63.8 cm) Collection of Milton and Sheila Fine [ fig 168 ]

Lunch for Two, 2007 Charcoal, acrylic, and Formica on handmade paper on soundboard, with wood frame 51 1/2 × 75 1/2 in. (130.8 × 191.8 cm) Collection of Sam and Sylvia Ketcham [ fig 163 ]

t, w, m, d, r, b, 2003 Etching, aquatint and drypoint Three prints: 18 × 20 in. (45.7 × 50.8 cm) each Edition of 25 Published by Harlan and Weaver Private collection

Fetching Tune, 2008 Formica on wood 66 × 36 × 11 1/4 in. (167 × 91.4 × 28.6 cm) Courtesy Gagosian Gallery, New York [ fig 172 ]

Untitled (Road with Trees), 2003 Charcoal on paper 38 × 25 in. (96.5 × 63.5 cm) Collection of Gail Monaghan [ fig 177 ]

In the Driver’s Seat, 2008 Oil pastel on paper 25 × 38 in. (63.5 × 96.5 cm) David Nolan Gallery, New York [ fig 178 ]

Generations III, 2003 Acrylic on fiber panel on Celotex, with metal frame 36 3/8 × 25 in. (92.4 × 63.5 cm) Kravis Collection [ fig 30 ]

Exclamation Point (Chartreuse), 2008 Plastic bristles on a mahogany core painted with latex 65 × 22 × 22 in. (165.1 × 55.9 × 55.9 cm) Courtesy Gagosian Gallery, New York [ fig 43 ]

4th Cross, 2004

Hall Collection [ fig 180 ]

Watermelon, 2008 Oil pastel on paper 25 1/8 × 38 in. (63.8 × 96.5 cm) Collection of Markus Dochantschi [ fig 45 ]

Recollection (Vuillard), 2004 Acrylic on fiber panel, with wood frame 51 × 74 inches (129.5 × 188 cm) Collection of Allison and Warren Kanders [ fig 150 ]

Macadam, 2008 Oil pastel on paper 25 × 38 in. (63.5 × 96.5 cm) Private collection [ fig 46 ]

Acrylic on plywood

79 × 40 × 42 in. (200.7 × 101.6 × 106.7 cm)

Light Bulbs, 2007 Charcoal, pastel, and acrylic on handmade paper on soundboard, with wood frame 52 × 75 1/2 in. (132.1 × 191.8 cm) Private collection [ fig 176 ] Table (Somewhat), 2007 Formica on wood 30 1/8 × 43 1/2 × 52 in. (76.5 × 110.5 × 132.1 cm) Collection of Linda and Bob Gersh [ fig 171 ] Painted Desert (Green), 2007 Charcoal and pastel on paper 25 × 38 in. (63.5 × 96.5 cm) Denver Art Museum; gift of the Eleanor and Henry Hitchcock Foundation [ fig 159 ]

Additional Works Illustrated Gila Watershed, 1952 Oil on canvas 40 × 50 in. (101.6 × 127 cm) Collection of Laura Malone [ FIG 115 ] Untitled, 1952 Oil on canvas 18 × 24 in. (45.7 × 61 cm) Collection of Laura Malone [ FIG 42 ] Handle I, 1962 Wood 30 × 48 × 4 in. (76.2 × 121.9 × 30.5 cm) Collection of Kasper König [ FIG 11 ] Lefrak City, 1962 Acrylic on Celotex, with painted wood frame 44 1/2 × 97 1/2 in. (113 × 247.7 cm) Collection of Irma and Norman Braman [ FIG 49 ]

233

Portrait I, 1962 Acrylic on Celotex and wood 74 × 26 × 12 in. (188 × 66 × 30.5 cm) Collection of Kasper König [ FIG 116 ]

Sailors, 1966 Acrylic on Celotex, with metal frames 50 × 45 in. (127 × 114.4 cm) overall Private collection [ FIG 39 ]

Untitled (Formica and Wood Construction), 1962 Formica and walnut 6 × 14 × 12 in. (15.2 × 35.6 × 30.5 cm) Private collection; courtesy Leo Castelli Gallery, New York [ FIG 123 ]

Corner Mirror, 1968 Mirror 64 × 4 × 1 1/4 in. (162.6 × 10.2 × 3.2 cm) Location unknown [ FIG 71 ]

Expression and Impression, 1963 / 1987 Formica on wood 49 1/2 × 28 1/4 in. (125.7 × 71.8 cm) each Whitney Museum of American Art, New York; gift of Peter Lipman in memory of Jean and Howard Lipman 2003.431a–b [ FIG 52 ] Long Table with Two Pictures, 1964 Formica on wood and acrylic on Celotex, with painted wood frames 75 3/4 × 96 × 32 1/4 in. (192.4 × 243.8 × 81.9 cm) overall Location unknown [ FIG 153 ] Table with Pink Tablecloth, 1964 Formica on wood 25 1/2 × 44 × 44 in. (64.8 × 111.8 × 111.8 cm) The Art Institute of Chicago; gift of Lannan Foundation 1997.133 [ FIG 68 ] Tower, 1964 Acrylic and Formica on wood 78 × 24 1/8 × 39 in. (198.1 × 61.3 × 99.1 cm) The Museum of Modern Art, New York; gift of Philip Johnson [ FIG 53 ] Walker, 1964 Formica on wood 26 1/8 × 38 1/4 × 35 1/16 in. (66.4 × 97.2 × 89.1 cm) Private collection; courtesy Leo Castelli Gallery, New York [ FIG 154 ] Counter II, 1965 Formica on wood, with metal turnstile 71 1/4 × 36 × 21 in. (181 × 91.4 × 53.3 cm) Conseil général des Vosges, Musée départemental d’art ancien et contemporain, Épinal, France [ FIG 14 ] Diptych, 1967 Formica on wood 47 × 84 3/8 in. (119.4 × 215.3 cm) The Nelson-Atkins Museum of Art, Kansas City, Missouri; anonymous gift F67 – 16 [ FIG 57 ]

234

checklist of the exhibition

Triptych IV, 1968 Acrylic on Celotex and Formica on wood, with metal frame 59 1/2 × 96 in. (151.1 × 243.8 cm) Friedrich Christian Flick Collection [ FIG 60 ] Tintoretto’s “The Rescue of the Body of St. Mark”, 1969 Acrylic on Celotex, with metal frame 46 1/2 × 51 1/4 in. (118.1 × 130.2 cm) Private collection [ FIG 67 ] Face, 1970 Charcoal on paper 25 1/4 × 19 in. (64.1 × 48.3 cm) Courtesy David Nolan Gallery, New York [ p. 191 ] Rocket, 1970 Acrylic on Celotex, with aluminum frame 46 1/2 × 21 1/8 in. (118.1 × 53.7 cm) Kolodny Family Collection [ FIG 61 ] Polish Rider III, 1971 Acrylic on Celotex, with metal frame 44 1/2 × 49 1/2 in. (113 × 125.7 cm) Collection of Susan Bay Nimoy and Leonard Nimoy [ FIG 84 ] Bowl of Peaches on Glass Table, 1973 Acrylic on Celotex, with metal frame 19 1/2 × 25 in. (49.5 × 63.5 cm) Collection of Mr. and Mrs. Oscar Feldman [ FIG 41 ] Garden, 1973 Acrylic on celotex, with metal frames Eight panels: 46 × 25 1/4 in. (117 × 64.2 cm) each The Baltimore Museum of Art; purchase with exchange funds from Bequest of Mabel Garrison Siemonn, in Memory of her Husband, George Siemonn, BMA 1989.38a – h [ FIG 18 ]

Chair/Chair III, 1974 Two metal folding chairs and chain Location unknown [ FIG 89 ] Johnson Wax Building, 1974 Acrylic on Celotex, with metal frame 47 1/2 × 59 1/2 in. (120.7 × 151.1 cm) The Museum of Modern Art, New York; gift of Edward R. Broida [ FIG 54 ] Basket Table Door Window Mirror Rug,

1975 Ink on paper 28 × 31 1/8 in. (71.1 × 79.1 cm) Staatliche Graphische Sammlung, Munich [ FIG 133 ] Untitled, 1976 Rubber stamp 8 1/8 × 8 1/2 in. (20.6 × 21.6 cm) Edition no. 227 /1000 Published by Parasol Press Ltd.; printed by Catherine Kord Yale University Art Gallery, New Haven; anonymous gift [ FIG 98 ] Untitled (Project for Hamburg), 1978 Gelatin silver print with paper collage and ink 16 × 20 in. (40.6 × 50.8 cm) San Francisco Museum of Modern Art; Accessions Committee Fund purchase [ FIG 79 ] Pyramid (Table / Window / Mirror / Door / Rug / Basket), 1979 Acrylic on wood 87 3/4 × 34 1/8 × 34 in. (222.9 × 86.7 × 86.4 cm) Whitney Museum of American Art, New York; promised gift of Emily Fisher Landau P.2010.19a – b [ FIG 127 ] Chair Table, 1980 Formica, wood, and metal Chair: 41 × 21 1/2 × 24 in. (104.1 × 54.6 × 61 cm); table: 32 × 48 × 36 in. (81.3 × 121.9 × 91.4 cm) Museum of Art, Rhode Island School of Design, Providence; museum purchase with funds from the bequest of Lyra Brown Nickerson, by exchange 82.058 [ FIG 106 ] Tower III (Confessional), 1980 Formica and oak 60 × 47 × 32 in. (152.4 × 119.4 × 81.3 cm) Emanuel Hoffmann Foundation; gift of the President (on permanent loan to the Öffentliche Kunstsammlung Basel) [ FIG 137 ]

Door }, 1984 Acrylic on wood and glass Door: 81 3/4 × 65 × 9 3/4 (207.6 × 165.1 × 24.8 cm); bracket: 74 3/4 × 25 × 1 1/2 in. (189.9 × 63.5 × 3.8 cm) Collection of Martin Bernstein [ FIG 88 ]

Splatter Chair I, 1992 Formica on wood 27 × 41 1/2 × 1/2 in. (68.6 × 105.4 × 1.3 cm) left; 50 × 38 1/2 × 1/2 in. (127 × 97.8 × 1.3 cm) right The Museum of Modern Art, New York; gift of Jo Carole and Ronald S. Lauder [ FIG 118 ]

Up and Across, 1984 / 1985 Acrylic on wood 64 × 144 × 35 in. (162.6 × 365.8 × 88.9 cm) Los Angeles County Museum of Art, Gift of Frederick R. Weisman Art Foundation in honor of the museum’s twenty-fifth anniversary AC1992.137.1a [ FIG 120 ]

Question Mark—Three Periods, 1994 Nylon brushes on fiberglass frame, with steel hanging system 135 13/16 × 72 1/16 × 28 3/4 in. (345 × 183 × 73 cm) Collection of the Fondation Cartier pour l’art contemporain, Paris [ FIG 121 ]

Book, 1987 Formica on wood 5 × 20 × 12 in. (13 × 51 × 30.5 cm) Edition of 40 Brooke Alexander, New York (Published by Brooke Alexander, Inc., to benefit The New Museum of Contemporary Art, New York) [ FIG 99 ] White Table, 1988 Acrylic on Celotex, Formica, and wood 70 7/8 × 90 1/4 × 7 7/8 in. (180 × 229.2 × 20 cm) Whitney Museum of American Art, New York; promised Gift of Emily Fisher Landau P.2010.18 [ FIG 138 ] Generations, 1990 Stainless steel with lights, pine trees, and painted metal tree Chazen Museum of Art, University of WisconsinMadison; Anonymous Fund, Elvehjem Museum of Art General Endowment Fund, Harry and Margaret P. Glicksman Endowment Fund and Cyril W. Nave Endowment Fund, and John H. Van Vleck Endowment Fund purchase 1991.127 [ FIG 36 ] Rights of Man, 1991 Acrylic on Celotex, with painted wood frame 47 3/4 × 62 in. (121.2 × 157.5 cm) Hall Collection [ FIG 42 ] See By Looking/Hear By Listening, 1992 Formica, wood, velvet, chrome-plated brass, and etched glass 5 15/16 × 24 5/8 × 11 15/16 in. (15.1 × 62.6 × 30.3 cm) overall Whitney Museum of American Art, New York; commissioned by the Whitney Museum of American Art and Cartier, Inc. 92.132a – f [ FIG 125 ]

Vertical Challenge, 1995 Acrylic on Celotex and Formica on wood, with metal frame 64 1/2 × 83 1/2 in. (163.8 × 212.1 cm) Collection of David A. Dorsky and Helaine Posner [ FIG 144 ] Taj Mahal II, 1997 Acrylic and Formica on Celotex, with painted wood frame 72 × 82 in. (182.9 × 208.3 cm) Private collection [ FIG 140 ] On Its Way, 1998 Pattern paper and newspaper collage 21 13/16 × 28 3/4 in. (55.4 × 73 cm) Private collection [ FIG 147 ] Crouching Man II, 2002 Acrylic on rubberized horsehair on Masonite 74 × 46 × 2 1/2 in. (188 × 116.8 × 6.4 cm) Private collection [ FIG 92 ] Janus III (Elevator), 1981 / 1983 / 1996 /

2002 / 2005 Formica, electronic parts, wood, plastic, and metal 90 9/16 × 98 7/16 × 98 7/16 in. (230 × 250 × 250 cm) Museum Ludwig, Cologne [ FIG 34 ]

Berceuse, 2007 Charcoal, acrylic, and laminate on handmade paper on soundboard, with wood frame 75 × 48 in. (190.5 × 121.9 cm) Collection of Allison and Warren Kanders [ FIG 166 ] Bigger Than Morandi, 2007 Acrylic on fiber panel, with wood frame 75 3/4 × 52 in. (192.4 × 132.1 cm) Private collection [ FIG 175 ] Grandmother in Chair, 2007 Acrylic on fiber panel, with wood frame 52 × 69 1/2 in. (132.1 × 176.5 cm) Courtesy Gagosian Gallery, New York [ FIG 161 ] Horizon with Orange Sky, 2007 Pastel on paper 25 × 38 in. (63.5 × 96.5 cm) Private collection; courtesy David Nolan Gallery, New York [ FIG 164 ] Late Lunch, 2007 Acrylic, charcoal, handmade fiber and Formica on soundboard, with wood frame 75 1/4 × 51 in. (191.1 × 129.5 cm) Courtesy Gagosian Gallery, New York [ FIG 167 ] Woman with Cat, 2007 Acrylic on fiber panel, with wood frame 48 × 51 in. (121.9 × 129.5 cm) Private collection; courtesy Xavier Hufkens, Brussels [ FIG 162 ] Yellow Window, 2007 Oil pastel and charcoal on paper 37 3/4 × 25 in. (95.9 × 63.5 cm) Private collection; courtesy of David Nolan Gallery, New York [ FIG 179 ] As of June 1, 2012

Untitled (Bucket on floor), 2005 Charcoal on paper 25 × 37 3/4 in. (63.5 × 95.9 cm) Collection Michalke [ FIG 173 ] Untitled (Red bookcase), 2006 Pastel on flocked paper 27 1/4 × 39 in. (69.2 × 99.1 cm) Private collection; courtesy David Nolan Gallery, New York [ FIG 174 ]

235

Lenders to the Exhibition

Whitney Museum of American Art Board of Trustees

Whitney Museum of American Art Staff

Brooke Alexander Clara P. and Augustus T. Artschwager Richard Artschwager Barbara Krakow Gallery, Boston Brent Sikkema Eli and Edythe L. Broad Collection Carnegie Museum of Art, Pittsburgh Chazen Museum of Art, University of Wisconsin, Madison Paula Cooper David Nolan Gallery, New York Denver Art Museum Markus Dochantschi Milton and Sheila Fine Corinne Michaela Flick Frederick R. Weisman Art Foundation, Los Angeles Gagosian Gallery, New York Linda and Bob Gersh Hall Collection Elisabeth and Reinhard Hauff Mrs. David Hermelin Allison and Warren Kanders Sam and Sylvia Ketcham Kolodny Family Collection Kravis Collection Kunstmuseum Winterthur Barbara and Richard S. Lane Charles LeDray Thomas H. Lee and Ann Tenenbaum Ruth Lloyds and William Ehrlich The Metropolitan Museum of Art, New York Gail Monaghan William Monaghan Bob Monk Museum Ludwig, Cologne Museum of Contemporary Art, Chicago Museum of Fine Arts, Boston Museum of Modern Art, New York National Gallery of Art, Washington, D.C. Nerman Collection, Leawood, Kansas Edward and Danna Ruscha The Schweber Art Fund Sender Collection Dr. Irving Smokler The Sonnabend Collection Speyer Family Collection, New York Stefan T. Edlis Collection Rod Steinkamp Lizzie and Jonathan Tisch Lois B. Torf Virginia Museum of Fine Arts, Richmond Harriet and Larry Weiss Whitney Museum of American Art, New York Pat and Bill Wilson Yale University Art Gallery, New Haven Donald Young

Leonard A. Lauder Chairman Emeritus

Jay Abu-Hamda Stephanie Adams Adrienne Alston Ronnie Altilo Martha Alvarez-LaRose Marilou Aquino Emily Arensman I. D. Aruede Bernadette Baker John Balestrieri Michael Baptist Wendy Barbee-Lowell Amanda Barber Justine Benith Harry Benjamin Jeffrey Bergstrom Caitlin Bermingham Stephanie Birmingham Ivy Blackman Hillary Blass Richard Bloes Claire Bowman Leigh Brawer Carda Burke Douglas Burnham Ron Burrell Garfield Burton Jocelyn Cabral Pablo Caines Margaret Cannie Michael Cataldi Sophie Cavoulacos Inde Cheong Brooke Cheyney Ramon Cintron Randy Clark Ron Clark Melissa Cohen John Collins Arthur Conway Nicole Cosgrove Heather Cox Kenneth Cronan Donna De Salvo Robert Deeds Anthony DeMercurio Kristen Denner Eduardo Diaz Kate Dietrick Lauren DiLoreto Lisa Dowd Delano Dunn Anita Duquette Alvin Eubanks Eileen Farrell Rich Flood Seth Fogelman Meghan Forsyth

Private collections

236

Flora Miller Biddle Honorary Chairman Robert J. Hurst Brooke Garber Neidich Co-Chairmen Neil G. Bluhm President Melva Bucksbaum Susan K. Hess Raymond J. McGuire Robert W. Wilson Vice Chairmen Richard M. DeMartini James A. Gordon Warren B. Kanders Peter Norton John C. Phelan Scott Resnick Fern Kaye Tessler Thomas E. Tuft Vice President Joanne Leonhardt Cassullo Secretary Henry Cornell Treasurer Adam D. Weinberg Alice Pratt Brown Director

Steven Ames J.Darius Bikoff Pamella G. DeVos Beth Rudin DeWoody Fairfax N. Dorn Victor F. Ganzi Henry Louis Gates, Jr. Philip H. Geier, Jr. Sondra Gilman Gonzalez-Falla Anne Dias Griffin George S. Kaufman Emily Fisher Landau Raymond J. Learsy Jonathan O. Lee Thomas H. Lee Donna Perret Rosen Paul C. Schorr, IV Richard D. Segal Jonathan S. Sobel Elizabeth M. Swig Laurie M. Tisch Fred Wilson Joel S. Ehrenkranz Gilbert C. Maurer Honorary Gertrude Vanderbilt Whitney Founder

Carter Foster Samuel Franks Murlin Frederick Annie French Donald Garlington Larissa Gentile Robert Gerhardt Liz Gillroy Desiree Gonzalez Hilary Greenbaum Molly Gross Peter Guss Kate Hahm Kiowa Hammons Greta Hartenstein Barbara Haskell Matthew Heffernan Maura Heffner Dina Helal Claire Henry Jennifer Heslin Ann Holcomb Abby Hollingshead Nicholas S. Holmes Abigail Hoover Sarah Hromack Karen Huang Wycliffe Husbands Beth Huseman Chrissie Iles Carlos Jacobo Jonathan Johansen Julia Johnson Dolores Joseph Katie Josephson Diana Kamin Chris Ketchie David Kiehl Kathleen Koehler Tom Kraft Larissa Kunynskuj Sang Soo Lee Kristen Leipert Monica Leon Jen Leventhal Jeffrey Levine Danielle Linzer Kelley Loftus Robert Lomblad Sarah Lookofsky Doug Madill Carol Mancusi-Ungaro Louis Manners Joseph Mannino Heather Maxson

Jessica McCarthy Gene McHugh Kate McWatters Sandra Meadows Sarah Meller Bridget Mendoza Graham Miles Dana Miller David Miller Christa Molinaro Josue’ Morales Urbina Victor Moscoso Alissa Neglia Ruben Negron Graham Newhall Carlos Noboa Thomas Nunes Rory O’Dea Rose O’Neill-Suspitsyna Brianna O’Brien Lowndes Nelson Ortiz Barbara Padolsky Alexandra Palmer Jane Panetta Amanda Parmer Christiane Paul Ailen Pedraza Laura Phipps Angelo Pikoulas Kathryn Potts Linda Priest Frank Procaccini Eliza Proctor Vincent Punch Stina Puotinen Christy Putnam Jessica Ragusa Brian Reese Natalie Reid Gregory Reynolds Emanuel Riley Ariel Rivera Felix Rivera Nicholas Robbins Jeffrey Robinson Georgianna Rodriguez Gina Rogak Justin Romeo Joshua Rosenblatt Amy Roth Scott Rothkopf Carol Rusk Jennifer Saftler Angelina Salerno Leo Sanchez Rafael Santiago Galina Sapozhnikova Lynn Schatz

Brittanie Schmeider Gretchen Scott Peter Scott Michelle Sealey David Selimoski Jason Senquiz Ai Wee Seow Amy Sharp Elisabeth Sherman Kasey Sherrick Jessica Sigalow Sasha Silcox Matt Skopek Beth Snyder Michele Snyder Joel Snyder Stephen Soba Veronica Speck Barbi Spieler Carrie Springer John S. Stanley Mark Steigelman Berry Stein Minerva Stella Betty Stolpen Hillary Strong Emilie Sullivan Jacqueline Sullivan Denis Suspitsyn Elisabeth Sussman Christine Taguines Kean Tan Ellen Tepfer Latasha Thomas Phyllis Thorpe Ana Torres Beth Turk Ray Vega Snigdha Verma Eric Vermilion Farris Wahbeh Esme Watanabe Cecil Weekes Adam D. Weinberg Margie Weinstein Amy Levin Weiss Marissa Wendolovske Alexandra Wheeler Michelle Wilder John Williams

237

Index

Page numbers in italics refer to illustrations. All works are by Richard Artschwager unless otherwise indicated. About a Black Magic Maker (Westermann), 108, 109 Abstract Expressionism, 7, 107, 110 Adrian, Dennis, 107 – 8 After Walker Evans: 11 (Levine), 81, 81 Against Interpretation (Sontag), 115 Allan Frumkin Gallery (Chicago), 108 American Pop Art (Whitney Museum, 1974), 188, 197 Amerikansk Realism exhibition (Lunds Konsthall, Lund, 1974), 78, 197 Andre, Carl, 70, 88n11 André Emmerich Gallery (New York), 11 Archipelago exhibition (Portikus, Frankfurt, 1993), 85, 192 architectural facade designs, 189, 189 Arizona, 8, 9, 232 Armleder, John, 83, 88n30, 203, 206 Armstrong, Richard, 83, 85 “Art and Reason” (essay), 2 – 4, 36 Art by Telephone exhibition (Museum of Contemporary Art, Chicago, 1969), 71, 71, 84, 88nn14 – 15, 196 Art Directions Gallery (New York), 109, 188, 195 Art in America (pub.), 83 Art Institute of Chicago, 108, 171n1, 198 Artists Space (New York) Pictures exhibition (1977), 81 Steinbach exhibition (1979), 81, 82 Artnews (pub.), 67 Artschwager, Ann (wife), 157, 166, 194 Artschwager, Elfriede (wife), 163 Artschwager, Ernst (father), 1, 109, 157, 202 Artschwager, Eugenia (mother), 1, 26, 45n2, 157, 163 Artschwager, Margarita (sister), 157 Artschwager, Richard activism of, 204 architectural designs, 189, 189 “Art and Reason” (essay), 2 – 4, 36 art dealers, 4, 31 art education, 26, 45n2, 188 artistic influences on, 5, 80, 83, 88n11, 88n23, 109 – 10, 171n1 (see also specific names) Autobiographical Fragment, 109 awards, 189 birth (1923) and childhood of, 1, 80, 157, 162, 188 “blp,” beginning of (1967), 26, 67 – 69, 88n11, 118, 157, 188 children of, 163 chronology, 188 – 89

238

commissions and percent-for-art projects, 31, 34, 34, 36, 189, 203 critics on, 31, 67, 79 – 80, 83 – 85, 88n27, 109 – 10, 157 early jobs, 8, 188 “eccentricity” in art, 27, 78, 80, 81, 101 first art exhibition (1959), 109, 110, 188 furniture design (see furniture design) in Hamburg, 73, 80, 189 in New York, 8, 26, 152, 157, 188 installations, 31, 34, 34, 35, 69 – 71, 70, 71, 85, 109, 197, 199 landscape paintings, 2, 43 – 44 lectures, 163, 167, 167, 170, 171n19 – 20 military service, 4, 67, 109, 163, 171n14, 171n16, 188 on Celotex as medium, 153, 156, 166 on Formica as medium, 111, 152, 153, 166 on hybrid objects, 11 on multipanel paintings, 17 – 19 parents of, 1 (see also specific names) photographs of, 71, 102, 187, 188, 191, 192, 193, 194, 196, 207, 211 portraiture, 39 punctuation forms, use of, 26, 43, 67, 114 readymades, 67, 84, 85 rubberized hair, use of, 26, 36, 85 – 86, 188 self-portraits, 39, 42, 149, 151, 174, 232 series, artwork, 9, 80, 85, 189 sound-effect record, 88n12 stage set design, 189, 205 still-life paintings, 43 studies at Cornell University, 2, 109, 188 studios, 26, 36, 157, 191, 211 teaching residency (UC Davis), 19, 26, 67, 188 Artschwager, Richard (group exhibitions, selected) American Pop Art (Whitney Museum, 1974), 188, 197 Amerikansk Realism (Lunds Konsthall, Lund, 1974), 78, 197 Art by Telephone (Museum of Contemporary Art, Chicago, 1969), 71, 71, 84, 88nn14 – 15, 196 Art Directions Gallery (New York, 1959), 109, 110, 195 Artschwager: His Peers and Persuasion (Daniel Weinberg Gallery, Los Angeles, 1988), 88n29, 203 Aspects of New Realism (Milwaukee Art Center, 1969), 78, 196 Carnegie International (1995), 85, 206 Documenta 5 (Kassel, 1972), 78, 197 Documenta 9 (Museum Fridericianum, Kassel, 1992), 206, 206 Ekstrem Realisme (Louisiana Museum, Humlebaek, 1973), 78, 197

557,087 (Seattle Art Museum Pavilion, 1969), 70, 196 Hayden Gallery (MIT, 1981), 31, 199 Information exhibition (Museum of Modern Art, New York, 1970), 71, 196 Introducing Artschwager, Christo, Hay, Watts (Leo Castelli Gallery, New York, 1964), 188, 189 Leo Castelli Gallery (New York, 1964), 188, 189, 195 – 206, 208, 210, 212 Live in Your Head (Kunsthalle Bern, 1969), 70, 196 955,000 (Vancouver Art Gallery, 1970), 70, 196 Pop Art Redefined (Hayward Gallery, London, 1969), 88n10, 195 Primary Structures (Jewish Museum, New York, 1966), 67, 68, 188, 195 Radical Realism (Museum of Contemporary Art, Chicago, 1970), 78, 196 Rooms (P.S. 1, New York, 1976), 199 Skulptur Projekte (Westfalisches Landesmuseum, Münster, 1987), 34, 34, 203 Sonsbeek Buiten de Perken (Sonsbeek Beyond Lawn and Order) (Utrecht 1971), 70, 88n12, 197, 197 Using Walls (Indoors) (Jewish Museum, New York, 1970), 71, 88n13, 196, 196 Artschwager, Richard (one-person exhibitions, selected) Archipelago (Portikus, Frankfurt, 1993), 85, 192 Clocktower Gallery (Institute for Art and Urban Resources, New York, 1978), 70, 190 Elvehjem Museum of Art (Madison, Wisconsin, 1991), 192 Fondation Cartier pour l’art contemporain (Paris, 1994), 192, 193 Konrad Fischer (Düsseldorf, 1968), 69, 70, 188, 189, 190 Leo Castelli Gallery (New York, 1965), 109, 109, 188, 190 Mary Boone Gallery (New York, 1994), 34 – 36, 35, 89n34, 192 Richard Artschwager: Sculpture, 1962 – 1968 (Mary Boone Gallery, 1986), 83, 88n25, 191 Städtische Kunsthalle (Düsseldorf, 1988), 189, 192, 192 Zu Gast in Hamburg (Kunstverein Hamburg, 1978), 80, 190, 191 Artschwager: His Peers and Persuasion exhibition (Daniel Weinberg Gallery, Los Angeles, 1988), 88n29, 203 Arts Magazine (pub.), 88n1 Aschheim, Eve, 45n18 Aspects of New Realism exhibition (Milwaukee Art Center, 1969), 78, 196 Autobiographical Fragment, 109

Baby, 8, 8, 36, 228 Basket, Mirror, Window, Rug, Table, Door, 28, 29, 230 Basket Table Door Window Mirror Rug, 80, 135 Basquiat, Jean-Michel, 80 – 81 Battcock, Gregory, 79 Battery Park City (New York) Sitting / Stance, 34, 189 Bechtle, Robert ’64 Valiant, 78, 78 Beelden in de Stad exhibition (Museum Boijmans van Beuningen, Rotterdam, 1988), 203, 204 Benjamin, Walter “Work of Art in the Age of Mechanical Reproduction, The,” 19 Berceuse, 168 Bern Kunsthalle, 70 Beuys, Joseph, 84, 167 Bickerton, Ashley, 83, 88n30, 206 Bigger Than Morandi, 180 Bin Laden, Osama, 39, 42, 175, 232 Blp at Turtle Bay steam plant, New York (c. 1968), 118, 119 at University of California, Davis (1968), 67, 69, 76, 188 “blp” beginning of (1967), 26, 67 – 69, 88n11, 118, 157, 188 Blps (black paint on wood, 1968), 229 Brush Blp, 26, 26, 230 Hair Blp, 26, 71, 229, 230 installations, 69 – 71, 76, 77, 118, 119 Locations, 75, 229 Wood Blp, 26, 229 Bochner, Mel, 80 Bonnard, Pierre, 171n1 Bontecou, Lee, 4, 197, 198, 208 Book, 94 Bookcase III, 27, 138, 230 Bookends, 94, 231 Boone, Mary as Artschwager’s dealer, 31 See also Mary Boone Gallery (New York) Bowl of Peaches on Glass Table, 40, 42 Bread, 50, 229 Bristle Corner, 72, 231 Brush, 190, 229 Brush Blp, 26, 26, 230 Building Riddled with Listening Devices (Alpha), 96, 231 Building Riddled with Listening Devices (Beta), 96, 231 Buren, Daniel, 67, 208 Bush, George W., 39, 42, 175, 232 Bush, The, 79, 159 Bushes III, 2, 229

Cactus Scape II, 230 Carnegie International exhibition (1995), 85, 206 Carnegie International Prize awarded to Artschwager (1995), 189 Carnegie Museum of Art (Pittsburgh), 85, 189, 206 Castelli, Leo as Artschwager’s dealer, 4 See also Leo Castelli Gallery (New York) Cathedral Square, Milan (Richter), 9 – 10, 11 Cave (If you lived here, you’d be home now), The, 31, 32, 231 Centre Georges Pompidou (Paris), 189 Cerise, 86 Chair, 86, 87, 232 Chair / Chair, 99, 202, 232 Chair / Chair III, 84, 85 Chair Table, 102, 114 Chazen Museum of Art (University of Wisconsin, Madison), 34, 36 Christo, 109, 188, 189 Clemente, Francesco, 80 – 81 Clocktower, Institute for Art and Urban Resources exhibition (New York, 1978), 70, 190 Close, Chuck, 78, 198 commercial desk (furniture design), 153 Conceptualism, 5, 80 and Artschwager, 69, 70, 78, 79, 88n10, 109, 110 and Weiner, 87 Conner, Bruce, 104 Construction with Indentation, 103, 229 Contemporary Arts Center (Cincinnati, 1998), 85, 85 Cornell, Joseph, 106 – 7, 108, 110, 118, 119 Untitled (Homage to Blériot), 106, 107 Cornell University Artschwager’s studies at, 2, 109, 188 Corner, 112 – 14, 114, 231 Corner Mirror, 69, 70 Cottingham, Robert, 78 Counter II, 11, 14, 45n26, 118 “Crates” series, 85, 85, 86, 89n34 beginning of (1992), 189 Crimp, Douglas, 81 Crouching Man II, 36, 86, 86 Cubism, 88n23

Description of a Table, 111, 111 – 12, 152, 228 “Destruction” series (1972), 9, 45n27 and Recollection (Vuillard), 156, 162 – 63 Traymore Hotel, as subject of, 17 – 19 use of Celotex for, 9, 79 Destruction I, 17, 20, 229 Destruction II, 17, 21, 229 Destruction III, 22, 229 Destruction IV, 17, 23, 229 Destruction V, 17 – 19, 24, 229 Destruction VI, 17 – 19, 25, 229 Different Drummers (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1988), 104, 104 – 5 Diptych, 56 – 57 Documenta 5 (Neue Galerie and Museum Fridericianum, Kassel, 1972), 78, 197 Documenta 9 (Museum Fridericianum, Kassel, 1992), 206, 206 Door, Mirror, Table, Basket, Rug, Window D, 26 – 27, 80, 136, 230 Door II, 31, 83, 124, 231 Door }, 80, 83, 84 Door Window Table Basket Mirror Rug, 80, 128 – 33, 134, 230 “Door Window Table Basket Mirror Rug” series, 80, 85 beginning of (1974), 188 Double Dinner, 29, 29, 230 Dragset, Ingar, 87

Daniel Weinberg Gallery (Los Angeles) Artschwager: His Peers and Persuasion (1988), 88n29, 203 David, Jacques-Louis, 85 David Nolan Gallery (New York), 189, 189 Artschwager’s exhibitions at, 194, 211, 212 Dedobbeleer, Koenraad, 87 De Maria, Walter, 109 Derfner, Phyllis, 79 – 80

Face, 191 Fahlström, Öyvind, 104 Family Lunch, The (Vuillard), 149, 152, 166 Fer, Briony, 45n25, 45n34 Fetching Tune, 177, 232 Fischer, Konrad, 69, 80 See also Konrad Fischer (Düsseldorf)

Eddy, Don, 78 Ekstrem Realisme exhibition (Louisiana Museum, Humlebaek, 1973), 78, 197 Elmgreen, Michael, 87 Elvehjem Museum of Art (Madison), 34, 36, 189 See also Chazen Museum of Art Emerson, Ralph Waldo, 105, 106 Equilibrium exhibition (International With Monument, New York, 1985), 81 Evans, Walker, 81 Exclamation Point, 26, 114, 117, 228 Exclamation Point (Chartreuse), 41, 43, 114, 232 Exit — Don’t Fight City Hall, 199 Expression and Impression, 52

Fischer, Urs Service à la française, 86, 87 557,087 exhibition (Seattle Art Museum Pavilion, 1969), 70, 196 Five Scratches, 61, 229 Fondation Cartier pour l’art contemporain (Paris), 192, 193 Four Approximate Objects, 95, 230 4th Cross, 185, 232 furniture design Artschwager on, 7 commercial desk, 153 critics on, 83, 88n1, 88n4, 88n25 and furniture-inspired sculpture, 12, 15, 31, 83, 84, 85, 86, 87, 99, 102 outdoor commissions, 31, 34, 34, 36, 189 and use of Formica, 11, 36, 88n30, 152 and Workbench store, 150, 171n2 Galles, Arie, 71, 71 Garden, 17, 18 – 19 Gardner, Colin, 88n29 Generations, 34, 36, 189 Generations III, 36 – 37, 37, 232 Georg Kargl BOX (Vienna), 189, 189 Geo. W. Bush, 39, 42, 175, 232 Gertsch, Franz, 78 Gettings. Frank, 104 – 5 Gila Watershed, 109, 110 Gober, Robert, 83, 204 Goings, Ralph, 78 Goldstein, Jack, 83, 88n12 Goodrich, Lloyd, 105 Grandmother in Chair, 162 – 63, 164 Greenberg, Clement, 5 Green Gallery (New York), 11 Hair Blp, 26, 71, 229, 230 “Hair Boxes,” 85 – 86 Hair Sculpture — Shallow Recess Box, 64, 229 Halley, Peter, 83, 204 Handle I, 11, 11, 118 Harnett, William, 107, 119 Haskell, Barbara, 107 Hay, Alex, 109, 188, 189 Hayden Gallery (MIT), 31, 199 Hayward Gallery (London), 211 Pop Art Redefined exhibition (1969), 88n10, 196 Heiser, Jörg, 45n19, 110 Hesse, Hermann, 167, 170 Hirshhorn Museum and Sculpture Garden (Washington, D.C.) Different Drummers exhibition (1988), 104, 104 – 5 Homer, William Innes, 105 Horizon, 97, 231 Horizon with Orange Sky, 162, 166 Hydraulic Door Check, The, 232 Imitation Knotty Pine (Westermann), 109, 109 Information exhibition (Museum of Modern Art, New York, 1970), 71, 196

239

Institute for Art and Urban Resources (New York), 70, 190 Interior (North), 79, 161, 229 Interior #2, 93, 230 In the Driver’s Seat, 44, 183, 232 Introducing Artschwager, Christo, Hay, Watts (Leo Castelli Gallery, 1964), 188, 189 Janus III (Elevator), 31, 34, 230 Jensen, Alfred, 101, 104 Jewish Museum (New York), 196 Primary Structures exhibition (1966), 67, 68, 188 Using Walls (Indoors) (1970), 71, 88n13, 196, 196 Johns, Jasper, 4, 197, 198, 201, 202, 204, 205 as artistic influence, 7, 45n16, 109 No, 7, 7 Johnson Wax Building, 54 Jonah (Ryder), 105, 106 Journal II, 30 – 31, 31, 80, 231 Judd, Donald, 118, 197, 198, 201, 206, 210 debut at Green Gallery (New York), 11 and Minimalism, 87 on Artschwager’s art, 88n1, 109 – 10, 111 “Specific Objects,” 45n23, 109 – 10, 125n28 Karp, Ivan, 4 Kertess, Klaus, 88n29 König, Kasper, 80 Konrad Fischer (Düsseldorf), 69, 70, 188, 190 Koons, Jeff, 81 – 84, 88n30 Kord, Victor, 71, 71 Kubler, George, 104, 124 Kunsthalle Bern (Switzerland) Live in Your Head exhibition (1969), 196, 196 Kunstverein Hamburg, 80, 190, 191 Large Interior with Six Figures (Vuillard), 162, 163 Larson, Kay, 83, 88n27 Las Cruces, New Mexico Artschwager’s childhood in, 1, 157, 162 Late Lunch, 169 Leary, Timothy, 5 Leavitt, William Manta Ray, 81, 82 Lefrak City, 49 L’Enigme d’Isidore Ducasse (Man Ray), 85, 85 Leo Castelli Gallery (New York) Artschwager’s association with, 4, 85, 109 Artschwager’s one-person exhibitions at, 109, 109, 188, 190, 191, 192, 194

240 index

group exhibitions, 188, 189, 195 – 206, 208, 210, 212 Levine, Sherrie, 81, 83, 89n31, 89n33 After Walker Evans: 11, 81, 81 Lichtenstein, Roy, 4, 109, 188, 195, 197, 198, 201 – 6 Life Magazine (pub.), 68 Light Bulbs, 43, 181, 232 Lippard, Lucy, 70 Live in Your Head exhibition (Kunsthalle Bern 1969), 196, 196 Locations, 75, 229 Logus (Blue Logus), 16, 17, 229 Longo, Robert, 81 Long Table with Two Pictures, 152, 154 Loos, Adolf, 189 Los Angeles Museum of Contemporary Art Artschwager retrospective (traveling exhibition, 1988), 189 Louisiana Museum (Humlebaek) Ekstrem Realisme exhibition (1973), 78, 197 Lubell, Ellen, 78 Luckow, Dirk, 88n23 Lunch for Two, 29, 165, 232 Lunds Konsthall (Lund) Amerikansk Realism exhibition (1974), 78, 197 Macadam, 44, 44, 232 Madoff, Steven Henry, 88n25 Magritte, Rene, 80, 85, 208, 210 Manet, Édouard, 85 Man Ray, 106 L’Enigme d’Isidore Ducasse, 85, 85 Manta Ray (Leavitt), 81, 82 Marisol, 4 Marlowe, Christopher, 189, 205 Mary Boone Gallery (New York) Artschwager’s first exhibition at (1983), 189 Artschwager’s one-person exhibitions, 34 – 36, 35, 83, 88n25, 89n34, 189, 191 – 93 group exhibitions, 199, 201, 203, 207, 212 Massachusetts Institute of Technology. See Hayden Gallery (MIT) Matisse, 4 McCollum, Allan, 83, 209 McLuhan, Marshall, 5 McShine, Kynaston, 71, 188 McVeigh, Timothy, 37 – 39 in Untitled (1996), 39, 39, 231 See also Natural Selection Merleau-Ponty, Maurice, 11 Milton College (Wisconsin), 171n19 Milwaukee Art Center Aspects of New Realism exhibition (1969), 78, 196 Minimalism, 5, 80, 87 and Artschwager, 67, 79, 88n4, 88n10, 109, 110 Primary Structures exhibition (Jewish Museum, New York, 1966), 67, 68, 188

“Specific Objects” (Judd), 45n23, 109 – 10, 125n28 and Westermann, 108 Moll, Hans, 194 Morley, Malcolm, 78, 109 Morris, Robert, 70, 197, 198, 202, 204, 206 debut at Green Gallery (New York), 11 influence on Artschwager, 88n11 Motherwell, Robert, 107 Museum Boijmans van Beuningen (Rotterdam) Beelden in de Stad exhibition (1988), 203, 204 Museum Fridericianum (Kassel) Documenta 5 (1972), 78, 197 Documenta 9 (1992), 206, 206 Museum Ludwig (Cologne), 31, 196, 205 Museum of Contemporary Art (Chicago), 190, 195, 198 – 201, 204, 209, 212, 213 Art by Telephone exhibition (1969), 71, 71, 84, 88nn14 – 15, 196 Radical Realism exhibition (1970), 78, 196 Museum of Modern Art (New York), 195, 196, 199, 206 – 12 Artschwager’s lecture at, 167 Fantastic Art, Dada, Surrealism (1936), 106 Information (1970), 71, 196 1960s: Paintings and Sculptures from the Museum Collection, The (1967), 195 Nabis, 149 – 50 Natural Selection, 37 – 39, 38, 231 neo-Dadaism, 108 “Neo-Geo” art, 83, 88n25 neo-Plasticism, 88n23 Neue Galerie (Kassel) Documenta 5 (1972), 78, 197 New Housing, 55, 228 New Mexico Artschwager’s childhood in, 1, 157, 162 New York Artschwager in, 8, 26, 152, 157, 188 Blp (Turtle Bay steam plant, New York, c. 1968), 118, 119 Sitting/Stance (New York, 1988), 34, 189 955,000 exhibition (Vancouver Art Gallery, 1970), 70, 196 No (Johns), 7, 7 Oldenburg, Claes, 88n1, 88n4, 109 100 Locations, 69, 71, 118 On Its Way, 146 On Photography (Sontag), 19, 45n28 Organ Mountains (photograph), 167, 167 Organ of Cause and Effect III, 31, 118, 122, 230 Osama, 39, 42, 175, 232

Ozenfant, Amédée Artschwager’s studies with, 45n2, 88n23, 109, 188 Painted Desert (Green), 162, 162, 232 Palacio de Velázquez (Madrid) Artschwager retrospective (traveling exhibition, 1989), 189 Pastoral IV, 147, 231 Peto, John, 107, 119 Photorealism, 78, 79, 80 Piano #1, 228 Pictures exhibition (Artists Space, New York, 1977), 81 Pincus-Witten, Robert, 88n4 Plaque, 63, 229 Plowed Field and Grove, 42, 44, 228 Plush (Westermann), 109 Pointillism, 171n1 Polish Rider I, 79, 158, 229 Polish Rider III, 78, 79 Polish Rider IV, 78 Polke, Sigmar, 45n19, 80 Pollock, Jackson, 110 Pop art, 5, 80 and Artschwager, 11, 67, 79, 88n4, 88n10, 109, 110 and Cornell, 107 and Richter, 9, 45n19 Russell on, 88n10 and Westermann, 108 Pop Art Redefined exhibition (Hayward Gallery, London, 1969), 88n10, 195 Portikus (Frankfurt), 85, 192 Portrait I, 110, 111 Portrait II, 11, 12, 228 Portrait of Holly Solomon, 58, 229 Portrait Zero, 5, 6, 31, 228 Positive Thought, A (Westermann), 109 Post-Impressionism as influence on Artschwager, 36, 43, 149, 171n1 Primary Structures exhibition (Jewish Museum, New York, 1966), 67, 68, 188 Princenthal, Nancy, 89n34 Projekt Utrecht (Utrecht) Sonsbeek Buiten de Perken (Sonsbeek Beyond Lawn and Order), 70, 88n12, 197 Proust, Marcel, 29, 45n34, 150 Pruitt, Rob, 87 P.S. 1, Institute for Art and Urban Resources (New York) Rooms (1976), 199 Purism, 109 Pyramid (Table / Window/ Mirror / Door / Rug / Basket), 27, 118, 121 Question Mark — Three Periods, 114, 116 Quietly With Determination Boycott Exxon, 204 Quotation Marks, 26, 26, 230

RA-26, 231 Radical Realism exhibition (Museum of Contemporary Art, Chicago, 1970), 78, 196 Ratcliff, Carter, 78 Rauschenberg, Robert, 4, 197, 198, 201, 202, 204 – 6 Realism, 78, 79 Recollection (Vuillard), 151, 157, 162 – 63, 167, 232 Artschwager’s early furniture works portrayed in, 152 – 53 Artschwager’s paintings portrayed in, 156 Artschwager’s self-portrait in, 149, 150, 157, 170 Rhode Island School of Design, 171n19 Richter, Gerhard, 9, 11, 45n19, 80, 203 Cathedral Square, Milan, 9 – 10, 11 Rights of Man, 40, 42 Road to Damascus, 6 – 7, 7, 228 Rocker, 67 Rocket, 60 Rooms exhibition (P.S. 1, New York, 1976), 199 Rose, Barbara, 67 Rosenquist, James, 109, 188, 195, 197, 198, 201 – 5 Russell, John, 88n10 Ryder, Albert Pinkham, 101, 105 – 6, 110 Jonah, 105, 106 Sailors, 37 – 39, 39 San Francisco Museum of Modern Art Artschwager retrospective (traveling exhibition, 1988), 189 Satyr, 232 Saul, Peter, 104 Schaffner, Ingrid as Artschwager’s archivist (1991 – 94), 156 – 57 on Artschwager’s exhibition at Mary Boone Gallery (1994), 34 Schjeldahl, Peter, 83 School of Paris, 109 Schwabsky, Barry, 83 Seated Group, 9 – 10, 10, 228 Seattle Art Museum Pavilion, 70, 196 See By Looking / Hear By Listening, 118, 118 Self-Portrait, 174, 232 Service à la française (Fischer), 86, 87 Seurat, Georges Sunday on La Grand Jatte, 171n1 Sherman, Frederic Fairchild, 105 Simulationism, 83 Sitting and Not, 31, 33, 231 Sitting / Stance, 34, 189 ’64 Valiant (Bechtle), 78, 78

Skowhegan Award awarded to Artschwager (1993), 189 Skulptur Projekte exhibition (Westfalisches Landesmuseum, Münster, 1987), 34, 34, 203 Smith, Roberta, 80 Solomon, Deborah, 106, 107 Solomon, Holly, 58, 229 Sonnabend Gallery (New York), 83, 88n25, 203 Sonsbeek Buiten de Perken (Sonsbeek Beyond Lawn and Order) exhibition (Utrecht, Netherlands,1971), 70, 88n12, 197, 197 Sontag, Susan Against Interpretation, 115 On Photography, 19, 45n28 Splatter Chair I, 31, 112, 112 – 13 “Splatter Pieces” series beginning of (1990 – 91), 189 Sprüth Magers exhibition (Cologne, 2004), 194 Städtische Kunsthalle exhibition (Düsseldorf, 1988), 189, 192, 192 Steinbach, Haim, 81, 82, 83 – 84, 88n30 Stella, Frank, 4, 109, 188, 195, 197, 198, 203, 205 Still Life, 87, 232 Storr, Robert, 109 “Strange Primary Structures” (Life Magazine, 1967), 68 StudioMDA (New York), 189, 189 Sturtevant, 84, 89n31 Sunday on La Grande Jatte (Seurat), 171n1 Surrealism, 80, 83, 106 – 7, 108 and Artschwager, 80, 89n34 and Cornell, 106 – 7 and Westermann, 108 Swivel, 11, 15, 228 Szeemann, Harald, 70 t, w, m, d, r, b (drypoint, 1979), 230 t, w, m, d, r, b (etching, aquatint and drypoint, 2003), 232 Taaffe, Philip, 83 Table, 27, 27, 230 Table (Somewhat), 43, 176, 232 Table Prepared for the Presence of Enemies, 118, 123, 231 Table with Pink Tablecloth, 67, 68, 152 Taj Mahal II, 31, 141 Tank, 143, 231 Tasset, Tony, 83 Thoreau, Henry David, 104, 105 Thruway, 29, 140, 230 Tintoretto’s “The Rescue of the Body of St. Mark,” 26, 65 Tower, 11, 53 Tower III (Confessional), 139 Tragical History of Doctor Faustus, The (Marlowe), 189, 205 Train Wreck, 62, 229 Traymore Hotel (Atlantic City), 9, 17, 156

See also “Destruction” series (1972) TriBeCa municipal building (New York). See Clocktower, Institute for Art and Urban Resources exhibition (New York, 1978) Triptych, 11, 13, 228 Triptych (With Nude) (Diptych IV), 17, 17, 229 Triptych IV, 59 Triptych V, 17, 79, 160, 229 Truitt, Anne, 11 Twombly, Cy, 110 Two Studies for Destruction series, 198, 229 University of California, Davis Artschwager’s teaching residency at, 19, 26, 67, 188 University of Southern California, Los Angeles Artschwager’s stage set design for, 189, 205 Untitled (1952, oil on canvas), 48 Untitled (1962, acrylic on canvas), 3, 110, 228 Untitled (1962, acrylic on Celotex), 48, 228 Untitled (1963, Formica and wood), 9, 228 Untitled (1969, rubberized hair), 64, 229 Untitled (1971, wood, brass, glass, and horsehair), 118, 118, 229 Untitled (1976, rubber stamp), 93 Untitled (1978, graphite on paper), 80, 137, 230 Untitled (1987, concrete and two trees), 34, 34 Untitled (1988, temporary sculpture for Beelden in de Stad, Rotterdam), 203, 204 Untitled (1990, charcoal and graphite on paper), 80, 142, 231 Untitled (1994, wood and metal), 231 Untitled (1996, acrylic on Celotex, with aluminum frame), 39, 39, 231 Untitled (Book), 57, 228 Untitled (Bucket on floor), 178 Untitled (Diptych), 51, 228 detail, cover Untitled (Formica and Wood Construction), 118, 118 Untitled (Homage to Blériot) (Cornell), 106, 107 Untitled (Natural Selection), 231 Untitled (Potatoes V), 146, 231 Untitled (Project for Hamburg) (two works), 73, 230 Untitled (Red bookcase), 179 Untitled (Road with Trees), 182, 232 Untitled (1000 Cubic Inches), 231 Up and Across, 114, 115

Using Walls (Indoors) exhibition (Jewish Museum, 1970), 71, 88n13, 196, 196 Vaisman, Meyer, 83, 88n25, 88n30, 204 – 6 Vancouver Art Gallery, 70, 196 Van der Leck, Bart, 88n23 Van der Marck, Jan, 71, 71, 88n14 Vertical Challenge, 144 Vuillard, Edouard, 149 – 50, 171n1 Family Lunch, The, 149, 152, 166 Large Interior with Six Figures, 162, 163 Waldman, Diane, 106 – 7, 198 Walker, 152, 155 Wall, 71, 88n13, 196 Warhol, Andy, 4, 84, 110 in exhibitions, 109, 188, 195, 198, 201, 203, 204, 205, 207 influence on Artschwager, 109 Watermelon, 43, 44, 232 Watts, Robert, 109, 188, 189 Weaving #14, 105, 230 Weiner, Lawrence, 87 Welish, Marjorie, 88n11 Welles, Orson, 189, 205 Westermann, H. C., 107 – 9, 110, 111, 118, 125n28 About a Black Magic Maker, 108, 109 Imitation Knotty Pine, 109, 109 Plush, 109 Positive Thought, A, 109 Westfalisches Landesmuseum (Münster), 199, 208 Skulptur Projekte exhibition (1987), 34, 34, 203 White Cherokee, The, 142, 231 White Table, 29, 140 Whitney Museum (acrylic on Celotex), 54, 228 Whitney Museum of American Art (New York), exhibitions at, 192, 195 – 98, 201 – 8, 212, 213 American Pop Art (1974), 188, 197 Artschwager retrospective (1988 – 89), 83, 189 Westermann exhibition (1978), 107 Whitney Annual (1968), 69, 71, 118 Williamsburg Pagoda, 145, 230 Window / Table, 146, 230 Woman with Cat, 162 – 63, 164, 166 Wood Blp, 26, 229 Workbench (company), 150, 171n2 “Work of Art in the Age of Mechanical Reproduction, The” (Benjamin), 19 Yau, John, 83 Yellow Window, 184 Yes/ No Ball, 92, 230 Zu Gast in Hamburg (Kunstverein Hamburg, 1978), 80, 190, 191

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Photographic Credits

Individual works of art appearing herein may be protected by copyright in the United States of America, or elsewhere, and may not be reproduced in any form without the permission of the rights holder. In reproducing the images contained in this publication, the publisher obtained the permission of the rights holders whenever possible. The copyright holders, photographers, and sources of visual material other than those indicated in the captions are as follows. Every effort has been made to credit the copyright holders, photographers, and sources; if errors or omissions are identified, please contact the Whitney Museum of American Art so that corrections can be made in any subsequent edition. Numbers in parentheses refer to image numbers. p. 6: copyright © Richard Artschwager, courtesy Sprüth Magers, Berlin and London; p. 7 (4): photograph by Richard Carafelli, National Gallery of Art; p. 7 (5): art copyright © Jasper Johns/Licensed by VAGA, New York, NY; p. 8 (6): photograph by J. Littkeman; p. 8 (7): © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 9: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 24: photograph by Dorothy Zeidman; p. 10 (9): © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY; p. 11 (10): © Gerhard Richter 2012; p. 13 (13): Nathan Keay, © Museum of Contemporary Art Chicago; p. 14 (14): Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution; p. 15 (15): © The Metropolitan Museum of Art. Image source: Art Resource, NY; pp. 18–19 (18): photograph by Mitro Hood; p. 22 (21): Courtesy Mary Boone Gallery, New York; p. 25: photograph courtesy The Pace Gallery; p. 32: photograph by Dorothy Zeidman; p. 33: photograph by Adam Reich; p. 36: photograph by Eric Oxendorf; p. 37: © Richard Artschwager, courtesy Gagosian Gallery.

Photograph by Robert McKeever; p. 38: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 40 (41): photograph by Tim McAfee; p. 40 (42) Leo Castelli Gallery Records, Archives of American Art, Smithsonian Institution; p. 40 (42): photograph by Dorothy Zeidman; p. 41: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 50: © The Metropolitan Museum of Art. Image source: Art Resource, NY; p. 52: photograph by Sheldan C. Collins; p. 53: © The Museum of Modern Art/Licensed by SCALA/ Art Resource, NY; p. 54 (54): © The Museum of Modern Art/ Licensed by SCALA/Art Resource, NY; p. 56: photograph by Tiffany Matson; p. 58: photograph by Ian Reeves; p. 60: photograph by D. James Dee; p. 61: photograph © 2012 The Museum of Fine Arts, Boston; p. 63: © Schweizerisches Institut für Kunstwissenschaft, Zürich, Philipp Hitz; p. 64 (65): photograph by Douglas M. Parker; p. 64 (66): image courtesy the National Gallery of Art; p. 68 (68): © The Art Institute of Chicago; p. 73 (78): © The Museum of Modern Art/Licensed by SCALA/ Art Resource, NY; p. 75: courtesy Brooke Alexander, Inc.; p. 78: copyright © Robert Bechtle, courtesy the artist and Gladstone Gallery, New York and Brussels; p. 81: copyright © Sherrie Levine, courtesy Paula Cooper Gallery, New York, copyright © Walker Evans Archive, The Metropolitan Museum of Art, New York, photograph copyright © 2000 Whitney Museum of American Art, New York. Photograph by Geoffrey Clements; p. 82 (86): courtesy the artist and Tanya Bonakdar Gallery, New York. Photograph courtesy Artists Space; p. 82 (87): photograph by Brian Forrest; p. 84 (89): photograph by Nathan Rabin; p. 85 (90): © Tate, London 2011 (91) photograph by Tim Nighswander/Imaging4Art; p. 86: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 87 (94): © Richard Artschwager, courtesy Gagosian Gallery. Photograph by

Robert McKeever; p. 87 (95): photograph courtesy the artist, Gavin Brown’s Enterprise, New York, Sadie Coles HQ, London, and Galerie Eva Presenhuber, Zurich. Photograph by Benoit Pailley; p. 92: Nathan Keay, © Museum of Contemporary Art Chicago; p. 93 (97): © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY; p. 94 (99): courtesy Brooke Alexander, Inc.; pp. 96–97: photograph by Robert Gerhardt; p. 99: © 2001, Whitney Museum of American Art, New York. Photograph by Eva Heyd; p. 103: photograph by Sheldan C. Collins; p. 106: photograph courtesy Smithsonian American Art Museum, Washington, D.C./Art Resource, NY; p. 107: art copyright © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, NY. Photograph copyright © The Art Institute of Chicago; p. 108: art copyright © Lester Beall, Jr., Trust/Licensed by VAGA, New York, NY; p. 109 (113): art copyright © Lester Beall, Jr., Trust/Licensed by VAGA, New York, NY; p. 109 (114): photograph by Rudy Burkhardt; p. 111: © 2000 Whitney Museum of American Art, New York. Photograph by Steven Sloman; pp. 112–13: © The Museum of Modern Art/ Licensed by SCALA/Art Resource, NY; p. 116: photograph © André Morin; p. 118 (124): photograph by D. James Dee, (125); p. 118 © 1998, Whitney Museum of American Art, New York. Photograph by Geoffrey Clements; p. 121: photograph by Tim Nighswander/Imaging4Art; p. 122: photograph by Sheldan C. Collins; p. 123: photograph by Dorothy Zeidman; p. 134: photograph by Robert Gerhardt; p. 139: photograph by Glenn Steigelman. Leo Castelli Gallery records, Archives of American Art, Smithsonian Institution; p. 140 (138): Photograph by Tim Nighswander/ Imaging4Art; p. 140 (139): photograph by Dorothy Zeidman; p. 143: photograph by Dorothy Zeidman; p. 144: photograph by Dorothy Zeidman; p. 145: Glenn Steigelman, photographer. Leo Castelli Gallery records, Archives of American Art,

Smithsonian Institution; p. 146 (146): courtesy Mary Boone Gallery; p. 146 (148): photograph by Robert Gerhardt; p. 147: photograph by Bill Orcutt; p. 164 (161, 162): © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 154: courtesy Mary Boone Gallery, New York; p. 158: Nathan Keay, © Museum of Contemporary Art Chicago; p. 159: © 1996: Whitney Museum of American Art, New York. Photograph by Geoffrey Clements; p. 163: © 2011 Kunsthaus Zürich. All rights reserved; p. 165: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 168: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 169: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 174: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 175 (169): © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 176: courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 177: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 181: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 185: © Richard Artschwager, courtesy Gagosian Gallery. Photograph by Robert McKeever; p. 187: photograph © Henri Dauman/ DaumanPictures.com. All rights reserved; p. 189 (middle): photographs and courtesy Georg Kargl Fine Arts, Vienna; p. 189 (right): photograph by Poul Ober; p. 191 (bottom right): photograph by Christa Kujath; p. 192: copyright © Robert Mapplethorpe Foundation (used by permission); p. 193: photograph by Gary Graves; p. 194: photograph by Dietmar Schneider; p. 196 (left): photograph by Shunk-Kender, image copyright © Roy Lichtenstein Foundation; p. 206: photograph by Dorothy Zeidman; p. 211: photograph by Sidney B. Felsen copyright © 2008

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This catalogue was published on the occasion of the exhibition Richard Artschwager! curated by Jennifer R. Gross, Seymour H. Knox, Jr., Curator of Modern and Contemporary Art, Yale University Art Gallery. Whitney Museum of American Art New York October 25, 2012 – February 3, 2013 Hammer Museum Los Angeles June 16 – September 1, 2013 This exhibition is organized by the Whitney Museum of American Art, New York, in association with the Yale University Art Gallery, New Haven. Significant support for the Whitney’s presentation is provided by The Broad Art Foundation, Allison and Warren Kanders, Alice and Tom Tisch, and Mr. and Mrs. Harrison Augur. This publication is made possible by a grant from the Andy Warhol Foundation for the Visual Arts. Additional support provided by Maura and Mark H. Resnick, Anna Marie and Robert F. Shapiro, and a Yale University Art Gallery endowment created with a challenge grant from the National Endowment for the Arts.

Copyright © 2012 by the Whitney Museum of American Art, New York All works by Richard Artschwager copyright © Richard Artschwager Additional copyright notices appear on page 243. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher.

Library of Congress Cataloging-in-Publication Data Gross, Jennifer R. Richard Artschwager! / Jennifer R. Gross ; with contributions by Cathleen Chaffee, Ingrid Schaffner, Adam D. Weinberg. pages cm This catalogue was published on the occasion of the exhibition Richard Artschwager!, curated by Jennifer R. Gross, Seymour H. Knox, Jr., Curator of Modern and Contemporary Art, Yale University Art Gallery. Includes bibliographical references. ISBN 978-0-300-18531-7 (hardback)

Whitney Museum of American Art 945 Madison Avenue New York, NY 10021 whitney.org

1. Artschwager, Richard, 1923 — E xhibitions. I. Artschwager, Richard, 1923 — Works. Selections. 2012. II. Whitney Museum of American Art. III. Title. N6537.A72A4 2012 709.2 — dc23

Yale University Press 302 Temple Street P.O. Box 209040 New Haven, CT 06520 yalebooks.com/art This publication was produced by the publications department at the Whitney Museum of American Art, New York: Beth Huseman, interim head of publications; Beth Turk, associate editor; Anita Duquette, manager, rights and reproductions; Kiowa Hammons, rights and reproductions assistant; Brian Reese, publications assistant Project manager: Beth Huseman Editor: David Frankel Proofreader: Susan Richmond Indexer: Susan G. Burke Designed by Daphne Geismar Production by The Production Department Set in Frutiger Next Color separations by GHP, West Haven, CT Printed and bound by Midas Printing, Hong Kong

2012019138 Cover: detail of Untitled (Diptych), 1963 (fig. 51); frontispiece: detail of Door, Mirror, Table, Basket, Rug, Window D, 1975 (fig. 134); pp. 46–47: detail of Destruction V, 1972 (fig. 23); p. 74: detail of Locations, 1969 (fig. 80); pp. 90–91: detail of Locations, 1969 (fig. 80); p. 98: detail of Chair/Chair, 1987– 90 (fig. 105); pp. 126–27: detail of Description of a Table, 1964 (fig. 117); pp. 172–73: detail of Chair/Chair, 1987–90 (fig. 105). 10 9 8 7 6 5 4 3 2 1