Christopher Lee " Chris " Burden (April 11, 1946 - May 10, 2015) is an American artist working in performing arts, sculpture and installation.
Video Chris Burden
Early life and career
Christopher Lee Burden, the son of Robert Burden, an engineer, and Rhoda Burden, a biologist, was born in Boston in 1946 and raised in Cambridge, Massachusetts, France and Italy. When he was 12 years old, he underwent emergency surgery - performed without anesthesia - in his left leg after being seriously injured in a scooter motorcycle accident in Elba; during a long recovery period, he became very interested in the visual arts, especially in photography.
Loads were studied for his B.A. in visual arts, physics and architecture at Pomona College and received his MFA at the University of California, Irvine - where his teacher included Robert Irwin - from 1969 to 1971.
Maps Chris Burden
Work
Initial performance art
Burden began to work in the performing arts in the early 1970s. He made a series of controversial performances in which the idea of ​​personal danger as an artistic expression is central. His first significant performance, Five Day Locker Piece (1971), was created for his master's thesis at the University of California, Irvine. His most famous act of the time was probably a 1971 performance piece of Shoot , in which he was shot in his left arm by an assistant from a distance of about sixteen feet (5 m) by a. 22 rifles. Other performances from the 1970s were Match Piece (1972), Deadman (1972), B.C. Mexico (1973), TV Hijacking (1972), Destined (1975) and True Laborers (1979).
One of Burden's most reproduced and quoted works, Trans-Fixed occurred on 23 April 1974 at Speedway Avenue in Venice, California. For this show, Burden lies facing the Volkswagen Beetle and nails are hammered into his hands, as if he were crucified in a car. The car was pushed out of the garage and the engine played for two minutes before being pushed back into the garage.
Later that year, Burden played his role of White Light/White Heat at the Ronald Feldman Gallery in New York. For this work of experimental performance and self-burdening hazards, Burden spends twenty-two days lying on a triangular platform in the corner of the gallery. He is invisible to all audiences and he can not see them either. According to Burden, he does not eat, talk, or go down all the time.
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In the late 1970s, Burden switched to a massive engineered sculpture installation. In 1975, he created the full operational B-Car, a four-wheeled vehicle he described as "capable of traveling 100 miles per hour and reaching 100 miles per gallon" (160 km/h). and 43 km/l). Some of his other works from that period were DIECIMILA (1977), a facsimile of the Italian 10,000 Lira record, possibly the first printed art (like paper money) printed on both sides of the paper; The Speed ​​of Light Machine (1983), where it reconstructs a scientific experiment that can be used to "see" the speed of light; and installation of C.B.T.V. (1977), the reconstruction of the first Mechanical Television was made.
In 1978, he became a professor at the University of California, Los Angeles, the position from which he resigned in 2005 due to the controversy over alleged mismanagement of university students' classroom performance that echoed one of Burden's own performance pieces. The burden of mentioning the performance in his resignation letter, saying that the student must have been suspended during the investigation on whether the school safety rules have been violated. The show allegedly involved a loaded weapon, but authorities could not prove this.
In 1979, Burden first exhibited the famous Big Wheel exhibition at the Rosamund Felsen Gallery. It was then exhibited in 2009 at the Museum of Contemporary Art, Los Angeles.
In 1980, he produced the The Atomic Alphabet - a gigantic, poster-sized hand lithograph - and featured leathery text and emphasized each letter with angry steps. Twenty editions of works are produced and most are owned by museums, including SFMOMA and the Whitney Museum of American Art.
Later work
Many of the later statues of Chris Burden are intricate installations and structures consisting of many small parts. The Story of Two Cities (1981) was inspired by the artist's interest in war toys, bullets, model buildings, antique armies, and fantasy about the twenty-fifth century - the moment when he imagined the world back to the feudal state system. The reconstruction of miniature chambers from two city-states like that, ready for war, combines 5,000 war toys from the United States, Japan and Europe - at 1,100 square meters (100 m 2 ), a short 20-ton ( 18 t) a sand base surrounded by "woods" made of ornamental plants. The gallery-sized installation All US Submarines (1987) consists of 625 identical, small, handmade, painted-cardboard models representing all US submarine fleets dating from the late 1890s, when the submarine entered the naval warehouse, until the late 1980s. He suspended the cardboard model on the monofilament from the ceiling, placing it at various altitudes so that as a group they looked to be a school of fish swimming through a sea of ​​gallery space. In 1992, he showed off his Fist of Light during the Whitney Biennial exhibition in New York. It consists of a metal-sized metal box sealed with hundreds of metal burning halide lamps in it. For that required air conditioning industry to cool the room.
Hell Gate (1998), is a 28-foot-long (8.5 m) scale model, in Erector and Macau pieces and timber, from dramatic steel-and-concrete railway bridges that pass through Hell. Segment of the East River Gate, between Queens and Wards Island. In 1999, the Burden statue When the Robots Rule: The Two Minute Airplane Factory was shown at the Tate Gallery in London. It is "factory line like factory producing rubber-band-powered model aircraft from tissue paper, plastic and balsa wood". Each aircraft has propellers supported by rubber bands, and when each aircraft is completed, at a rate of one every 2 minutes, the engine launches to fly and rotate around the gallery. Unfortunately, the machine did not work for at least two months of installation, leading World Sculpture News to question the intent of the work and commented that "the work illustrates that robots are, in fact, not." t rule everything, and for now, still subject to the flaws of individuals and groups. "
First served in Istanbul Biennial in 2001, Nomadic Folly (2001) consists of a large wooden deck made of Turkish cypress and four large umbrellas. Visitors can relax and linger in structures like this tent, filled with luxurious handmade rugs, straps, hanging glass and metal lights, and wedding fabrics embroidered with glittering yarns and traditional patterns.
In 2005, Burden released its Ghost Ship, a self-sailing cruise ship docked at Newcastle-upon-Tyne on July 28 after a 3-mile (530 km) 5-mile (330 mile) journey from Fair Isle , near Shetland. The project is commissioned by Locus at a cost of Ã, Â £ 150,000, and is funded with a significant grant from the UK Arts Council, designed and built with the assistance of the University of Southampton Marine Engineering Department. It is said to be controlled via an onboard computer and GPS system; however, in case of an emergency, the ship is 'overshadowed' by the accompanying support vessel.
In 2008, Burden created Urban Light, a sculpture made up of 202 found antique streetlights that once stood around Los Angeles. He bought the lamp from the contractor who installed Urban Light, Anna Justice. This work is on display outside the Los Angeles County Art Museum, and solar-powered lights are illuminated at dusk.
In the summer of 2011, Burden completed his kinetic statue, Metropolis II , which took four years to build. It was installed at LACMA in the fall of 2011. "Chris Burden's Metropolis II is an intense kinetic sculpture, mimicking a fast-paced and frenetic modern city."
Suspended from the opposite end of the telescopic balance beam of velvety steel is a restored yellow Porsche 1974 sports car and a small meteorite. Porsche With Meteorite (2013) balances perfectly, with heavier cars closer to vertical support.
The final project completed by Burden - a usable balloon that flies in a perfect circle called Ode to Santos Dumont after a Brazilian pioneer runner - was inaugurated at a private Gagosian Gallery event outside Los Angeles just before his death and then installed as a award at LACMA. Also, the New Museum decided to have Twin Quasi-Legal Skyscrapers (2013), two 36-foot towers built for retrospective museums in Burden, remain on the roof of the institution for several months in recognition. At the time of his death, Burden also worked on a water wheel beside the Frank O. Gehry aluminum tower at LUMA Arles which remained unfinished.
Exhibition
In 2013, New Museum presented "Chris Burden: Extreme Measures," a broad presentation of Burden's work that marked New York's first survey of its first major artist and exhibition in the United States in more than twenty-five years. Burdens also have a major retrospective at Newport Harbor Art Museum, Newport Beach, California (1988) and Museum of Applied Arts, Vienna (1996). Other solo exhibitions include "14 Magnolia Doubles" at South London Gallery, London (2006); "Chris Burden" at the Baltic Contemporary Art Center, Gateshead (2002); and "Tower of Power" at the Museum Moderner Kunst Stiftung Ludwig, Vienna (2002). In 1999, Burden was exhibited at the 48th Venice Biennale and Tate Gallery in London. In the summer of 2008, a 65-foot (20 m) tall skyscraper in Burden made of one million Erector units set up, titled What My Dad Gives Me , stands in front of Rockefeller Center, New York City.
Collection
Burden's work is featured in museum collections such as LACMA and the Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art and Museum of Modern Art, New York; Gallery Tate, London; Middelheimmuseum, Antwerp, Belgium; Inhotim Centro de Arte Contemporanea, Brazil; Museum of Contemporary Art of the 21st Century, Kanazawa, Japan; Museum of Contemporary Art, Chicago, among others.
Art market
The burden was represented by the Gagosian Gallery from 1991 until his death. In 2009, an agreement that Gagosian Gallery had attacked to buy $ 3 million in gold bricks for the One Ton, One Kilo Burden job was frozen when it turned out that a brick had been obtained from a Houston-based company. owned by financier Allen Stanford, who was later accused by the US Securities and Exchange Commission and sentenced to 110 years in prison for cheating an investor of more than $ 7 billion over 20 years in one of the largest Ponzi schemes in American history. In 2013, the gold gallery has been frozen while the SEC investigates Stanford and One Ton One Kilo can not be installed until gold bullion is released.
Personal life
Burden is married to multi-media artist Nancy Rubins. She lives and works in Los Angeles, California. His studio is located in Topanga Canyon. From 1967 to 1976, Burden married Barbara Burden, who documented and participated in some of her early artworks.
The burden is referenced in David Bowie's 1977 song "Joe the Lion", 1977's Laurie Anderson's song "It's Not a Bullet That Kills You - It's Hole (for Chris Burden)" in LP "Airwaves" doubles, and in diary Nathan Adler's album David Bowie " 1. OUTSIDE ". He is also mentioned in Jeff Lindsay's book "Dexter by Design", and in Norman Mailer's book "The Faith of Graffiti". The poem "Doomed (1975)" by David Hernandez in his 2011 collection Hoodwinked explains the burden installations of the same name in Chicago.
On May 10, 2015 Burden died 18 months after the diagnosis of melanoma. He's 69 years old.
References
External links
- Google Arts & amp; Culture - Chris Burden
- Chris Burden by Robert Horvitz - a detailed review and analysis of Burden's early work, published in the May 1976 edition of Artforum magazine
- 1996 review of retrospective MAK Burden
- Ghost Ship
- UbuWeb Movies & amp; Video: Chris Burden
- Feature articles about Expenses in June 2008 edition Vogue Men
- "Poetic, Model: New Criticism Of Chris Burden through Evil Monito Magazine"
- Chris Burden in Mediateca Media Art Space
- Chris Burden Photo Urban Light near Los Angeles County Museum of Art, Los Angeles, CA - is free for non-commercial purposes
Source of the article : Wikipedia
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