2014.9.A-G Darren Bader, obi and/with SCOBY oak with/and smoke owl and/with towel oar with/and store oil with/and mohel oat and/with note orc with/and fork


GENERAL DESCRIPTION  
Darren Bader is known for his innovative and unconven­tional uses of materials that push the boundaries of sculp­ture and activate environments with unexpected pairings and phenomenological experiences. Bader also frequently employs double entendres and wordplay, as is readily apparent in the series of rhyming couplets that make up the title of this work. From the artist’s 2013 exhibition Heaven and Earth, this grouping of seven couplings brings together disparate elements with a sense of humor and childlike logic reminiscent of Dr. Seuss’s poetry. These absurd combinations can be realized in physical space or in the form of photographic or video documentation, but are to be regarded as a work of sculpture. The insistence on the primacy of language and its relationship to sculp­ture closely mirrors the work of conceptual artist Lawrence Weiner, whose work is equally viable on a printed page or realized in physical space.

Excerpt from
  • Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 222.

NOTES
Did not get object file- streamlined process, no provenance. CLC, 12/4/18.  

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General Description
 
Darren Bader is known for his innovative and unconven­tional uses of materials that push the boundaries of sculp­ture and activate environments with unexpected pairings and phenomenological experiences. Bader also frequently employs double entendres and wordplay, as is readily apparent in the series of rhyming couplets that make up the title of this work. From the artist’s 2013 exhibition Heaven and Earth, this grouping of seven couplings brings together disparate elements with a sense of humor and childlike logic reminiscent of Dr. Seuss’s poetry. These absurd combinations can be realized in physical space or in the form of photographic or video documentation, but are to be regarded as a work of sculpture. The insistence on the primacy of language and its relationship to sculp­ture closely mirrors the work of conceptual artist Lawrence Weiner, whose work is equally viable on a printed page or realized in physical space.

Excerpt from
  • Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 222.

Fun Facts

Archival Resources

Web Resources
 

Notes
Did not get object file- streamlined process, no provenance. CLC, 12/4/18.  

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 

AUDIO ASSETS 

VIDEO ASSETS

rules
Apply To
Objects
number
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2014.9.A-G
tags
oil (organic material): AAT: 300014254
#draft
#completed
sculpture: AAT: 300047090
%Archived
*Contemporary Art
humor: AAT: 300055927
@Courtney
%Geo pending
%ProvenancePending
Conceptual (style): AAT: 300264827
#routed
languages: AAT: 300386046
words: AAT: 300250895
%copyedited_Jennie
owls (birds/animals/strigiformes order): AAT: 300310290
smoke (material): AAT: 300073252
linguistics: AAT: 300054245
oak (wood): AAT: 300012264
poetry: AAT: 300055931
stores (mercantile / commercial buildings): AAT: 300005283
Weiner_Lawrence: ULAN: 500013081
oars: AAT: 300213077
absurd_the: AAT: 300404624
Bader_Darren: DMA
phenomenology: AAT: 300054297
towels: AAT: 300216632
mohels: AAT: 300136756
source file
object_notes_1_b-0151.xml.nores