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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WEB RESOURCES
- Whitney Museum of American Art~Peruse Bader's works and interventions at the 2014 Whitney Biennial.
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Apply to objects where number equals 2014.9.A-G
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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
Equals
2014.9.A-G
source file
object_notes_1_b-0151.xml.nores