Sanford Biggers (b.1970, Los Angeles), a current New York resident, uses the study of ethnological objects, popular icons, and the Dadaist tradition to explore cultural and creative syncretism, art history, and politics. Also a musician, Biggers often incorporates performative elements into his sculptures and installations, resulting in multilayered works that act as anecdotal vignettes. Biggers’ installations, videos, and performances have appeared in institutions in China, Germany, Hungary, Japan, Poland and Russia as well as Prospect.1 New Orleans, Illuminations at the Tate Modern, Performa 07, the Whitney Biennial and Freestyle at the Studio Museum in Harlem.
Installation view of Cheshire, 2009
Aluminum, Plexiglass, LEDs, tracer and timer
Courtesy of the artist Courtesy of the artist and Michael Klein Arts, New York
Carlin, TJ. “Sanford Biggers.” Time Out New York 695 (January 22 – 28, 2009).
Cotter, Holland. “Making Secular Art out of Religious Imagery.” The New York Times 29 October 2009.
Gaines, Malik. “Sanford Biggers: The Big Idea.” RVA Magazine 4:9 Grand Illusions: 12-19.
Johnson, Barry. “The Skittery Meaning of Trees.” OregonLive.com: Portland Arts Watch. 10 July 2009.
Taubman, Lara. “Picks: Sanford Biggers.” Artforum 45:4 (December 2006).
Wilcox, Lauren. “Transformation and Tradition: Interview with Sanford Biggers.” Tout-Fait (Duchamp Studies Online Journal).
Michael Rakowitz (b.1973, New York) is based in Chicago and New York; his practice is characterized by its exploration of and symbolic interventions with problematic urban situations, as well as endeavors to make visible other urgent moments of silence, invisibility, and marginality. His work has been exhibited in venues worldwide including P.S.1, Long Island City, NY; the Museum of Modern Art, New York; MASSMoCA, North Adams, MA; Castello di Rivoli, Turin; and the 16th Biennale of Sydney; the 10th Istanbul Biennial; Sharjah Biennial 8; the Tirana Biennale; the National Design Triennial at the Cooper Hewitt; and Transmediale 05.
The invisible enemy should not exist (Recovered, Missing, Stolen Series), 2007/2009
Installation view at 10th International Istanbul Biennial, Istanbul, Turkey
Courtesy of the artist and Lombard-Freid Projects, New York
Basha, Regine. “Return: A Project by Michael Rakowitz.” ArtLies (Spring, 2007): 62-7.
Boucher, Brian. “Babylon Without Borders.” Art in America (April, 2007): 124-7.
Christov-Bakargiev, Carolyn. “First Takes: Carolyn Christov-Bakargiev on Michael Rakowitz.” Artforum (January, 2005) 147-8.
Feldman, Hannah. “Michael Rakowitz and the tactics of being in-between and everywhere else.” Art & Australia (Winter, 2008): 632-8.
Mooney, Jake. “Bittersweet Talismans from a Ravaged Land.” The New York Times 17 December 2006.
Richard, Frances. “Michael Rakowitz, Lombard-Freid Projects.” Artforum 45:8 (April, 2007): 276.
Artifacts were arranged at Temple Gallery by Dr. Richard Zettler, Associate Professor, Department of Anthropology at the University of Pennsylvania and Associate Curator-in-charge of the Near East Section at the University of Pennsylvania Museum of Archeology and Anthropology.
Artifacts built with the assistance of: Melina Ausikaitis, Loo Bain, Ken Camden, Auden O’Connell, Chelsea Culp, Steve Davy, Erin Foley, Andrea Fritsch, Yiran Liu, David Moré, Aay Preston-Myint, Schuyler Smith, Min Song, and Geraldine Vo.
"Smoke on the Water"
Written by: Ritchie Blackmore, Ian Gillian, Roger Glover, Jon Lord, Ian Paice (Deep Purple)
Performed by AYYOUB, commissioned especially for this project
Tareq Abboushi (Buzuq, Dumbek, Back Up Vocals)
Taoufiq Ben Amor (Lead Vocals, Daff and Artistic Direction)
Hector Morales (Drum Set)
Zafer Tawil (Violin, Oud and Tabla)
Danny Zanker (Bass)
Adel Hinnawi (Sound Engineering)
Ryan Trecartin (b.1981, Webster, TX) lives and works in Philadelphia. He has established a singular video practice that advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified and absorbed to absurd or nihilistic proportions where characters circuitously strive to find agency and meaning in their lives. Trecartin also has a collaborative sculpture practice with artist Lizzie Fitch. His work has been included in several major exhibitions and institutions worldwide, including the 2006 Whitney Biennial, New York; the J. Paul Getty Museum, Los Angeles; the Saatchi Gallery, London; and the Solomon R. Guggenheim Museum, New York.
Sibling Topics (Section A), 2009
Duration 50 minutes
Courtesy the artist and Elizabeth Dee, New York
Cotter, Holland. “Art In Review: Ryan Trecartin, I-Be Area.” The New York Times 28 September 2007.
Kennedy, Randy. “His Nonlinear Reality, and Welcome to It.” The New York Times 28 January 2009.
Koestenbaum, Wayne. “Situation Hacker.” Artforum 47:10 (Summer, 2009): 272-9.
Pollack, Barbara. “Reviews: Ryan Trecartin, I-Be Area.” Time Out New York September 7 – October 3, 74.
Saylor, Ryan. “Ryan Trecartin, Virtual Reality from Youtube to Saatchi.” Useless 4 October 2006.
Wang, Michael. “Streaming Creatures: A New Generation of Queer Video Art.” Modern Painters (June 2007): 100-5.