Current Exhibition

  • Jason Rhoades

Jason Rhoades

Greenwich, CT November 13th to April 1st, 2018

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  • Installation view
  • Installation view, My Brother/Brancuzi, 1995
  • Installation view (PeaRoeFoam)

Jason Rhoades

November 2017 – March 2018

 

The Brant Foundation Art Study Center presents an exhibition by Jason Rhoades (1965-2006) featuring a selection of works from The Brant Collection and other significant works from throughout his career. By bringing together iconic installations and rarely seen sculptures, the exhibition offers an insightful look at Rhoades’s powerful and persuasive oeuvre.

Until his untimely death in 2006 at age 41, Rhoades carried out a continuous assault on aesthetic conventions and the rules governing the art world, wryly subverting those conditions by activating them within his practice. He conceived his works as part of an ongoing project in which the installations were continuously altered and supplemented. Underpinned by a unique combination of humor and conceptual rigor, his practice redefined and expanded the space in which artworks are both made and exhibited. With a firm belief in the ultimate freedom of expression for artists, Rhoades circumvented notions of taste and political correctness in a candid pursuit of the creative impulse itself.

A seminal early work created for the 1995 Whitney Biennial, My Brother/Brancuzi (1995) includes spare tires, gasoline engines, various tools, wooden crates, and an industrial donut machine in an intricate installation that at once references Rhoades’s brother’s suburban-style bedroom in California and Constantin Brancusi’s Parisian studio. A self-conscious commentary on the significance of an artist’s biographical background, the work also presents a nod to modernism—the crates double as pedestals while the donuts stand in for sculptures—and the use of the “readymade.”

Also on view is The Grand Machine/THEAREOLA (2002), a major component of Rhoades’s wider PeaRoeFoam project. The installation references a “factory” set up in the artist’s studio, where he produced a mixture of green peas, salmon eggs, and white foam that was subsequently packaged in Ivory Snow boxes. Faithful to the studio setup, a karaoke machine was added to the installation, along with the pink neon sign “The Areola,” subtly emphasizing the corporal component of the PeaRoeFoam production. A ramp created with PeaRoeFoam is also on view, as if showcasing the acclaimed, wide-ranging benefits of the mixture, which would turn into hard material when combined with glue. Presented with a small Honda motorcycle nearby, the work underscores the playful, interactive part of the production process.

Partially influenced by 9/11 and the media’s reactions to the “other,” My Madinah: in pursuit of my ermitage (2004) constituted a complex investigation of contemporary manifestations of religion, culture, sexuality, and consumerism. Numerous neon signs spelling out nicknames for the word vagina are suspended above a carpet of adjoining blankets and towels, while a variety of other materials contain further references to the world’s holy cities and places of worship.

Discrete sculptures related to My Madinah will also be on view, including a selection of self-fabricated shelves and chandeliers, where the neon phrases are suspended from a wooden wheel.

Outside the exhibition space are two rarely seen sculptures, which are part of a series of works by Rhoades that involve cars or car parts—ostensibly in an effort to emulate Francis Picabia’s extensive car collection. Yellow Fiero (1994), a Pontiac Fiero, was integral to the artist’s 1994 Swedish Erotica and Fiero Parts installation and specifically chosen for its cultural resonances as an ersatz version of a luxury sports car. Rhoades allegedly bought it from a man who had given it to his daughter so she could “get hitched.” A crossover between a car and outdoor furniture, Rhoades created Anchorimpala SS, Alpinimpala SS (1998) from hand-rolled steel as a sculptural expression of a car, now with different functional qualities.

A selection of videos pertaining to the works on view will also be presented.

Join in the conversation with The Brant Foundation on Instagram via @TheBrantFoundation and the hashtag #JasonRhoades.

 

Disclaimer

This exhibition contains content that may be considered inappropriate for children. Attendees are advised to exercise discretion.

Artist Biography

Jason Rhoades

Jason Rhoades

In 2014, David Zwirner presented Jason Rhoades: PeaRoeFoam at the gallery in New York. The comprehensive exhibition was specially dedicated to Rhoades’s body of work using PeaRoeFoam, the artist’s self-made recipe for a “brand new product and revolutionary new material” created from whole green peas, fish-bait style salmon eggs, and white virgin-beaded foam.  It marked the gallery’s first exhibition showcasing Rhoades since its critically acclaimed installation of Black Pussy in 2007.  An accompanying publication by David Zwirner Books features new scholarship by Julien Bismuth, an interview with Linda Norden, and selected interviews from the Jason Rhoades Oral History project devised by Lucas Zwirner, who interviewed over fifty artists, curators, and others who intimately knew the artist.

Rhoades’s work has been exhibited internationally since the 1990s. His first solo presentation at a European institution was held at Kunsthalle Basel in 1996. Other international venues which have organized solo shows include Van Abbemuseum, Eindhoven, The Netherlands; Kunsthalle Nürnberg, Nuremberg, Germany (both 1998); Deichtorhallen Hamburg, Germany (1999); Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK), Vienna (2002); Le Magasin – Centre National d’Art Contemporain de Grenoble, France (2005); and Centro de Arte Contemporáneo de Málaga, Spain (2006).

In the Fall 2017, The Brant Foundation Art Study Center will present a solo exhibition featuring Rhoades’s works from The Brant Collection as well as significant projects from the artist’s career, including My Brother/Brancuzi (1995); The Grand Machine / THEAREOLA (2002); and Untitled (from the body of work: My Madinah: In pursuit of my ermitage…) (2004).

In 2013, Jason Rhoades, Four Roads marked the first American museum exhibition of the artist’s work, organized by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia. In 2014, the exhibition traveled internationally tothe Kunsthalle Bremen, Germany, followed by the BALTIC Centre for Contemporary Art, Gateshead, England in 2015.

Work by the artist has been prominently featured in group exhibitions worldwide, most recently in 2013 as part of NYC 1993: Experimental Jet Set, Trash and No Star at the New Museum, New York. Other group shows include the Whitney Biennial (1995, 1997, and 2008) and the Venice Biennale (1997, 1999, and 2007).

Museum collections which hold works by the artist include the Centre Georges Pompidou, Paris; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; Tate Gallery, London; and the Whitney Museum of American Art, New York.

SOLO

2017

Jason Rhoades, The Brant Foundation, Greenwich, CT

2017

Jason Rhoades: Installations, 1994-2006, Hauser Wirth & Schimmel, Los Angeles

2015

Jason Rhoades: Multiple Deviations, The Rose Art Museum, Brandeis University, Waltham, MA

2014

Jason Rhoades: Perfect Process, PARADISE / A Space for Screen Addiction, LECLERE- Maison de Ventes, Marseille [part of Oracular/Vernacular]

2014

Jason Rhoades: PeaRoeFoam, David Zwirner, New York [catalogue published in 2015]

2013

Jason Rhoades, Four Roads, Institute of Contemporary Art, University of Pennsylvania, Philadelphia [itinerary: Kunsthalle Bremen, Germany; BALTIC Centre for Contemporary Art, Gateshead, England] [catalogue]

2010

Jason Rhoades: 1: 12 Perfect World, Hauser & Wirth, London

2010

Peter Bonde & Jason Rhoades: Half Snowball, Andersens Contemporary, Copenhagen [two- person exhibition]

2007

Jason Rhoades: Black Pussy, David Zwirner, New York [catalogue]

2007

Jason Rhoades: Multiples (Sculptures 1993-98), El Sourdog Hex, Berlin

2006

Jason Rhoades: Black Pussy Soirée Cabaret Macramé, Jason Rhoades Studio, Los Angeles

2006

Jason Rhoades: Tijuanatanjierchandelier, Centro de Arte Contemporáneo de Málaga, Málaga, Spain

2005

Jason Rhoades: Black Pussy...and the Pagan Idol Workshop, Hauser & Wirth, London

2005

Jason Rhoades, Le Magasin - Centre National d’Art Contemporain, Grenoble, France

2005

Jason Rhoades: Macramé Cabaret Pussy Harvest, Mapa Teatro, Bogotá, Colombia

2005

Jason Rhoades. My Madinah: Pupp Tent/Puss Tent, Galería Helga de Alvear, Madrid

2004

Jason Rhoades. My Madinah. In pursuit of my ermitage..., Sammlung Hauser und Wirth in der Lokremise St. Gallen, Switzerland

2004

Sheep Plug: Paul McCarthy and Jason Rhoades, Kling & Bang Gallerí, Reykjavik, Iceland [two- person exhibition]

2003

Jason Rhoades: Meccatuna, David Zwirner, New York

2002

Jason Rhoades: Perfect World, Galería Helga de Alvear, Madrid

2002

Paul McCarthy & Jason Rhoades: Shit Plug, Hauser & Wirth, Zürich [catalogue] [two-person exhibition]

2002

Jason Rhoades: PeaRoeFoam: The Impetuous Process & from the Costner Complex, David Zwirner, New York

2002

Jason Rhoades: PeaRoeFoam: My Special Purpose, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna [catalogue]

2002

Propposition: Jason Rhoades & Paul McCarthy, Sammlung Falckenberg, Phoenix Kulturstiftung, Hamburg [long-term collection presentatio

2001

Jason Rhoades: The Costner Complex (Perfect Process), Portikus, Frankfurt [catalogue]

2000

Jason Rhoades: Flatworks from Perfect World, Hauser & Wirth, Zürich

2000

Jason Rhoades: Impala: The International Museum Project About Leaving and Arriving, part of New Works: 00.4, ArtPace San Antonio, Texas

2000

Jason Rhoades: of perfect world, David Zwirner, New York

2000

Jason Rhoades: Ranch (Institutional Work) 1996, 1301PE, Los Angeles [collaboration with Jorge Pardo]

1999

Damenwahl: Corinne Wasmuht, Jason Rhoades, Kunsthalle Bremen, Germany [catalogue] [two- person exhibition]

1999

Jason Rhoades: Perfect World, Deichtorhallen Hamburg [catalogue published in 2000]

1999

Jason Rhoades: Propposition at the 48th Venice Biennale: dAPPERTutto, Arsenale, Venice [collaboration with Paul McCarthy] [catalogue]

1999

Jason Rhoades: Propposition, David Zwirner, New York [collaboration with Paul McCarthy]

1999

The Snowball: Jason Rhoades & Peter Bonde, part of 48th Venice Biennale, Danish Pavilion, Venice [itinerary: Statens Museum for Kunst, Copenhagen] [catalogue]

1998

Jason Rhoades: The Creation Myth, Hauser & Wirth & Presenhuber, Zürich

1998

Jason Rhoades: The Purple Penis and the Venus (Installed in the Seven Stomachs of Nürnberg) As Part of The Creation Myth, Kunsthalle Nürnberg, Nuremberg, Germany [catalogue Volume: A Rhoades Referenz]

1998

Jason Rhoades: The Purple Penis and the Venus (and Sutter’s Mill) for Eindhoven: A Spiral with Flaps and Two Useless Appendages. After the Seven Stomachs of Nürnberg (As Part of The Creation Myth), Van Abbemuseum, Eindhoven, The Netherlands [catalogue Volume: A Rhoades Referenz]

1997

Jason Rhoades: Deviations in Space, VariousVirgins, David Zwirner, New York

1997

Jason Rhoades: La Modernité et la Côte d’Azur, Villa Arson Nice, Nice, France

1996

Jason Rhoades, Kunsthalle Basel [catalogue]

1996

Jason Rhoades: Ranch, 1301PE, Peter Strauss Ranch, Santa Monica Mountains National Recreation Area, California [collaboration with Jorge Pardo]

1994

Jason Rhoades: Swedish Erotica and Fiero Parts, Rosamund Felsen Gallery, Los Angeles

1993

Jason Rhoades: 13 Booth Cologne County Fair at the Unfair, Cologne [David Zwirner booth presentation]

1993

Jason Rhoades: CHERRY Makita - Honest Engine Work, David Zwirner, New York

1993

Jason Rhoades: Going Down Stairs Diagonally, Rosamund Felsen Gallery, Los Angeles

GROUP

2016

Bliss, Nahmad Projects, London

Co-thinkers, Garage Museum of Contemporary Art, Moscow

Defining Sculpture, Albight-Knox Art Gallery, Buffalo, New York

Let There Be More Light, Jessica Silverman Gallery, San Francisco

2015

Come As You Are: 25 Art of the 1990s, Montclair Art Museum, Montclair, New Jersey [itinerary: Telfair Museums, Savannah, Georgia; University of Michigan Museum of Art, Ann Arbor, Michigan; and Blanton Museum of Art, The University of Texas at Austin] [catalogue]

Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York [itinerary: Centre Georges Pompidou, Paris] [catalogue]

Nach dem frühen Tod/After an Early Death,Staatliche Kunsthalle Baden-Baden, Germany [catalogue]

#RAWHIDE, Venus Over Manhattan, New York

Sense Uncertainty: A Private Collection, Kunsthaus Zürich

2013

Folk Devil, David Zwirner, New York

Franz West: Wo ist mein Achter?/Franz West: Where is my Eight?, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna [itinerary: Museum für Moderne Kunst, Frankfurt]
[catalogue]

NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York [catalogue]

THE UPPER ROOM: Days in Lieu, David Zwirner, London

Words Don’t Come Easily, Centre for International Light Art, Una, Germany

2012

Alone Together, Rubell Family Collection/Contemporary Arts Foundation, Miami

California, Charles Riva Collection, Brussels

Decades: Contemporary Collecting 2002-2012, Albright-Knox Art Gallery, Buffalo, New York

De la Generosidad. Obras de la Colección Helga De Alvear, Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain

Enlightened: Electric Light as the Fairy of Art, Artipelag, Gustavsberg, Sweden [catalogue]

Error #19: Lost and Found, Error One, Antwerp, Belgium

Fruits de la passion, Centre Georges Pompidou, Paris

Inside a Book a House of Gold: Artists’ Editions for Parkett, Ullens Center for Contemporary Art,
Beijing [catalogue]

Language Games: An Introduction to the Art of Our Times, Centro de Arte Visuales Fundación
Helga de Alvear, Cáceres, Spain

Neon. La materia luminosa dell’arte/The luminous matter of art, Museo d’Arte Contemporanea di Roma, Rome [catalogue]

Neon, who's afraid of red, yellow and blue?, la maison rouge, Paris [catalogue]

Utopia GESAMTKUNSTWERK, 21er Haus, Vienna

2011

Alice in Wonderland, Tate Liverpool [itinerary: Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy; Hamburger Kunsthalle, Hamburg] [catalogue]

American Exuberance, Rubell Family Collection, Miami [catalogue]

Architektonika, Hamburger Bahnhof - Museum für Gegenwart, Berlin [catalogue published in
2013]

Big Picture, K21 Kunstsammlung-Nordrhein Westfalen, Düsseldorf

CLAP, CCS Bard Hessel Museum of Art, Annadale-on-Hudson, New York

For Eindhoven: The City as Muse,Van Abbemuseum, Eindhoven, The Netherlands

Now: obras de La Colección Jumex, Hospicio Cabañas, Guadalajara, Mexico [catalogue]

Syntax: Text and Symbols for a New Generation. Selections from the Hadley Martin Fisher Collection, Tampa Museum of Art, Florida

2010

The Artist’s Museum, Museum of Contemporary Art, Los Angeles

At Home/Not At Home: Works from the Collection of Martin and Rebecca Eisenberg, CCS Bard
Hessel Museum of Art, Annandale-on-Hudson, New York [catalogue]

Chandeliers - Jewels of Light/Kronleuchter – Juwelen des Lichts, Museum Bellerive, Zürich Das Museum als Kraftwerk, Museum am Ostwall, Dortmund, Germany

Ghost Colour, Collection Vanmoerkerke, Ostend, Belgium

Happy End, Kunsthalle Göppingen, Göppingen, Germany

Inside Installations, Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent

Marcel Duchamp and the Forestay Waterfall: I Want to Grasp Things with the Mind the Way the
Penis is Grasped by the Vagina, davel 14, Cully, Switzerland [catalogue]

2009

Bad Habits, Albright-Knox Art Gallery, Buffalo, New York

Beg Borrow and Steal, Rubell Family Collection, Miami [catalogue]

California Maximalism: Sticking a Spike into the Vein of Memory, Foundation 20 21/Nyehaus, New York

Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection, The Museum of Modern Art, New York [catalogue]

United Technologies, Lismore Castle, Lismore, Ireland

Walking in My Mind, The Hayward Gallery, London [catalogue]

2008

2008 Whitney Biennial, Whitney Museum of American Art, New York [catalogue]

Ad Absurdum: Energies of the Absurd from Modernism till Today, MARTa Herford, Herford,
Germany [catalogue]

Collecting Collections, Museum of Contemporary Art, Los Angeles [catalogue]

This is not to be looked at: Highlights from the Permanent Collection of the Museum of Contemporary Art, Los Angeles]

The Gallery, David Zwirner, New York

Lightness of Being, Initial Access, Wolverhampton, England

Martian Museum of Terrestrial Art, Mission: to interpret and understand contemporary art,
Barbican Art Gallery, London [catalogue Art]

Meet Me Around the Corner, Astrup Fearnley Museet for Moderne Kunst, Oslo

Now’s the Time, Dublin City Gallery, The Hugh Lane, Dublin [catalogue]

Stars and Stripes Forever: Living Archive, Van Abbemuseum, Eindhoven, The Netherlands

Thyssen-Bornemisza Art Contemporary: Collection as Aleph, Kunsthaus Graz

2007

10th Triennale Kleinplastik. Bodycheck, Fellbach, Germany [catalogue]

52nd Venice Biennale: Think with the Senses - Feel with the Mind, Arsenale, Venice [catalogue]

Bodycheck, 10. Triennale der Kleinplastik, Fellbach, Germany [catalogue]

Eden’s Edge: Fifteen LA Artists, Hammer Museum, Los Angeles [catalogue]

Epileptic Seizure Comparison, Greene Naftali Gallery, New York

Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection, CCS
Bard Hessel Museum of Art, Annandale-on-Hudson, New York [catalogue]

Franz West: Souffle, a mass exhibition, Kunstraum Innsbruck, Innsbruck, Austria [catalogue]

From Francis Picabia to Jason Rhoades: Works from the Friedrich Christian Flick Collection in
Hamburger Bahnhof, Hamburger Bahnhof - Museum für Gegenwart, Berlin

L.A. Desire, Galerie Dennis Kimmerich, Düsseldorf

a point in space is a place for an argument, David Zwirner, New York

Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art
Chicago [itinerary: Museum of Contemporary Art, North Miami, Florida; Musée d'art
contemporain de Montréal] [catalogue]

There is never a stop and never a finish: In memoriam Jason Rhoades, Hamburger Bahnhof -
Museum für Gegenwart, Berlin [catalogue]

2006

Contemporary Sculpture, Zwirner & Wirth, New York [catalogue]

FASTER! BIGGER! BETTER!, ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe,
Germany [catalogue]

Irritation des Gleichgewichts, Zentrum Paul Klee, Bern [catalogue]

LOS ÁNGELES/MÉXICO, La Colección Jumex, Mexico City

Red Eye: L.A. Artists from the Rubell Family Collection, Rubell Family Collection, Miami
[catalogue published in 2007]

Work Zones: Three Decades of Contemporary Art from San Francisco Art Institute, Walter &
McBean Galleries, San Francisco Art Institute

Wrestle, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, New York
[catalogue]

Yes Bruce Nauman, Zwirner & Wirth, New York

2005

Baroque and Neo-Baroque: The Hell of the Beautiful, Domus Artium 2, Fundación Salamanca Ciudad de Cultura, Salamanca, Spain

Bidibidobidiboo: Works from the Sandretto Re Rebaudengo Collection, Fondazione Sandretto Re Rebaudengo, Turin [catalogue]

Dionysiac, Centre Georges Pompidou, Paris [catalogue]

Drive, Galleria d’Arte Moderna di Bologna, Bologna, Italy

Early Work by Gallery Artists, David Zwirner, New York

Eccentric Modern, The Foundation To-Life, Inc., Mount Kisco, New York

Echo. Anti Echo, Galerie Barbara Thumm, Berlin

Highlights: New Acquisitions, John Berggruen Gallery, San Francisco

INCOGNITO 2005, Santa Monica Museum of Art, Santa Monica, California

Les Grands Spectacles: 120 Jahre Kunst und Massenkultur, Museum der Moderne Salzburg,
Austria [catalogue]

Lichtkunst aus Kunstlicht, ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany
[catalogue]

Multiple Strategies, Contemporary Arts Center, Cincinnati, Ohio

Private View 1980-2000: Collection Pierre Huber, Musée cantonal des Beaux-Arts, Lausanne,
Switzerland [catalogue]

Puppets & Heavenly Creatures, Thyssen-Bornemisza Art Contemporary, Vienna

Sweet Temptations: Sammlung Rolf Ricke, Kunstmuseum St. Gallen, St. Gallen, Switzerland

Symbolic Space: The Intersection of Art & Architecture Through the Use of Metaphor, Hudson
Valley Center for Contemporary Art, Peekskill, New York

Transcontinental Nomadenoase, Silverbridge, Paris

2004

15 Jahre Deichtorhallen Hamburg, Deichtorhallen Hamburg

Bewegliche Teile: Formen des Kinetischen, Kunsthaus Graz [itinerary: Tinguely Museum, Basel]
[catalogue]

Central Station: Collection Harald Falckenberg, La Maison Rouge, Paris [catalogue]

Das Große Fressen: Von Pop bis Heute, Kunsthalle Bielefeld, Bielefeld, Germany [catalogue]

Everything is Connected, he, he, he, Astrup Fearnley Museum of Modern Art, Oslo [catalogue]

Fantasy Island, Reykjavik Arts Festival, Reykjavik, Iceland

Friedrich Christian Flick Collection im Hamburger Bahnhof, Hamburger Bahnhof - Museum für
Gegenwart, Berlin [catalogue]

In Need of Analysis, Foundation 20 21, New York

2003

2nd Valencia Biennial: The Ideal City, part of micro-UTOPIAS, Valencia, Spain Assemblage, Zwirner & Wirth, New York

Bankett: Metabolismus und Kommunikation, Palau de la Virreina, Barcelona [itinerary: ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany; Medialab Madrid; Centro Cultural Conde Duque, Madrid]

Gelijk het leven is, Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent [catalogue]

Opening Show, Hoet Bekaert, Ghent

Outlook, Technopolis, Benaki Museum, and Athens School of Fine Arts, Athens [catalogue]

Over Wij/About We, Van Abbemuseum, Eindhoven, The Netherlands

The Provider Troubled Teen Mentor Peanut Butter Shop, 2312 Duane Street, Los Angeles

The Secret Life of Onions, Van Abbemuseum, Eindhoven, The Netherlands

2002

2nd Liverpool Biennial: International 2002, Tate Liverpool [catalogue]

Comer o no Comer (To Eat or not to Eat), Centro de Arte de Salamanca, Salamanca, Spain
[catalogue]

Exile on Main Street, New International Cultural Center, Antwerp

French Collection, Musée d’art moderne et contemporain (MAMCO), Geneva

The House of Fiction, Sammlung Hauser & Wirth in der Lokremise St. Gallen, Switzerland

Keine Kleinigkeiten, Kunsthalle Basel
Köpfreisen: Jules Verne, Adolf Wölfli und andere Grenzgänger, Kunstmuseum Bern [catalogue]

L.A. on My Mind, Museum of Contemporary Art, Los Angeles

Linger, Greenberg Van Doren Gallery, New York

Moving Pictures: contemporary photography and video from the Guggenheim Museum
collections, Solomon R. Guggenheim Museum, New York [catalogue]

Passenger: The Viewer as Participant, Astrup Fearnley Museum of Modern Art, Oslo [catalogue]

Pictures, Patents, Monkeys and More... On Collecting, Institute of Contemporary Art, Philadelphia [catalogue]

Plus Ultra, Kunstraum Innsbruck, Innsbruck, Austria [catalogue published in 2005]

Startkapital, K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf [catalogue]

Ten Years, Hauser & Wirth, Zürich

2001

1st International Triennale of Contemporary Art - Yokohama 2001: MEGA-WAVE Towards a New Synthesis, Yokohama, Japan [catalogue]

Do It, Museo de Arte Carrillo Gil, San Angel, Mexico [itinerary: Addison Gallery of American Art, Andover, Massachusetts] [catalogue published in 1997]

I♥ NY, David Zwirner, New York
Ich bin mein Auto: die maschinalen Ebenbilder des Menschen, Kunsthalle Baden-Baden, Baden-
Baden, Germany [catalogue]

La colleccio Onnasch: Aspectos da Arte Contemporânea/Aspects of Contemporary Art, Museu
d’Art Contemporani, Barcelona [itinerary: Museu Serralves, Porto]
Parkett: Collaborations and Editions since 1984, The Museum of Modern Art, New York
[catalogue]

Public Offerings, Museum of Contemporary Art, Los Angeles [catalogue]

Wechselstrom, Sammlung Hauser & Wirth in der Lokremise St. Gallen, Switzerland [catalogue]

Y.E.L.L.O.W., Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent

Yokohama 2001: 1st International Triennale of Contemporary Art – MEGA-WAVE Towards a New
Synthesis, Yokohama, Japan [catalogue]

2000

The Oldest Possible Memory, Sammlung Hauser & Wirth in der Lokremise St. Gallen, Switzerland [catalogue published in 2001]

Soft White, University Gallery, University of Massachusetts-Amherst, Amherst, Massachusetts [catalogue]

Thinking Space: Selections from the Ann & Marshall Webb Collection, Art Gallery of Hamilton, Hamilton, Canada [catalogue]

To Infinity and Beyond: Editions for the Year 2000, Brooke Alexander Editions, New York

1999

Am Horizont, Kaiser Wilhelm Museum, Krefeld, Germany [catalogue]

The American Century: Art and Culture 1950-2000, Whitney Museum of American Art, New
York [catalogue]

Conceptual Art as Neurobiological Praxis, Thread Waxing Space, New York
Get Together. Kunst Als Teamwork, Kunsthalle Wien, Vienna [catalogue]

HORSEplay, Real Art Ways, Hartford, Connecticut

Laboratorium, FotoMuseum Provincie Antwerpen, Antwerp [catalogue published in 2001]

LIFE/BOAT: Raymond Pettibon, Jason Rhoades, Hans Weigand, MAK Center for Art +
Architecture, Los Angeles [itinerary: Kunstraum Innsbruck, Innsbruck, Austria]
[catalogue]

Reload, Shift e.V., Berlin
Weltuntergang & Prinzip Hoffnung, Kunsthaus Zürich

1998

00 Years Secession: A Century of Artistic Freedom, Secession, Vienna [itinerary: Galerie Rudolfinum, Prague]

Arkipelag (Lebensraum: or IKEA at the end of metaphysics), Nordiska Museet, Stockholm [catalogue]

Auf der Spur. Kunst der 90er Jahre im Spiegel von Schweizer Sammlungen, Kunsthalle Zürich [catalogue]

Five Years, 1993-1998, David Zwirner, New York

Freie Sicht aufs Mittelmeer: Junge Schweizer Kunst mit Gästen und Gastmahl, Kunsthaus Zürich
[itinerary: Kunsthalle Frankfurt]

Hommage à Dieter Roth, Galerie Heinz Holtmann, Cologne [catalogue published in 1999]

L.A. Times, Fondazione Sandretto Re Rebaudengo, Turin [catalogue]

Wahlverwandtschaften, Art & Appenzell, Appenzell, Switzerland [catalogue]

1997

4th Lyon Biennial: L’Autre/Other, L’Halle Tony Garnier, Lyon, France [catalogue]

47th Venice Biennale: Future, Present, and Past, Arsenale, Venice [catalogue]

1997 Whitney Biennial, Whitney Museum of American Art, New York [catalogue]

Connexions Implicités, École Nationale Supérieure des Beaux-Arts, Paris [catalogue]

Cruising LA, Galeria Soledad Lorenzo, Madrid [catalogue]

Deep Storage, Haus der Kunst, Munich [itinerary: Neue Nationalgalerie am Kulturforum, Berlin; Kunstmuseum Düsseldorf; P.S.1 Contemporary Art Center, Long Island City, New York; Henry Art Gallery, University of Washington, Seattle] [catalogue published in 1998]

Epicenter Ljubljana, Moderna Galerija Ljubljana, Slovenia [catalogue]

La Côte d’Azur et la Modernité, Villa Arson, Nice, France

Meg Cranston, Paul McCarthy, Barry McGee, Raymond Pettibon, Jason Rhoades, Galerie Tanya
Rumpff, Haarlem, The Netherlands

projects.doc, Weston Art Gallery, Cincinnati, Ohio [catalogue]

Sunshine & Noir: Art in L.A. 1960-1997, Louisiana Museum of Modern Art, Humlebæk, Denmark
[itinerary: Kunstmuseum Wolfsburg, Germany; Castello di Rivoli, Turin; Hammer Museum, Los Angeles] [catalogue]

1996

a/drift: Scenes from the Penetrable Culture, CCS Bard Hessel Museum of Art, Annandale-on Hudson, New York [catalogue]

Art at the End of the 20th Century: Selections from the Whitney Museum of American Art, National Gallery, Athens [itinerary: Museu d'Art Contemporani, Barcelona; Kunstmuseum Bonn, Bonn, Germany] [catalogue]

Defining the Nineties: Consensus-Making in New York, Miami, and Los Angeles, Museum of Contemporary Art North Miami, Miami [catalogue]

Group Show, Galerie Jürgen Becker, Hamburg

L’Art du Plastique Nouvelle Matières d’Expression, École Nationale Supérieure des Beaux-Arts,
Paris

Multiple Identity: American Art 1975-1995, from the Whitney Museum of American Art, National
Gallery, Alexandros Soutzos Museum, Athens [itinerary: Museu d’Art Contemporani, Barcelona; Kunstmuseum Bonn, Bonn, Germany; Castello di Rivoli - Museo d’Arte Contemporanea, Turin] [catalogue published in 1997]

Multiple Pleasures, Tanya Bonakdar Gallery, New York

Nach Weimar, Kunstsammlungen zu Weimar, Weimar, Germany [catalogue]

Traffic, CAPC Musée d’Art Contemporain Entrepôt, Bordeaux, France [catalogue]

Wanås 1996: Outdoor Sculpture Project, Wanås Foundation, Knislinge, Sweden [catalogue]

1995

1995 Whitney Biennial, Whitney Museum of American Art, New York [catalogue]

Das Ende der Avant Garde. Kunst als Dienstleistung - Sammlung Schürmann, Kunsthalle der
Hypo-Kulturstiftung, Munich [catalogue published in 1996]

Komix, Brooke Alexander Editions, New York
Les Rencontres d’Arles Photographie, Arles, France [catalogue]

lo-fi, Lauren Wittels Gallery, New York
Ripple Across the Water, Watari Museum of Contemporary Art, Tokyo [catalogue]

Selections of the Permanent Collection, Museum van Hedendaagse Kunst, Ghent

Self-Made, Grazer Kunstverein, Graz [catalogue]

Urban Structures, Kulturreferat Munchen, Munich [catalogue]

1994

Don’t Look Now, Thread Waxing Space, New York [catalogue]

Group Show, Galerie Froment & Putman, Paris

Joe’s Garage, Tz’art & Co., New York

Monaco Grand Prix 94, Villa Arson, Nice, France

Paul Bloodgood, Luca Buvoli, Jason Rhoades, and Kathleen Schimert, Sandra Gering Gallery,
New York

Sammlung West (The Collection of Franz West), Raum Strohal, Vienna

Summer Group Show, David Zwirner, New York

Temporary Translation(s) – Sammlung Schürmann. Kunst der Gegenwart und Fotografie,
Deichtorhallen Hamburg [catalogue]

This is the Show and the Show is Many Things, Museum van Hedendaagse Kunst Gent, Ghent
[catalogue]

1992

Rosamund Felsen Clinic & Recovery Center, Rosamund Felsen Gallery, Los Angeles

For one thing, I don't understand my works as being separate from one another. There are a few breaks, but I basically understand them as one piece. In order to see one work, you have to look back in reference to the others.

– Jason Rhoades

  • 4H Book, 1974-1983

4H Book, 1974 - 1983

 

“Jason Rhoades had what he always (and often) portrayed as an idyllic rural childhood, full of ranch and farm activities as well as crafts: he could ride rodeo, rope a steer, rebuild an engine, shoot, and sew. These skills were honed over years of membership in the 4-H Club.”

Ingrid Schaffner, ed., Jason Rhoades, Four Roads. Exh. cat. (New York: DelMonico Books/Prestel Verlag, 2014), p. 14.

My Brother/Brancuzi, 1995

Carpet, wood, steel, small gasoline engines, tools, plastic, donut machine, and other various materials
125 x 648 x 517 in.
Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.
Hauser & Wirth Collection, Switzerland.

My Brother/Brancuzi, 1995

  • My Brother/Brancuzi, 1995 (detail)
  • My Brother/Brancuzi, 1995 (detail)
  • My Brother/Brancuzi, 1995 (detail)
  • My Brother/Brancuzi, 1995 (detail)
  • My Brother/Brancuzi, 1995 (detail)
  • My Brother/Brancuzi, 1995 (detail)

“Jason Rhoades used the invitation to the Biennale of 1995 in the Whitney Museum of American Art in New York as an opportunity to do research on, and to produce work relating to, museums and the nature of collections.  The center of the room in the Whitney Museum is occupied by a rectangular area densely packed with various elements: a television (which shows a video of Bert), a pinewood box that recalls the work of Donald Judd,  a remote control  mini-truck, and diverse machines. The aesthetics of the installation were inspired by the bedroom of Rhoades’s brother, which he set up in the garage of their parent’s house.  He takes up the formalism of his brother’s furnishings by hanging photographs of the renovated garage and of sculptor Constantine Brancusi’s studio at an angle from the walls.  Elements of the sculpture spread out on the floor are reflected in the glass that protects the photographs. Rhoades recognizes similarities between arrangement of the things in his brother’s room and that of the sculptures in Brancusi’s studio and the latter’s “group mobiles.”  The installation thus meditates on formal and emotional kinship.  This involves reversing customary attitudes: the artist approaches his brother from a formal point of view and the sculptor Brancusi on an emotional level.  Instead of the originally planned one hour photo developing machine the sculpture includes a donut machine, which produces donuts uninterruptedly.  Some of these are lying on the floor, but they can also be stacked on top of each other on a vertical rod. The limitlessness that informs this “donut sculpture” recalls Brancusi’s Endless Column and has as its theme the theoretically endless reproduction of forms.  The artist’s brother had the idea for a donut machine when, at age 9, he sold donuts at a fair and thought that such a machine might make his fortune.  This installation, too, includes a motorized vehicle – a kind of mini bike consisting of a small hand truck, a lawn trimmer, and part of a Richard Jackson sculpture. Motion is also embodied by a remote control mini-truck that simultaneously serves as the mechanical equivalent of Bert and as a sculpture. The installation was set up again, in 1997 in the Moserna Galeria in Ljubljana.”

Meyer-Hermann, Eva, et al. p. 107-110. Jason Rhoades, Volume: a Rhoades Referenz, Oktagon, 1998.

Installation view

Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.

The Grand Machine/THEAREOLA, 2002


Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.
Private Collection. Courtesy Hauser & Wirth and David Zwirner, New York / London.

  • The Grand Machine / THEAREOLA, 2002 (detail)
  • The Grand Machine / THEAREOLA, 2002 (detail)
  • The Grand Machine / THEAREOLA, 2002 (detail)

The Grand Machine / THEAREOLA, 2002

The Grand Machine was the name of a “factory” set up in Rhoades’s studio in Rosemead, near Los Angeles, where assistants first produced PeaRoeFoam ahead of the show at David Zwirner. A seminal work within the artist’s career, PeaRoeFoam was Rhoades’s self-made recipe for a “brand new product and revolutionary new material” created from whole green peas, fish-bait style salmon eggs, and white virgin-beaded foam. When combined with non-toxic glue, they transform into a versatile, fast-drying, and ultimately hard material that Rhoades intended for both utilitarian as well as artistic use. PeaRoeFoam was made accessible in the form of do-it-yourself “kits,” complete with everything needed to make the mixture and accompanied by the artist’s detailed, step-by-step instructions. The material was packaged into original Ivory Snow boxes from 1972, specifically selected for their design featuring the actress Marilyn Chambers holding a baby. Soon after the launch of the detergent, Chambers starred in one of the first feature-length porn films ever made, Behind the Green Door, and Rhoades was drawn to the dichotomy between advertised wholesomeness and adult content, which in this case arguably contributed to the popularity of both. PeaRoeFoam also embodied a multifunctional purpose, as its almost utopian aspirations of cheap nourishment (the peas were said to have been picked from Rhoades’s family’s garden) and its potential architectural use as building material contradicted its role as sculptural artwork.

For the second installation, the so-called PeaRoeFormance at the Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK) in Vienna, Rhoades reassembled The Grand Machine using working tables and chairs, scaffolding, and various machinery. As with the initial setup at his studio, he added a karaoke machine to the factory installation and the production of PeaRoeFoam was intended to occur in parallel with musical production. Throughout the exhibition, hundreds of songs were recorded either by Rhoades or by his assistants, museum staff, and selected visitors, thus adding multiple layers to the production. Contributors were specifically asked to sing with as much sincerity as possible, and the installation thus functioned as a tongue-in-cheek commentary on artists’s search for authentic means of expression and on the notion of subjectivity within a preordained structure. In addition, while the inbuilt karaoke element can be seen as offering the PeaRoeFoam factory workers a lighthearted respite, it also provided a comment on readymade creations, of which the PeaRoeFoam “do-it-yourself” kits were proponents—while allowing for creativity in terms of singing, the songs themselves, of course, were not new and participants would merely allow the initial product a chance to propagate itself.

The installation was also dubbed “THEAREOLA”, which Rhoades spelled out in pink neon letters above the entrance, thus subtly emphasizing the corporeal, erotic component of the PeaRoeFoam production process (areola is the word for the colored area surrounding the nipple), which Rhoades elsewhere referred to as the “impetuous process.” In addition to its multiple functions—factory, karaoke studio, sculpture—the installation recalled earlier works from Rhoades’s oeuvre: a complex arrangement of aluminum tubes was from Perfect World (1999), while plastic folding tables came from Creation Myth (1998).

Text courtesy David Zwirner, New York / London.

Installation view (PeaRoeFoam)

Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.

Installation view, Untitled (from the body of work: My Madinah: In pursuit of my ermitage...), 2004

Two groups of 48 chandeliers. 96 neon phrases, 96 colored plexi glass panels, 96 transformers, 96 metal hooks, brass wire, 47 100’ orange extension cords, silicon end caps, and 4 power strips
206 x 348 x 570 in.
Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.
Courtesy The Estate of Jason Rhoades, Hauser & Wirth and David Zwirner, New York/London.

Untitled (from the body of work: My Madinah: In pursuit of my ermitage...), 2004 (detail)

Two groups of 48 chandeliers. 96 neon phrases, 96 colored plexi glass panels, 96 transformers, 96 metal hooks, brass wire, 47 100’ orange extension cords, silicon end caps, and 4 power strips
206 x 348 x 570 in.
Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.
Courtesy The Estate of Jason Rhoades, Hauser & Wirth and David Zwirner, New York/London.

Three-Wheel Waggon-Wheel Chandelier, 2004

Three wagon wheels, 18 neon phrases (”Crock Pot,” ”Crotch,” ”Diddle,” ”Doos,” ”Farfalla,” ”Fork,” ”Golden Gully,” ”Gristle Gropper,” ”Happy Hunting Grounds,” ”Hummer Hole,” ”Jigger,” ”Joxy,” ”Joy Trail,” ”Man's Ruin,” ”Mejillon,” ”Moo Moo,” ”Ninja,” ”Notch”), 18 colored Plexiglas panels, 18 transformers, 18 ”S” hooks, 3 steel wires, 3 wood dowels, artificial vegetables, bells, filament, twine, lace, copper wire, three-plug extension cord, and power strip
141 x 145 x 225 in.
Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.

Shelf (Love Pocket), 2003

  • Shelf (Love Pocket), 2003 (detail)
  • Installation view
  • Installation Detail

Installation view, Shelf (Rattlesnake Canyon) with Unpainted Donkey, 2003

Seville Ultra Durable chrome shelving system with 7 shelves, 8 neon panels (glass, plexi, wire, transformers), 21 ceramic donkeys, 1 can tuna, cast fiberglass donkey, 1 power strip, 1 orange extension cable, 7 metal hooks
Shelf: 82 x 54 x 24 in.
Donkey: 50 x 58 x 16 in.
Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.
Hall Collection

Installation view, Black Hole, Poontain, 2005

Two (2) neon phrases (”Black Hole,” ”Poontain”), Murano rim, Perfect World aluminum pipe, beaver felt cowboy hat, vintage t-shirt, L'Aiglon belt, ceramic donkey, hookah pipe, Chinese rag rug, dream catcher, panties, lace, neon transformer, and orange extension cord
125 x 44 x 30 in.
Photography: Laura Wilson
All artwork © The Estate of Jason Rhoades.