Chris Burden

Last updated
Chris Burden
Chris Burden.jpg
Born(1946-04-11)April 11, 1946
DiedMay 10, 2015(2015-05-10) (aged 69)
Education Pomona College
University of California, Irvine
Known for Performance art, installation art, sculpture
Spouse(s) Nancy Rubins [1]

Christopher Lee Burden (April 11, 1946 – May 10, 2015) was an American artist working in performance, sculpture and installation art.

Sculpture Branch of the visual arts that operates in three dimensions

Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving and modelling, in stone, metal, ceramics, wood and other materials but, since Modernism, there has been an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded or cast.

Installation art three-dimensional work of art, usually from various materials and larger than a sculpture. For the art genre, use Q212431.

Installation art is an artistic genre of three-dimensional works that often are site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called public art, land art or intervention art; however, the boundaries between these terms overlap.

Contents

Early life and career

Burden was born in Boston in 1946 to Robert Burden, an engineer, and Rhoda Burden, a biologist. [2] [3] He grew up in Cambridge, Massachusetts, France and Italy. [4]

Boston Capital city of Massachusetts, United States

Boston is the capital and most populous city of the Commonwealth of Massachusetts in the United States. The city proper covers 48 square miles (124 km2) with an estimated population of 685,094 in 2017, making it also the most populous city in New England. Boston is the seat of Suffolk County as well, although the county government was disbanded on July 1, 1999. The city is the economic and cultural anchor of a substantially larger metropolitan area known as Greater Boston, a metropolitan statistical area (MSA) home to a census-estimated 4.8 million people in 2016 and ranking as the tenth-largest such area in the country. As a combined statistical area (CSA), this wider commuting region is home to some 8.2 million people, making it the sixth-largest in the United States.

Biologist scientist studying living organisms

A biologist is a scientist who has specialized knowledge in the field of biology, the scientific study of life. Biologists involved in fundamental research attempt to explore and further explain the underlying mechanisms that govern the functioning of living matter. Biologists involved in applied research attempt to develop or improve more specific processes and understanding, in fields such as medicine and industry.

Cambridge, Massachusetts City in Massachusetts, United States

Cambridge is a city in Middlesex County, Massachusetts, and part of the Boston metropolitan area.

At the age of 12, Burden had emergency surgery, performed without anesthesia, on his left foot after having been severely injured in a motor-scooter crash on Elba. During the long convalescence that followed, he became deeply interested in visual art, particularly in photography. [2]

Elba Mediterranean island near Italy

Elba is a Mediterranean island in Tuscany, Italy, 10 kilometres (6.2 mi) from the coastal town of Piombino, and the largest island of the Tuscan Archipelago. It is also part of the Arcipelago Toscano National Park, and the third largest island in Italy, after Sicily and Sardinia. It is located in the Tyrrhenian Sea about 50 kilometres (30 mi) east of the French island of Corsica.

Photography Art, science and practice of creating durable images by recording light or other electromagnetic radiation

Photography is the art, application and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. It is employed in many fields of science, manufacturing, and business, as well as its more direct uses for art, film and video production, recreational purposes, hobby, and mass communication.

Burden 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 teachers included Robert Irwin [4] – from 1969 to 1971. [5]

Visual arts art forms that create works that are primarily visual in nature

The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking, and architecture. Many artistic disciplines involve aspects of the visual arts as well as arts of other types. Also included within the visual arts are the applied arts such as industrial design, graphic design, fashion design, interior design and decorative art.

Physics Study of the fundamental properties of matter and energy

Physics is the natural science that studies matter, its motion, and behavior through space and time, and that studies the related entities of energy and force. Physics is one of the most fundamental scientific disciplines, and its main goal is to understand how the universe behaves.

Architecture The product and the process of planning, designing and constructing buildings and other structures.

Architecture is both the process and the product of planning, designing, and constructing buildings or any other structures. Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.

Work

Early performance art

Burden began to work in performance art in the early 1970s. He made a series of controversial performances in which the idea of personal danger as artistic expression was central. His first significant performance work, Five Day Locker Piece (1971), was created for his master's thesis at the University of California, Irvine, [2] and involved him being locked in a locker for five days. [6]

California State of the United States of America

California is a state in the Pacific Region of the United States. With 39.6 million residents, California is the most populous U.S. state and the third-largest by area. The state capital is Sacramento. The Greater Los Angeles Area and the San Francisco Bay Area are the nation's second- and fifth-most populous urban regions, with 18.7 million and 9.7 million residents respectively. Los Angeles is California's most populous city, and the country's second-most populous, after New York City. California also has the nation's most populous county, Los Angeles County, and its largest county by area, San Bernardino County. The City and County of San Francisco is both the country's second-most densely populated major city after New York City and the fifth-most densely populated county, behind only four of the five New York City boroughs.

His best-known act from that time is perhaps the 1971 performance piece Shoot, in which he was shot in his left arm by an assistant from a distance of about sixteen feet (5 m) with a .22 rifle. [5] [7] Other performances from the 1970s included Deadman (1972), in which Burden lay on the ground covered with a canvas sheet and a set of road flares until bystanders assumed he was dead and called emergency services (leading to his arrest); [8] Match Piece (1972) (also known as Match) [8] ), in which where Burden launched lit matches at a naked woman lying between him and a set of two televisions in a room covered with butcher paper (1972); [9] B.C. Mexico (1973), in which he kayaked to a desolate beach in Baja Mexico where he lived for 11 days with no food and only water; [10] Fire Roll (1973), in which he set a pair of pants on fire and then rolled on them to extinguish them; [11] [12] Honest Labor (1979), in which he dug a large ditch; [6] Velvet Water (1974), in which he spent five minutes attempting to breathe water as a live audience watched; [13] Do You Believe in Television (1976), in which he sent an audience to the third floor of a building — where television monitors showed them the ground floor — and then lit a fire on the ground floor (sources differ as to whether the monitors showed the fire, forcing the audience to realize that the screens represented reality, [13] or showed an intact ground floor, forcing them to realize that the screens did not represent reality); [14] and TV Hijack (1972) wherein, during a live television interview to which he had brought his own camera crew, he held interviewer Phyllis Lutjeans at knifepoint and threatened to kill her if the station stopped live transmission (when asked about the incident in 2015, Lutjeans stated that Burden was a 'gentle soul', that she knew it was an art piece, and that the incident did not damage their pre-existing friendship); [15] to conclude the piece, he demanded to be given the station's recording of the incident, which he then destroyed. [16]

Still from TV Hijack, February 9, 1972, Channel 3 Cablevision, Irvine, California Chris Burden's "TV Hijack".jpg
Still from TV Hijack, February 9, 1972, Channel 3 Cablevision, Irvine, California

One of Burden's most reproduced and cited pieces, Trans-Fixed took place on April 23, 1974, at Speedway Avenue in Venice, California. [17] For this performance, Burden lay face up on a Volkswagen Beetle and had nails hammered into both of his hands, as if he were being crucified on the car. The car was pushed out of the garage and the engine revved for two minutes before being pushed back into the garage. [18]

Later that year, Burden performed his piece White Light/White Heat at the Ronald Feldman Gallery in New York. For this work of experiment performance and self-inflicting danger, Burden spent twenty-two days lying on a triangular platform in the corner of the gallery. He was out of sight from all viewers and he could not see them either. According to Burden, he did not eat, talk, or come down the entire time. [19]

Several of Burden's other performance pieces were considered controversial at the time: another "danger piece" was Doomed (1975), in which Burden lay motionless in a gallery at the Museum of Contemporary Art, Chicago under a 5 ft × 8 ft (1.5 m × 2.4 m) slanted sheet of glass near a running wall clock. [20] [21] Burden planned to remain in that position until a museum employee prioritized his well-being over the artistic integrity of the piece. After 40 hours, the museum staff consulted physicians. 5 hours and 10 minutes after that, museum employee Dennis O'Shea placed a pitcher of water within Burden's reach, at which point Burden rose, smashed the glass, and took a hammer to the clock, thus ending the piece. [22]

By the end of the 1970s, Burden turned instead to vast engineered sculptural installations. [2] In 1975, he created the fully operational B-Car, a lightweight four-wheeled vehicle that he described as being "able to travel 100 miles per hour and achieve 100 miles per gallon" (160 km/h and 43 km/l). [23] Some of his other works from that period are DIECIMILA (1977), a facsimile of an Italian 10,000 Lira note, possibly the first fine art print that (like paper money) is printed on both sides of the paper; The Speed of Light Machine (1983), in which he reconstructed a scientific experiment with which to "see" the speed of light; and the installation C.B.T.V. (1977), a reconstruction of the first ever made Mechanical television.

In 1978, he became a professor at University of California, Los Angeles, a position from which he resigned in 2005 due to a controversy over the university's alleged mishandling of a student's classroom performance piece that echoed one of Burden's own performance pieces. [7] Burden cited the performance in his letter of resignation, saying that the student should have been suspended during the investigation into whether school safety rules had been violated. [24] The performance allegedly involved a loaded gun, but authorities were unable to substantiate this. [25]

In 1979, Burden first exhibited his notable Big Wheel exhibition at Rosamund Felsen Gallery. [26] It was later exhibited in 2009 at the Museum of Contemporary Art, Los Angeles. [27]

In 1980, he produced The Atomic Alphabet – a giant, poster-sized hand-colored lithograph – and performed the text dressed in leather and punctuating each letter with an angry stomp. [28] Twenty editions of the work were produced and are largely in the possession of museums, including SFMOMA [29] and the Whitney Museum of American Art. [30]

In 1988, his Samson – a 100-ton hydraulic jack which was connected to a turnstile such that, with each guest who entered the Newport Harbor Art Museum, timbers were rammed into the museum's supporting walls [31] – was forcibly disassembled by the local fire department on the grounds that it was a safety hazard; the intent of the project had been that, "if enough people entered the museum, it would collapse". [32] In 2008, he reported having subsequently sold Samson to "a collector in Brazil." [33]

Later work

Metropolis II (2011) kinetic art project by Chris Burden. At LACMA filmed March 16, 2013.

Many of Chris Burden's later sculptures are intricate installations and structures consisting of many small parts. [3] A Tale of Two Cities (1981) was inspired by the artist's fascination with war toys, bullets, model buildings, antique soldiers, and a fantasy about the twenty-fifth century – a time when he imagines the world will have returned to a system of feudal states. The room-filling miniature reconstruction of two such city-states, poised for war, incorporates 5,000 war toys from the United States, Japan, and Europe – on a 1,100-square-foot (100 m2), 20-short-ton (18 t) [3] sand base surrounded by a "jungle" made of houseplants. [34] The gallery-sized installation All the Submarines of the United States of America (1987) consists of 625 identical, small, handmade, painted-cardboard models that represent the entire United States submarine fleet dating from the late 1890s, when submarines entered the navy's arsenal, to the late 1980s. [35] He suspended the cardboard models on monofilaments from the ceiling, placing them at various heights so that as a group they appear to be a school of fish swimming through the ocean of the gallery space. [3] In 1992, he exhibited his Fist of Light during the Whitney Biennial exhibition in New York. It consisted of a sealed kitchen-sized metal box with hundreds of metal halide lamps burning inside. It required an industrial air conditioner to cool the room.

Hell Gate (1998), is a 28-foot-long (8.5 m) scale model, in Erector and Meccano pieces and wood, of the dramatic steel-and-concrete railroad bridge that crosses the Hell Gate segment of the East River, between Queens and Wards Island. [4] In 1999, Burden's sculpture When Robots Rule: The Two Minute Airplane Factory was shown at the Tate Gallery in London. It was a "factory-like assembly line which manufactures rubber-band-powered model aeroplanes from tissue paper, plastic and balsa wood". Each plane had a propellor powered by a rubber band, and when each was completed, at a rate of one every 2 minutes, [36] the machine launched it to fly up and circle around the gallery. [37] Unfortunately, the machine was non-functional for at least two months of the installation, leading World Sculpture News to question the intent of the piece and remark that "the work illustrated that robots, in fact, don't rule everything, and for the time being, are still subjected to individual and groups shortcomings". [38] [39]

First presented at the Istanbul Biennial in 2001, Nomadic Folly (2001) consists of a large wooden deck made of Turkish cypress and four huge umbrellas. Visitors can relax and linger in this tent-like structure, replete with opulent handmade carpets, braided ropes, hanging glass and metal lamps, and wedding fabrics embroidered with sparkling threads and traditional patterns. [40]

In 2005, Burden released Ghost Ship, his crewless, self-navigating yacht which docked at Newcastle-upon-Tyne on 28 July after a 330-mile (530 km) 5-day trip from Fair Isle, near Shetland. The project was commissioned by the company Locus+ at a cost of £150,000, and was funded with a significant grant from Arts Council England, [41] being designed and constructed with the help of the Marine Engineering Department of the University of Southampton. [42] It is said to be controlled via onboard computers and a GPS system; however, in case of emergency the ship is 'shadowed' by an accompanying support boat.

In 2008, Burden created Urban Light , a sculptural work consisting of 202 found antique street lights that had once stood around Los Angeles. He bought the lights from the contractor who installed Urban Light, Anna Justice. [43] The work is on view outside of the Los Angeles County Museum of Art, and the solar-powered lights are illuminated at dusk. [43]

In the summer of 2011, Burden finished his kinetic sculpture, Metropolis II , [44] [45] which took four years to build. It was installed at LACMA in Fall 2011. [46] [47] "Chris Burden's Metropolis II is an intense kinetic sculpture, modeled after a fast paced, frenetic modern city." [48]

Suspended from opposite ends of a telescoping balance beam of velvety rusted steel are a restored bright yellow 1974 Porsche sports car and a small meteorite. Porsche With Meteorite (2013) balances perfectly, with the heavier car much closer to the vertical support. [3]

Light of Reason was commissioned by Brandeis University in 2014 and stands outside the Rose Art Museum on campus. [49] The sculpture consists of three rows of 24 Victorian lamp posts which point away from the museum's entrance. [49] The sculpture serves as a gateway and outdoor event space, and has become a campus landmark. [50] [49]

Burden's last completed project – a working dirigible that flies in perfect circles called Ode to Santos Dumont after the pioneering Brazilian aviator – was unveiled at a private Gagosian Gallery event outside of Los Angeles shortly before his death [51] and later installed as a tribute at LACMA. [52] Also, the New Museum decided to have Twin Quasi-Legal Skyscrapers (2013), two 36-foot-tall towers created for the museum's retrospective on Burden, remain on the institution's roof for several months in tribute. [52] At the time of his death, Burden was also working on a watermill next to Frank O. Gehry's aluminum tower at LUMA Arles which remained uncompleted. [53]

Exhibitions

In 2013, the New Museum presented "Chris Burden: Extreme Measures", an expansive presentation of Burden's work that marked the first New York survey of the artist and his first major exhibition in the United States in over twenty-five years. Burden has also had major retrospectives at the Newport Harbor Art Museum, Newport Beach, California (1988), and the Museum of Applied Arts, Vienna (1996). [54] Other solo exhibitions include "14 Magnolia Doubles" at the South London Gallery, London (2006); "Chris Burden" at the Baltic Center of Contemporary Art, Gateshead (2002); and "Tower of Power" at the Museum Moderner Kunst Stiftung Ludwig, Vienna (2002). [40] In 1999 Burden exhibited at the 48th Venice Biennale and the Tate Gallery in London. In the summer of 2008, Burden's 65-foot-tall (20 m) skyscraper made of one million Erector set parts, titled What My Dad Gave Me, stood in front of Rockefeller Center, New York City. [54]

Collections

Burden's work is featured in prominent museum collections such as the LACMA and the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art and the Museum of Modern Art, New York; the Tate Gallery, London; the Middelheimmuseum, Antwerp, Belgium; the Inhotim Centro de Arte Contemporanea, Brazil; the 21st Century Museum of Contemporary Art, Kanazawa, Japan; the Museum of Contemporary Art, Chicago, among others. [40]

Art market

Burden was represented by Gagosian Gallery from 1991 until his death. [54] In 2009, a deal that Gagosian Gallery had struck to buy $3 million in gold bricks for Burden's work One Ton, One Kilo [55] was frozen when it turned out that the bricks had been acquired from a Houston-based company owned by financier Allen Stanford, who was later charged by the U.S. Securities and Exchange Commission [56] and sentenced to 110 years [57] in prison for cheating investors out of more than $7 billion over 20 years in one of the largest Ponzi schemes in American history. [58] [59] As of 2013, the gallery's gold has been frozen while the SEC investigates Stanford and One Ton One Kilo cannot be mounted until the gold bullion is released. [60]

Personal life

Burden was married to multi-media artist Nancy Rubins. [7] He lived and worked in Los Angeles, California. His studio is located in Topanga Canyon. [46] From 1967 to 1976, Burden was married to Barbara Burden, who documented and participated in several of his early artworks. [61]

Burden was referenced in David Bowie's 1977 song "Joe the Lion", Laurie Anderson's 1977 song "It's Not the Bullet that Kills You – It's the Hole (for Chris Burden)" on the double LP "Airwaves", and in the diary of Nathan Adler from the David Bowie album "1. OUTSIDE". He was also mentioned in the Jeff Lindsay 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 [62] describes the Burden installation of the same name in Chicago.

On May 10, 2015, Burden died 18 months after having been diagnosed with melanoma. [63] He was 69.

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