Chris Burden
[8] His 1973 work 747 involved the artist firing several pistol shots directly at a Boeing 747 passenger jet plane while it took off from Los Angeles International Airport.[citation needed] His best-known work 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.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;[12] Fire Roll (1973), in which he set a pair of pants on fire and then rolled on them to extinguish them;[13][14] Prelude to 220, or 110, in which he had himself bolted to a concrete floor by copper bands, next to two buckets of water that also contained live 110-volt wires;[15] Honest Labor (1979), in which he dug a large ditch;[8] Velvet Water (1974), in which he spent five minutes attempting to breathe water as a live audience watched;[16] 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,[16] or showed an intact ground floor, forcing them to realize that the screens did not represent reality);[17] 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);[18] to conclude the piece, he demanded to be given the station's recording of the incident, which he then destroyed.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.[31] 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.[4] 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.[41] 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".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.[44] 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,[45] being designed and constructed with the help of the Marine Engineering Department of the University of Southampton."[52] 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.[54][53] 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[55] and later installed as a tribute at LACMA.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.[58] In 2009, a deal that Gagosian Gallery had struck to buy $3 million in gold bricks for Burden's work One Ton, One Kilo[59] 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[60] and sentenced to 110 years[61] in prison for cheating investors out of more than $7 billion over 20 years in one of the largest Ponzi schemes in American history.
BostonMassachusettsTopanga CanyonCaliforniaPomona CollegeUniversity of California, IrvinePerformance artinstallation artsculptureNancy RubinsCambridge, Massachusettsvisual artRobert IrwinFive Day Locker PieceBaja MexicoTrans-FixedVenice, CaliforniaVolkswagen BeetleMuseum of Contemporary Art, Chicagomiles per gallonMechanical televisionGuggenheim FellowshipUniversity of California, Los AngelesRosamund Felsen GalleryMuseum of Contemporary Art, Los AngelesSFMOMAWhitney Museum of American Arthydraulic jackfire exitMetropolis IIUnited States submarine fleetWhitney BiennialHell GateTate GalleryIstanbul BiennialNewcastle-upon-TyneFair IsleArts Council EnglandUniversity of SouthamptonUrban Lightbalance beamPorscheBrandeis UniversityRose Art MuseumVictoriandirigibleSantos DumontGagosian GalleryNew MuseumFrank GehryLUMA ArlesNewport Harbor Art MuseumMuseum of Applied Arts, ViennaSouth London GalleryMuseum Moderner Kunst Stiftung Ludwig48th Venice Biennaleerector setRockefeller CenterMuseum of Contemporary ArtMuseum of Modern ArtMiddelheimmuseumAllen StanfordU.S. Securities and Exchange CommissionDavid BowieJoe the LionLaurie AndersonNorman MailerDavid HernandezChicagoJason SchneidermanmelanomaThe New York TimesRoberta SmithPeter SchjeldahlThe New YorkerPenn State PressEast of BorneoARTnewsUniversity of ExeterThe Washington PostThe Village VoiceLast GaspMetropolitan Museum of ArtRoger EbertChicago Sun-TimesSarah ThorntonLos Angeles TimesMen's Voguearchive.orgWayback MachineOrange County Museum of ArtDallas Museum of ArtThe Art NewspaperVanity FairVideo artArtistsVito AcconciJohn BaldessariMatthew BarneyScott BartlettPeter CampusDoris Totten ChaseTony CokesCecelia ConditTony ConradValie ExportTerry FoxGary HillArthur JafaJoan JonasMike KelleyShigeko KubotaChristian MarclayPaul McCarthySteve McQueenEric MillikinVirginia Lee MontgomeryShana MoultonBruce NaumanShirin NeshatYoko OnoTony OurslerNam June PaikSondra PerryRaymond PettibonWalid Raad