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Chris Burden

Chris Burden, Shoot, 1971 Performance at F Space, Santa Ana, California, November 19, 1971© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Shoot, 1971

Performance at F Space, Santa Ana, California, November 19, 1971
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Bed Piece, 1972 Performance at 72 Market Street, Venice, California, February 18–March 10, 1972© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Bed Piece, 1972

Performance at 72 Market Street, Venice, California, February 18–March 10, 1972
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, 747, 1973 Performance at Los Angeles, January 5, 1973© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, 747, 1973

Performance at Los Angeles, January 5, 1973
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Thank You, 1979 Black-and-white photograph, color photograph, nail, gold foil, fabric, painted paper collage, and felt-tip pen on board, 32 × 40 inches (81.3 × 101.6 cm)© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Thank You, 1979

Black-and-white photograph, color photograph, nail, gold foil, fabric, painted paper collage, and felt-tip pen on board, 32 × 40 inches (81.3 × 101.6 cm)
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Breakthrough, 1982 Printed paper collage, plastic, and aluminum dog tag on paper, 31 ½ × 39 ½ inches (80 × 100.3 cm)© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Breakthrough, 1982

Printed paper collage, plastic, and aluminum dog tag on paper, 31 ½ × 39 ½ inches (80 × 100.3 cm)
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Scale Model of the Solar System, 1983 Plastic, steel ball bearings, plexiglass, dimensions variable, installed at Contemporary Art Center, New Orleans, February 25–March 27, 1983© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Scale Model of the Solar System, 1983

Plastic, steel ball bearings, plexiglass, dimensions variable, installed at Contemporary Art Center, New Orleans, February 25–March 27, 1983
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Sex Tower (Architectural Model of 125 Foot High Sex Tower), 1986 Cement, wood, metal screws, and gold leaf, 133 ½ × 36 ¼ × 37 ¾ inches (339.1 × 92.1 × 95.9 cm)© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Sex Tower (Architectural Model of 125 Foot High Sex Tower), 1986

Cement, wood, metal screws, and gold leaf, 133 ½ × 36 ¼ × 37 ¾ inches (339.1 × 92.1 × 95.9 cm)
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, L.A.P.D. Uniform, 1993 Fabric, leather, wood, metal, and plastic, 88 × 72 × 6 inches (223.5 × 182.9 × 15.2 cm), edition of 30© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, L.A.P.D. Uniform, 1993

Fabric, leather, wood, metal, and plastic, 88 × 72 × 6 inches (223.5 × 182.9 × 15.2 cm), edition of 30
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, The Flying Steamroller, 1996 Steel, concrete, and 1968 Huber road grader, 21 feet × 56 feet 6 inches × 56 feet 6 inches (6.4 × 17.2 × 17.2 m), installed at MAK—Österreichisches Museum für angewandte Kunst/Gegenwartskunst, Vienna, February 28–August 4, 1996© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, The Flying Steamroller, 1996

Steel, concrete, and 1968 Huber road grader, 21 feet × 56 feet 6 inches × 56 feet 6 inches (6.4 × 17.2 × 17.2 m), installed at MAK—Österreichisches Museum für angewandte Kunst/Gegenwartskunst, Vienna, February 28–August 4, 1996
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Tower of London Bridge, 2003 Stainless steel reproduction Mysto Type I Erector parts, gearbox, and wood base, 28 ¼ × 80 ¼ × 8 ½ (71.8 × 203.8 × 21.6 cm), edition of 6 + 3 AP© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Tower of London Bridge, 2003

Stainless steel reproduction Mysto Type I Erector parts, gearbox, and wood base, 28 ¼ × 80 ¼ × 8 ½ (71.8 × 203.8 × 21.6 cm), edition of 6 + 3 AP
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, The Rant, 2006 DVD, color, sound, 2:10 minutes, edition of 10© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, The Rant, 2006

DVD, color, sound, 2:10 minutes, edition of 10
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, 65 Foot High Skyscraper, Angled View & Front View, 2008 Ink on paper, in 2 parts, overall: 19 ⅛ × 24 ⅝ inches (48.6 × 62.5 cm)© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, 65 Foot High Skyscraper, Angled View & Front View, 2008

Ink on paper, in 2 parts, overall: 19 ⅛ × 24 ⅝ inches (48.6 × 62.5 cm)
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, What My Dad Gave Me, 2008 Approximately 1,000 stainless steel reproduction Mysty Type I Erector parts, nuts, and bolts, 65 feet × 11 feet 2 inches × 11 feet 3 inches (19.8 × 3.4 × 3.4 m), installed at Rockefeller Plaza, New York, June 11, 2008–July 19, 2008© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Erich Koyama

Chris Burden, What My Dad Gave Me, 2008

Approximately 1,000 stainless steel reproduction Mysty Type I Erector parts, nuts, and bolts, 65 feet × 11 feet 2 inches × 11 feet 3 inches (19.8 × 3.4 × 3.4 m), installed at Rockefeller Plaza, New York, June 11, 2008–July 19, 2008
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Erich Koyama

Chris Burden, Metropolis II, 2006–10 3 hp DC motors with motor controllers, 1080 custom manufactured die-cast cars, HO-scale train sets with controllers and tracks, steel, aluminum, shielded copper wire, copper sheet, brass, various plastics, assorted woods and manufactured wood products, Legos, Lincoln Logs, Dado Cubes, glass, ceramic and natural stone tiles, acrylic and oil-base paints, rubber, and sundry adhesives, 117 × 339 × 230 inches (297 × 861 × 584 cm)© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Metropolis II, 2006–10

3 hp DC motors with motor controllers, 1080 custom manufactured die-cast cars, HO-scale train sets with controllers and tracks, steel, aluminum, shielded copper wire, copper sheet, brass, various plastics, assorted woods and manufactured wood products, Legos, Lincoln Logs, Dado Cubes, glass, ceramic and natural stone tiles, acrylic and oil-base paints, rubber, and sundry adhesives, 117 × 339 × 230 inches (297 × 861 × 584 cm)
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Urban Light, 2008 202 fully restored Los Angeles cast-iron streetlamps from the 1920s (17 styles of lamps that have been sandblasted, painted, and electrified), 26 feet 8 ½ inches × 57 feet 2 ½ inches × 58 feet 8 ½ inches (8.1 × 17.4 × 17.9 m), permanent installation at Los Angeles County Museum of Art© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Museum Associates/LACMA

Chris Burden, Urban Light, 2008

202 fully restored Los Angeles cast-iron streetlamps from the 1920s (17 styles of lamps that have been sandblasted, painted, and electrified), 26 feet 8 ½ inches × 57 feet 2 ½ inches × 58 feet 8 ½ inches (8.1 × 17.4 × 17.9 m), permanent installation at Los Angeles County Museum of Art
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Museum Associates/LACMA

Chris Burden, Holmby Hills Light Folly, 2012 4 Holmby Hills cast-iron streetlamps from the 1920s, fully restored and electrified, and 4 cast-iron benches, 168 × 168 × 168 inches (426.7 × 426.7 × 426.7 cm), installed at Parcours Art Basel, June 19–22, 2014© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: J. Searles

Chris Burden, Holmby Hills Light Folly, 2012

4 Holmby Hills cast-iron streetlamps from the 1920s, fully restored and electrified, and 4 cast-iron benches, 168 × 168 × 168 inches (426.7 × 426.7 × 426.7 cm), installed at Parcours Art Basel, June 19–22, 2014
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: J. Searles

Chris Burden, Porsche with Meteorite, 2013 Restored 1974 Porsche 914, 390-pound meteorite, and steel structure© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Brian Forrest

Chris Burden, Porsche with Meteorite, 2013

Restored 1974 Porsche 914, 390-pound meteorite, and steel structure
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Brian Forrest

Chris Burden, Three Arch Dry Stack Bridge, 1/4 Scale, 2013 974 hand-cast concrete blocks and wood, 46 × 332 ½ × 21 inches (116.8 × 844.6 × 53.3 cm)© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Thomas Lannes

Chris Burden, Three Arch Dry Stack Bridge, 1/4 Scale, 2013

974 hand-cast concrete blocks and wood, 46 × 332 ½ × 21 inches (116.8 × 844.6 × 53.3 cm)
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Thomas Lannes

Chris Burden, Buddha’s Fingers, 2014–15 32 antique cast-iron streelamps, 142 × 108 × 108 inches (360.6 × 274.3 × 274.3 cm), installed at Gagosian, 980 Madison Avenue, New York, January 19–March 12, 2016© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Rob McKeever

Chris Burden, Buddha’s Fingers, 2014–15

32 antique cast-iron streelamps, 142 × 108 × 108 inches (360.6 × 274.3 × 274.3 cm), installed at Gagosian, 980 Madison Avenue, New York, January 19–March 12, 2016
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Rob McKeever

Chris Burden, Ode to Santos-Dumont, 2015 7075 aircraft aluminum reproduction Erector parts, carbon fiber drive shaft, fiberglass propeller, nylon cable, hand tooled 1:4 scale replica of 1903 gasoline motor, polyurethane balloon, 1300 cubic feet of helium, dimensions variable, installed at Los Angeles County Museum of Art, May 18–June 21, 2015© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Ode to Santos-Dumont, 2015

7075 aircraft aluminum reproduction Erector parts, carbon fiber drive shaft, fiberglass propeller, nylon cable, hand tooled 1:4 scale replica of 1903 gasoline motor, polyurethane balloon, 1300 cubic feet of helium, dimensions variable, installed at Los Angeles County Museum of Art, May 18–June 21, 2015
© 2018 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

About

“Limits” is a relative term. Like beauty, it is often in the eye of the beholder.
—Chris Burden

From his action-based works of the 1970s to the jaw-dropping technical feats of his later sculptures, Chris Burden (1946–2015) consistently challenged his mental and physical limitations, reflecting on the surreal and precarious realities of contemporary life. Burden was a radical and uncompromising figure with a fierce political consciousness.

Burden earned his MFA in 1971 from the University of California, Irvine, where he studied under the conceptual artist Robert Irwin. Like Irwin—whose site-specific architectural interventions consider the effects of space and light on the viewer—Burden was interested in the staging of spectacle and the ways in which art could complicate one’s understanding of the material world. In his early performances Burden responded to the violent realities of the Vietnam War by putting his body at risk. For Five Day Locker Piece (1971), he locked himself into a school locker, drinking water from a five-gallon bottle stored in the locker above and urinating into a five-gallon bottle in the locker below. That same year, for Shoot, Burden’s friend shot him in the left arm from a distance of fifteen feet. The piece, which lasted only about eight seconds, was recorded on Super-8 film.

In the late 1970s Burden turned to monumental sculpture, considering how the scale and placement of public infrastructure could be manipulated in order to explore the implications of power, speed, and balance. In 1979 he created The Big Wheel, a kinetic work composed of a 1968 Benelli motorcycle placed on a wooden frame and attached to a nineteenth-century metal flywheel. When the bike is mounted and revved, the flywheel is set into motion.

This industrial thrill continued in the 1980s and 1990s with Beam Drop (1984/2008)—a work that involved dropping I beams from a crane into a large pit of wet concrete—and Medusa’s Head (1990), an amorphous mass of wood, steel, cement, rock, and model railroad trains and tracks, evocative of a country-sized chunk of earth that has been extracted and squished into a ball. Beam Drop was re-created in 2008 at the Inhotim Institute in Brazil, where its final, sculptural product is now permanently installed, while Medusa’s Head is held in the collection of the Museum of Modern Art, New York.

In 2000 Burden began collecting street lamps from the 1920s and 1930s, once used in residential neighborhoods of Los Angeles, and repurposing them as sculptural installations. This led to his celebrated permanent installation Urban Light (2008), comprising 202 lampposts, at the entrance to the Los Angeles County Museum of Art. Starting in 2003, Burden also constructed large-scale models of bridges—both real and imagined—with thousands of toy construction parts. Tower of London Bridge (2003) mimics every aspect of the famous bridge’s suspension design, including the functional drawbridge, and Three Arch Dry Stack Bridge, 1/4 Scale (2013)—first exhibited in Extreme Measures (2013–14), a major survey of Burden’s work at the New Museum in New York—comprises three elegant arches made of hand-cast concrete blocks held together by gravity.

Burden’s last completed work, Ode to Santos Dumont (2015), is a kinetic airship modeled after Alberto Santos-Dumont’s 1901 dirigible that flew around the Eiffel Tower. Built over a ten-year period, it achieves indoor flight in fifteen-minute intervals and simultaneously embodies both ambitions of industrial invention and reveries of childhood marvels.

Burden was the first artist to be represented by Larry Gagosian, beginning in 1978.

Image of American Artist, Yayoi Shionoiri, Sydney Stutterheim

In Conversation
American Artist, Yayoi Shionoiri, and Sydney Stutterheim on Poetic Practical: The Unrealized Work of Chris Burden

Join Gagosian to celebrate the publication of Poetic Practical: The Unrealized Work of Chris Burden with a conversation between American Artist, Yayoi Shionoiri, and Sydney Stutterheim presented at the Kitchen, New York. Considering the book’s sustained examination of sixty-seven projects that remained incomplete at the time of Burden’s death in 2015, the trio discuss the various ways that an artist’s work and legacy live on beyond their lifetime.

Photograph of the installation process of an unrealized performance by Chris Burden at the Newport Harbor Art Museum, California, 1974. Photo: Brian Forrest, courtesy Michael Auping

At the Edge
Chris Burden: Prelude to a Lost Performance

Michael Auping tells the Quarterly’s Alison McDonald about the preparations for a performance by Chris Burden at the Newport Harbor Art Museum in Southern California in 1974—and the event’s abrupt cancellation—providing a glimpse into the mindset of a young, aggressive, and ambitious artist in the early stages of his career.

Takashi Murakami cover and Andreas Gursky cover for Gagosian Quarterly, Summer 2022 magazine

Now available
Gagosian Quarterly Summer 2022

The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).

Chris Burden, model for the installation Xanadu as proposed to the Los Angeles County Museum of Art, 2008. Photo: Joel Searles

Chris Burden: Poetic Practical

A new publication exploring the work that Chris Burden conceived but left unrealized delves into his archive to present sixty-seven visionary projects that reveal the aspirations of this formidable artist. The book’s editors, Sydney Stutterheim and Andie Trainer, discuss its development with Yayoi Shionoiri, executive director of the Chris Burden Estate.

Chris Burden: Big Wrench

Gagosian Quarterly Films
Chris Burden: Big Wrench

From January 23 to February 21, 2019, Gagosian Quarterly presented a special online screening of Chris Burden’s 1980 video Big Wrench.

Big Wrench

Big Wrench

Sydney Stutterheim looks at the brief but feverish obsession behind this 1980 video by Chris Burden.

Deluxe Photo Book

Deluxe Photo Book

Sydney Stutterheim discusses Chris Burden’s Deluxe Photo Book 1971–73 on the occasion of its inclusion in About Photography at Gagosian San Francisco.

Urban Light: A Ten Year Anniversary

Urban Light: A Ten Year Anniversary

Ten years ago LACMA premiered Chris Burden’s Urban Light, which has since become an iconic landmark for the city of Los Angeles. To celebrate the anniversary, we look back to 2008 with a conversation between Chris Burden and Michael Govan, director of LACMA.

Burden

Spotlight
Burden

The story behind Chris Burden’s Buddha’s Fingers (2014–15) and its connection to all of his streetlamp installations. Text by Sydney Stutterheim.

Burden’s Airship Takes Flight

Burden’s Airship Takes Flight

Sydney Stutterheim investigates Chris Burden’s Ode to Santos-Dumont (2015) as the work takes flight during Art Basel Unlimited 2017.

Fairs, Events & Announcements

Drawing from Chris Burden’s archive of the unrealized artwork Burden Water Wheel (2013). Artwork © 2023 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Launch

Beyond Limits
Unrealized Artworks of Chris Burden

The Chris Burden Estate has launched Beyond Limits: Unrealized Artworks of Chris Burden, a multifaceted digital experience with an educational mission. Produced in partnership with art and tech innovator TRLab, Beyond Limits invites participants to explore Burden’s realized and unrealized works across several genres in a virtual 3D environment. Throughout the self-paced, blockchain-based journey, participants can track and share their progress and unlock free achievement badges in the form of digital tokens stored in their personal accounts. A selection of unrealized projects are available for purchase as digital artworks and proceeds from sales will support the Chris Burden Estate’s mission.

Drawing from Chris Burden’s archive of the unrealized artwork Burden Water Wheel (2013). Artwork © 2023 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Velvet Water, 1974 (still) © 2023 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

In Conversation

Thomas Crow, Susan Rosenberg, Yayoi Shionoiri

Monday, March 27, 2023, 6:30pm
Gagosian, Park & 75, New York

Join Gagosian for a conversation inside the exhibition Chris Burden: Cross Communication at Gagosian, Park & 75, New York, between Yayoi Shionoiri, executive director of the Estate of Chris Burden, and art historians and professors Thomas Crow and Susan Rosenberg. The trio will discuss Burden’s performances and audio/video works of the 1970s and ’80s on view in the gallery; the Los Angeles art ecosystem of those years; and the challenges artists face in documenting and archiving their performances and experimental works. Exploring the construction of agency and intent, Burden’s early works confront the dominance of consumer culture and the increasing violence and complexity of American society.

Register

Chris Burden, Velvet Water, 1974 (still) © 2023 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Left: Vicky Richardson. Right: Yayoi Shionoiri

In Conversation

Impossible Architecture: Chris Burden’s Unrealized Projects
Vicky Richardson and Yayoi Shionoiri

Tuesday, April 4, 2023, 7pm
Burlington Arcade, London

Join Gagosian for a conversation between Vicky Richardson, head of architecture and Drue Heinz Curator at the Royal Academy of Arts, London, and Yayoi Shionoiri, executive director of the Estate of Chris Burden. The pair will discuss the recently published book Poetic Practical: The Unrealized Work of Chris Burden, which documents sixty-seven projects of varying scope and ambition that Burden was unable to complete during his lifetime. They will consider how the artist challenged not only principles of physics but also the lines between art and architecture, and evaluate Burden’s enduring legacy in his own works and those of others.

Register

Left: Vicky Richardson. Right: Yayoi Shionoiri

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Museum Exhibitions

Chris Burden, A Tale of Two Cities, 1981, Orange County Museum of Art, Costa Mesa, California © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Just Opened

Color Is the First Revelation of the World

Through August 18, 2024
Orange County Museum of Art, Costa Mesa, California
ocma.art

Drawing inspiration from the color theories of Brazilian artist Hélio Oiticica (1937–1980), this exhibition explores the intersections of color and form, emphasizing the transformative nature of art. Through a collection of monochromatic works in hues of blue, the works on view span the various histories of the twentieth century to pose timely questions about the world around us. Work by Chris Burden, Cy Twombly, and Mary Weatherford is included.

Chris Burden, A Tale of Two Cities, 1981, Orange County Museum of Art, Costa Mesa, California © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Chris Burden, Kunst Kick (3 photographs and text), 1974 (detail), The Warehouse, Dallas © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: courtesy Chris Burden Estate

On View

For What It’s Worth
Value Systems in Art since 1960

Through June 29, 2024
The Warehouse, Dallas
thewarehousedallas.org

Looking at global, conceptual art tendencies since 1960, For What It’s Worth focuses on artists who generate, question, and infect value systems through their work. These systems might address exchange, social structures, or philosophical intangibles, and many of the selected works share an exploration of the codification of values through language and patterns of behavior. Work by Chris Burden and Sterling Ruby is included.

Chris Burden, Kunst Kick (3 photographs and text), 1974 (detail), The Warehouse, Dallas © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: courtesy Chris Burden Estate

Chris Burden, Large Glass Ship, 1983, Orange County Museum, Costa Mesa, California © 2022 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Closed

13 Women

October 8, 2022–August 27, 2023
Orange County Museum of Art, Costa Mesa, California
ocma.art

13 Women marks the Orange County Museum of Art’s sixtieth anniversary; by paying homage to the thirteen women who founded the Balboa Pavilion Gallery, the OCMA’s predecessor institution, which was opened in 1962. The exhibition presents work from the 1960s to the present by the artists central to the museum’s collection, including Chris Burden and Ed Ruscha.

Chris Burden, Large Glass Ship, 1983, Orange County Museum, Costa Mesa, California © 2022 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Jonas Wood, Brian and Ana, 2014 © Jonas Wood

Closed

Together in Time
Selections from the Hammer Contemporary Collection

March 26–August 20, 2023
Hammer Museum, Los Angeles
hammer.ucla.edu

Presented in conjunction with the unveiling of the Hammer’s building expansion, Together in Time highlights acquisitions made since 2005—the year the institution began collecting contemporary art. Organized around a sequence of discrete installations that highlight varied groupings of artists, the exhibition presents the tendencies and sensibilities at the forefront of contemporary art by Los Angeles–based and international artists. Work by Amoako Boafo, Chris Burden, and Jonas Wood is included.

Jonas Wood, Brian and Ana, 2014 © Jonas Wood

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Press

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