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jimmie durham

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la malinche, 1988-1991

wood, cotton, snakeskin, watercolor, polyester, metal

66.1 x 22 x 33.1 inches

a dead deer, 1986

skull, bone, wood, paint, plastic, string

47.2 x 28.3 x 5.5 inches

pallas athena, 2008

mixed media

96.46 x 57.09 x 35.43 inches

mulholland drive, 2007

horse skull, mixed media

88.6 x 70.9 x 43.3 inches

untitled, 1992

acrylic on canvas, plywood

30.7 x 32.6 inches

self-portrait pretending to be a stone statue of myself, 2006

photograph

dimensions variable

painted self-portrait, 2007

acrylic and marker on color photograph

30.71 x 22.83 inches

self-portrait pretending to be maria thereza alves as terminator 2, 1995-2006

color photograph

31.7x 23.9 inches

a staff to mark the center of the world at the gwangju biennale, 2004

multi-media

78.7 x 3.9 inches each

red granite and grey cristalina granite, 1971

red and gray granite

4.72 x 22.68 inches

production shot for the center of the world at chalma, 1997

solo exhibition at porin taidemuseo, porin, finland, 1997

i will try to explain, 1970-2012

wood, metal, cat fur, leather

dimensions variable

st. frigo, 1996

documentation of action

frac, champagne-ardenne, rheims, france, 1996

st. frigo, 1996

refrigerator

51.97 x 23.62 x 23.62 inches

 

this is a stone from the mountain, this is a stone from the red palace, 1992

sandstone

16.54 x 15.75 x 18.9 inches each

a stone from metternich's house in bohemia, 1996

production shots from action at der verführer und der steinerne gast

solo exhibition at wittgenstein house, vienna, 1996

a stone from metternich's house in bohemia, 1996

production shots from action at der verführer und der steinerne gast

solo exhibition at wittgenstein house, vienna, 1996

encore tranquilité, 2008

airplane, stone, chains

59.06 x 338.58 x 338.58 inches

upon reflection, i was no longer sure of my position, 2009

obsidian, german silver (copper, zinc, and nickel), steel table and obsidian mirror with colored tin frame

dimensions variable

xitle and spirit, 2007

car, volcanic stone, acrylic paint

dimensions variable

untitled (the penis mightier), 2007

graphite pencil on acid free cotton paper

triptych, 30.31 x 22.83 inches each

untitled (the penis might), 2007

graphite on cotton paper

30.31 x 22.83 inches, ea.

azurite, calcite, quartz, 1998

oil, stones, and marker on painted wood

51.18 x 35.43 inches each

brazilian bloodstone, 1997

stone, orange, graphite on wood

32.68 x 47.24 x 3.15 inches

in a cabin in the woods, 2010

deer skin, wood, felt

59.06 x 27.56 x 12.99 inches

drawing performance in la leçon d'anatomie (a progress report), 1996

documentation of action

solo exhibition at frac, champagne-ardenne, rheims, france, 1996

le lesson d'anatomie no. 40, 1996

cotton shirt, artist's hair, mud, dirt and white glue

29.53 x 26.38 x 1.18 inches

smashing, 2004

digital video transferred to DVD

1 hr, 31 min, 52 sec.

a project for the tree at potolice, 2000

installation view of construction in process, potolice, poland, 2000

garcon, garou, gargouille, 1994

papier maché, PVC pipe, leather

59 x 39 inches

sweet light crude, 2008

twenty five oil barrels

dimensions variable

elsa, 2003

installation view of arte all’arte, puente de san marziale, colle di val d’elsa, italy

elsa, 2003

installation view of arte all’arte, puente de san marziale, colle di val d’elsa, italy

the names of the team of scientists who submitted an article on the human chromosome 14 in nature magazine, february, 2003, 2003

mixed media

51.2 x 39.4 inches

hommage à filiou, 2003

purpurin and oil on pine wood

39.37 x 29.53 x 12.99 inches

hommage à filiou, 2003

purpurin and oil on pine wood

39.37 x 29.53 x 12.99 inches

homage to luis buñuel, 2012

mixed-media installation

dimensions variable

various elements from the actual world, 2009

mixed media

98.43 x 118.11 inches

ok! look, 2009

graphite on cotton paper

31.89 x 24.02 inches

from serie of drawings, 1998

graphite

dimensions variable

a line of graphite beginning on the left side, 2009

graphite on cotton paper

31.89 x 24.02 inches

installation view of traces and shiny evidence, 2014

parasol unit, london, united kingdom

image

la malinche, 1988-1991

wood, cotton, snakeskin, watercolor, polyester, metal

66.1 x 22 x 33.1 inches

image

a dead deer, 1986

skull, bone, wood, paint, plastic, string

47.2 x 28.3 x 5.5 inches

image

pallas athena, 2008

mixed media

96.46 x 57.09 x 35.43 inches

image

mulholland drive, 2007

horse skull, mixed media

88.6 x 70.9 x 43.3 inches

image

untitled, 1992

acrylic on canvas, plywood

30.7 x 32.6 inches

image

self-portrait pretending to be a stone statue of myself, 2006

photograph

dimensions variable

image

painted self-portrait, 2007

acrylic and marker on color photograph

30.71 x 22.83 inches

image

self-portrait pretending to be maria thereza alves as terminator 2, 1995-2006

color photograph

31.7x 23.9 inches

image

a staff to mark the center of the world at the gwangju biennale, 2004

multi-media

78.7 x 3.9 inches each

image

red granite and grey cristalina granite, 1971

red and gray granite

4.72 x 22.68 inches

image

production shot for the center of the world at chalma, 1997

solo exhibition at porin taidemuseo, porin, finland, 1997

image

i will try to explain, 1970-2012

wood, metal, cat fur, leather

dimensions variable

image

st. frigo, 1996

documentation of action

frac, champagne-ardenne, rheims, france, 1996

image

st. frigo, 1996

refrigerator

51.97 x 23.62 x 23.62 inches

 

image

this is a stone from the mountain, this is a stone from the red palace, 1992

sandstone

16.54 x 15.75 x 18.9 inches each

image

a stone from metternich's house in bohemia, 1996

production shots from action at der verführer und der steinerne gast

solo exhibition at wittgenstein house, vienna, 1996

image

a stone from metternich's house in bohemia, 1996

production shots from action at der verführer und der steinerne gast

solo exhibition at wittgenstein house, vienna, 1996

image

encore tranquilité, 2008

airplane, stone, chains

59.06 x 338.58 x 338.58 inches

image

upon reflection, i was no longer sure of my position, 2009

obsidian, german silver (copper, zinc, and nickel), steel table and obsidian mirror with colored tin frame

dimensions variable

image

xitle and spirit, 2007

car, volcanic stone, acrylic paint

dimensions variable

image

untitled (the penis mightier), 2007

graphite pencil on acid free cotton paper

triptych, 30.31 x 22.83 inches each

image

untitled (the penis might), 2007

graphite on cotton paper

30.31 x 22.83 inches, ea.

image

azurite, calcite, quartz, 1998

oil, stones, and marker on painted wood

51.18 x 35.43 inches each

image

brazilian bloodstone, 1997

stone, orange, graphite on wood

32.68 x 47.24 x 3.15 inches

image

in a cabin in the woods, 2010

deer skin, wood, felt

59.06 x 27.56 x 12.99 inches

image

drawing performance in la leçon d'anatomie (a progress report), 1996

documentation of action

solo exhibition at frac, champagne-ardenne, rheims, france, 1996

image

le lesson d'anatomie no. 40, 1996

cotton shirt, artist's hair, mud, dirt and white glue

29.53 x 26.38 x 1.18 inches

image

smashing, 2004

digital video transferred to DVD

1 hr, 31 min, 52 sec.

image

a project for the tree at potolice, 2000

installation view of construction in process, potolice, poland, 2000

image

garcon, garou, gargouille, 1994

papier maché, PVC pipe, leather

59 x 39 inches

image

sweet light crude, 2008

twenty five oil barrels

dimensions variable

image

elsa, 2003

installation view of arte all’arte, puente de san marziale, colle di val d’elsa, italy

image

elsa, 2003

installation view of arte all’arte, puente de san marziale, colle di val d’elsa, italy

image

the names of the team of scientists who submitted an article on the human chromosome 14 in nature magazine, february, 2003, 2003

mixed media

51.2 x 39.4 inches

image

hommage à filiou, 2003

purpurin and oil on pine wood

39.37 x 29.53 x 12.99 inches

image

hommage à filiou, 2003

purpurin and oil on pine wood

39.37 x 29.53 x 12.99 inches

image

homage to luis buñuel, 2012

mixed-media installation

dimensions variable

image

various elements from the actual world, 2009

mixed media

98.43 x 118.11 inches

image

ok! look, 2009

graphite on cotton paper

31.89 x 24.02 inches

image

from serie of drawings, 1998

graphite

dimensions variable

image

a line of graphite beginning on the left side, 2009

graphite on cotton paper

31.89 x 24.02 inches

image

installation view of traces and shiny evidence, 2014

parasol unit, london, united kingdom

jimmie durham

* 1940, United States

 

Jimmie Durham’s artistic research, as he has often stated, is interested in what happens “away from language”, in the relationship between forms and concepts. Working against Western rationalist logic, his practice is founded on uncertainty and paradox. Drawing, assemblage sculptures, installations and video – which he uses to record his performances – are the recurrent mediums in his work. Durham’s sculptural constructions are often combined with disparate elements, such as written messages, photographs, drawings and objects. Covering a broad range of topics in artworks as well as essays and poetry, the artist’s production is often laced with the agility of wordplay, a dry, highly critical humor and, above all, irony. He consistently addresses the political and cultural forces that construct our contemporary discourses, the history of oppression, the futility of violence, and the powerlessness of the minorities in the world.  Using both natural and artificial materials, Durham is particularly drawn to those that have been used throughout history as tools, exploring the intrinsic qualities of bones, wood, feathers, and stones that he finds and collects while taking walks. He uses stone as his primary material in underscoring the polemics of nature vs. culture, religion, architecture, and euro-centric ideas of history — specifically for its role in defining power dynamics of culture and society through architecture and ideas of monumentality. 

 

Jimmie Durham is a Native American of the Cherokee tribe. He moved to Geneva in 1969 and enrolled in the École des Beaux-Arts where he worked on sculpture and performance. In 1973 he moved back to the U.S. to become involved in the American Indian Movement as director of the International Indian Treaty Council and its representative at the United Nations, becoming the first official representative of a minority within this organization. In 1980 he focused his attention back to art, but remained concerned with the image of Native Americans, a theme he returns to in many of his essays. Durham gained notoriety within the New York art scene, but found his work was seen as "Indian art" and failed to encourage fundamental—political or artistic—discussions. Disappointed by this misunderstanding and by the American government’s intractable policies regarding the Indian movement, he left the U.S. in 1987 and moved to Cuernavaca, Mexico, where he was based until moving back to Europe in 1994.

 

Jimmie Durham had his first solo show in 1965. Since that time he has had important solo exhibitions at the following institutions: Hammer Museum, Los angeles, United States (2017); Museo Nazionale delle Arti del XXI Secolo, Rome, Italy (2016); Serpentine Gallery, London, United Kingdom (2015); Fondazione Querini Stampalia, Venice, Italy (2015); Parasol Unit Foundation for Contemporary Art, London, United Kingdom (2014); Museum Van Hedendaasge Kunst Antwerpen (m hka), Antwerp, Belgium (2012); Fundazione Morra Greco, Palazzo Reale, Naples, Italy (2012); Portikus, Frankfurt am Main, Germany (2010); Musée d'art moderne de la Ville de Paris (mam/arc), Paris, France (2009); Museo D'Arte Contemporanea Donna Regina Madre, Naples, Italy (2008); de Pury & Luxembourg, Zurich, Switzerland (2007); Kunstverein, Munich, Germany (1998); De Vleeshal, Middelburg, The Netherlands (1995); Palais des Beaux-Arts, Brussel, Belgium (1993), among many others. His work has been included in group exhibitions at institutions such as the MIT List Visual Arts Center, Massachusetts, United States (2013); Centre Georges Pompidou (mam-cci), Paris, France (2011); Haus der Kulturen der Welt, Berlin, Germany (2010); S.M.A.K, Gent, Belgium (2009); Modern Art Oxford, Oxford, United Kingdom (2009); Reykjavík Art Museum - Kjarvalsstaðir, Reykjavik, Island (2008); MARCO, Museo de Arte Contemporánea de Vigo, Spain (2007) among others.

 

Durham has participated in an number of biennials, including: the 12 Sharjah Biennial, United Arab Emirates (2015); the 55th, 51st, 50th, 49th and 48th Biennale di Venezia, Italy (in 2012, 2005, 2003, 2001 and 1999); the 29th Biennial de São Paulo, São Paulo, Brazil (2010); the 8th Taipei Biennial 2012, Taipei Taïwan (2012) and the Sydney Biennial, Sydney Australia (2004).

 

Jimmie Durham currently lives and works in Berlin.