Which Detail Supports the Claim That Kilimnik Art Reflects Life?
Andrea Zittel. Photograph: Sarah Lyon
Since the early 1990s, Andrea Zittel (*1965) has used the arena of her daily life to develop and examination prototypes for living structures and situations, gleaning from them an understanding of the means in which humans construct their values, social norms and belief systems. Based in the California Mojave Desert, about Joshua Tree and its national parklands, the artist has produced works spanning sculpture, drawing, painting, video, textiles and installation that illuminate how nosotros attribute significance to the physical spaces we inhabit, and how qualities we may find concrete and rational are often subjective, arbitrary and invented.
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Zittel's first projects developed out of her minor apartment in Brooklyn, New York, and reflected the arts and crafts-based, "do information technology yourself" ethos of the 1990s. She lived within the advisedly ordered confines of herA-Z Management and Maintenance Unit (1992)—a seven-by-nine pes "living unit" that offered infinite for the basic necessities of eating, sleeping, storing and cleaning—to explore how design and its accompanying ideologies could plough a seeming constraint into a liberating experience. Other early experiments involved living without running water for a twelvemonth, spending extended periods without admission to measured time, and sewing spare "uniforms," of which she only wore one per flavour. Ongoing over xx years later, the A-Z Uniform series has expanded into an array of designs in natural fibers that perfectly encapsulate Zittel's impulse to simplify, simply also critique, our perceived need for objects, multifariousness and individuality.
In 2000, Zittel moved cross-state to foundA-Z W, her home and testing ground where physical works are created and lived with as an experiment in "investigative living." Situated in the desert approximately two hours east of Los Angeles,A-Z West has come to encompass an eighty-acre site designed by the artist that includes a main house, personal and communal studios, homestead cabins,Wagon Station Encampments (minor trailers with well-appointed interiors for rest), and site-specific sculptures. From this fecund compound, Zittel has produced paintings on wood featuring colorful geometric abstractions and views ofA-Z West; sculpturalPlanar Configurations that create modest living spaces out of parallel and perpendicular panels, in muted chief tones and overlaid with weavings and textiles; and suites of precise watercolors echoing the planes of her 3-dimensional structures. These and other projects continue to question our materialist impulses, while also savoring the beauty and orderliness of well-designed forms.
Outdoor sculptural installations have as well long been part of Zittel'south practice. TheA-Z Deserted Islands (1997) are mounded raft-similar structures designed equally self-contained floating spaces. HerPlanar Pavilions, networks of platforms and walls that have been installed internationally over the last decade, welcome public use and interaction only similarly carve out and delineate concrete space. Here once more, Zittel emphasizes that limitations tin can often make us more creative, despite our continual desire for liberty and independence.
Across her many bodies of piece of work, Zittel draws the viewer in with something seemingly familiar—a bed, a rug, a smock or apparel, a minimalist shelving unit—but then presents challenging questions about the systems that generate these feelings of recognition and comfort. Her objects provoke usa in their constant questioning of what we can live with and without, urging u.s. to consider what truly generates value and meaning in our lives. Though she is drawn to concepts of economic system, efficiency, and better living—lenses through which her work is often viewed—her ultimate goal is to understand our psychological relationships to these ideals rather than dictate a "correct" fashion to live.
Andrea Zittel: Art & Blueprint
Art21'southward Extended Play series, 2015
Video courtesy Art21, art21.org, founded 1997
Works
Andrea Zittel
Untitled (To live inside or without society?), 2013
Polyacrylic on marine course plywood console with steel frame
184.2 × 370.8 × v.7 cm
72 1/ii × 146 × 2 1/4 inches
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Andrea Zittel
Untitled (To live within or without society?) , 2013
Andrea Zittel
A-Z Wagon Stations: Second Generation, 2012–nowadays
Powder coated steel, aluminium, plexiglass, wood, canvas,
futon, pillow, hand brush, straw hat
91.4 × 228.6 × 228.half-dozen cm
36 × 90 × 90 inches
Photo: Lance Brewer
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Andrea Zittel
A-Z Carriage Stations: 2nd Generation , 2012–Present
Andrea Zittel
A-Z Wagon Stations: 2d Generation, 2012–present (detail)
Photograph: Lance Brewer
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Andrea Zittel
A-Z W
Andrea Zittel
A-Z Wagon Stations: Second Generation, 2012–present (detail)
Photo: Lance Brewer
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Andrea Zittel
A-Z West
Andrea Zittel
A-Z Wagon Stations: Second Generation, 2012–present (particular)
Photo: Lance Brewer
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Andrea Zittel
A-Z Wagon Stations: 2nd Generation , 2012–Nowadays
Andrea Zittel
Bench (after Judd) #5, 2015
Weaving, wood, steel, paint
48 × 305 × 367 cm
19 × 120 × 144 1/2 inches
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Andrea Zittel
Bench (after Judd) #five , 2015
Andrea Zittel
Bench (afterward Judd) #5, 2015 (particular)
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Andrea Zittel
Bench (subsequently Judd) #5 , 2015
Andrea Zittel
Bench (afterward Judd) #five, 2015 (detail)
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Andrea Zittel
Bench (after Judd) #5 , 2015
Andrea Zittel
Clutch, 2010
Color video with audio
11:22 min
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Andrea Zittel
Clutch , 2010
Andrea Zittel
A-Z Management and Maintenance Unit: Model 003 (large), 1992
Steel, wood, carpeting, plastic sink, drinking glass, mirror
218.four × 238.eight × 172.seven cm
86 × 94 × 68 inches
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Andrea Zittel
A-Z Direction and Maintenance Unit of measurement: Model 003 (large) , 1992
Andrea Zittel
A-Z Deserted Island 6, 1997
Fibreglass, wood, plastic, vinyl seat, vinyl logo
91.iv × 228.6 × 228.6 cm
Edition of x
Photo: Alexander Butz
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Andrea Zittel
A-Z Deserted Island Half-dozen , 1997
Andrea Zittel
A-Z Deserted Isle VI, 1997
all the lonely people, installation view, Silent Green, Berlin and LAXART, Los Angeles, September 25–Oct ten, 2021
Photograph: Alexander Butz
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Andrea Zittel
A-Z Deserted Isle Half-dozen , 1997
Andrea Zittel
A-Z Deserted Isle Half-dozen, 1997
all the lonely people, installation view, Silent Green, Berlin and LAXART, Los Angeles, September 25–October 10, 2021
Photo: Alexander Butz
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Andrea Zittel
A-Z Deserted Island VI , 1997
Andrea Zittel
Pattern, 2011
Woods, cardboard, newsprint, paint, polyurethane, steel
197 × 610 × 119 cm
77 5/eight × 240 1/8 × 46 7/8 inches
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Andrea Zittel
Design , 2011
Andrea Zittel
Pattern, 2011 (detail)
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Andrea Zittel
Design , 2011
Andrea Zittel
Pattern, 2011 (item)
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Andrea Zittel
Pattern , 2011
Andrea Zittel
Pattern, 2011 (item)
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Andrea Zittel
Design , 2011
Andrea Zittel
Pattern, 2011 (detail)
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Andrea Zittel
Pattern , 2011
Andrea Zittel
Grey Personal Panel on My Bedroom Floor, 1998
Gouache on paper
25.iv × 38.i cm
10 × xv inches
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Andrea Zittel
Greyness Personal Panel on My Chamber Flooring , 1998
Andrea Zittel
A-Z Aggregated Stacks, 2010
Cardboard, plaster gauze
Photograph: Giovanni Jance
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Andrea Zittel
A-Z Aggregated Stacks , 2010
Andrea Zittel
The Flat Field Works, installation view, Middelheim Museum, Antwerp, Belgium, June 13–September 27, 2015
Photo: Simon Vogel
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Andrea Zittel
The Apartment Field Work
Installation view, Middelheim Museum, Antwerp, June xiii–September 27, 2015
Andrea Zittel
The Flat Field Works, installation view, Middelheim Museum, Antwerp, Belgium, June 13–September 27, 2015
Photo: Simon Vogel
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Andrea Zittel
The Flat Field Work
Installation view, Middelheim Museum, Antwerp, June 13–September 27, 2015
Andrea Zittel
The Flat Field Works, installation view, Middelheim Museum, Antwerp, Belgium, June 13–September 27, 2015
Photograph: Simon Vogel
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Andrea Zittel
The Apartment Field Work
Installation view, Middelheim Museum, Antwerp, June 13–September 27, 2015
Andrea Zittel
Parallel Planar Panel (dark grey, lite grey, white, off-white, rust, blackness), 2015
Weaving, aluminium, lacquer
148 × 178 cm
58 1/4 × 70 inches
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Andrea Zittel
Parallel Planar Console (dark grey, low-cal grey, white, off-white, rust, black) , 2015
Andrea Zittel
Parallel Planar Panel (dark grey, light grey, white, fair, rust, black), 2015 (detail)
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Andrea Zittel
Parallel Planar Console (dark grey, light grayness, white, off-white, rust, black) , 2015
Andrea Zittel
Parallel Planar Panel (dark grey, low-cal greyness, white, off-white, rust, black), 2015 (detail)
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Andrea Zittel
Parallel Planar Panel (dark grey, low-cal grey, white, off-white, rust, black) , 2015
Andrea Zittel
Untitled, 2019
Watercolor, pencil pen and gouache on newspaper
38.1 × 55.9 cm
15 × 22 inches
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Andrea Zittel
Untitled , 2019
Andrea Zittel
Planar Pavilions at A-Z West, 2017
Cement blocks, paint
Dimensions variable
Photo: Sarah Lyon
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Andrea Zittel
Planar Pavilions at A-Z West , 2017
Andrea Zittel
Planar Pavilions at A-Z West (detail)
Photo: Sarah Lyon
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Andrea Zittel
Planar Pavilions at A-Z W , 2017
Andrea Zittel
Planar Pavilions at A-Z West (detail)
Photo: Sarah Lyon
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Andrea Zittel
Planar Pavilions at A-Z West , 2017
Andrea Zittel
Planar Pavilions at A-Z Westward (item)
Photograph: Sarah Lyon
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Andrea Zittel
Planar Pavilions at A-Z West , 2017
Andrea Zittel
Planar Pavilions at A-Z West (detail)
Photo: Sarah Lyon
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Andrea Zittel
Planar Pavilions at A-Z West , 2017
Current and Upcoming
Andrea Zittel, Report for Planar Construction #one, #3, #4, #5, 2020
The Architecture of Transformation
Grouping Exhibition
BNKR – electric current reflections on art and architecture, Munich
Through May 29, 2022
The exhibition trilogy The Architecture of assembles artworks that explore the fault lines between art and compages. Taking its departure signal from the building that houses BNKR itself, it responds to the changes in architectural appearance and appropriation since its construction as a WWII bunker until its current function as a residential infinite. With a diverse range of artworks and site-specific commissions, The Compages of is intended as a spatial experience that encourages the viewer to critically reflect on the complex human relationship between the physical and psychological dimensions of our lived realities.
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Group Exhibition
Ludwig Múzeum, Budapest
Through September 4, 2022
The exhibition explores the issue of the permanent transience that we experience today, both on a global and personal level. Partly due to technological progress, partly due to the evolution of social and biological systems, not only has the present go unpredictable and uncertain, but the hereafter looms as an apocalyptic endgame. Notwithstanding, transience also holds the potential for option and modify, which can derive its power from the very ground of this prolonged state and creatively mobilize this power. By capturing the present moment and extending information technology, the works on display offer possible alternatives in the face up of our ever-irresolute everyday lives.
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Copyright Yuko MOHRI: Decomposition, 2021., Courtesy Projection Fulfill Art Infinite, Taipei
Exhibitions at Sprüth Magers
Andrea Zittel: A-Z West Works
Andrea Zittel
Pop-up Store
November six–December 18, 2021
Berlin
Sprüth Magers is delighted to denote Andrea Zittel: A-Z West Works, a pop-up store at Sprüth Magers Window in Berlin, presenting handmade ceramic bowls and hand-woven textiles produced by her studio A-Z West in the Californian desert side by side to Joshua Tree National Park. Each object is one of a kind. Since 2000, A-Z West has functioned every bit the artist's home and testing ground where physical works are created and lived with as an experiment in "investigative living."
Dates and opening times:
November 27th, xi:00–6:00pm
December 4th, eleven:00–6:00pm
Dec 11th, 11:00–half-dozen:00pm
Andrea Zittel
Works on Newspaper
November 27, 2020–February thirteen, 2021
Berlin
Monika Sprüth and Philomene Magers are pleased to denote the Berlin exhibition Works on Newspaper by American artist Andrea Zittel, presenting 26 new drawings that all swivel, in 1 way or some other, on planar structures. Planar panels are apartment rectangular elements that form the building blocks of so much of the reality that we construct effectually ourselves, from benches to bed frames to walkways. Zittel's artistic work regularly traverses the boundaries between art and architecture, and hither reflects upon the planes and panels that exist in both our literal and psychological fields of reality.
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Andrea Zittel
Parallel Planar Panels
Nov 3, 2015–January 16, 2016
Berlin
Over the last 25 years I accept adult a practice in which spaces, objects, and acts of living all intertwine within a single ongoing investigation into what it means to be and participate in our culture today. 'How to live?' and 'what gives life pregnant?' are core issues in both my personal life and my artistic exercise. Answering these questions has often entailed the examination of social norms, values, hierarchies and categories, which are all highly articulated human being constructions that are oddly meaningful and somewhat arbitrary at the same time.
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Pattern of Habit
June viii–September ten, 2011
Berlin
'For the final 20 years my piece of work in ane style or another has examined how psychological structures, thought systems and beliefs are manifested as physical objects in the globe that we create around ourselves. Nearly recently this research has focused on the patterns and systems that are bound to habits, schedules and rules. For instance, I alive in the desert where in that location all of my day to day necessities are ordered on-line, and delivered to my doorstep – a never ending stream of products, each carefully packed in its ain cardboard box. Later on I unpack information technology's contents I center the box thinking that information technology is a shame to throw out such a perfect vehicle – especially if it has special proportions or clearly crisp edges and corners. Soon I establish myself stacking the boxes up along an empty wall, eventually devising a way to cement this irregular structure together into an integrated unit that reflects a pattern of my own life through consumption.' Andrea Zittel, May 2011
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Andrea Zittel
Smockshop London
September 19–October 3, 2009
London
The Smockshop is a continuation of Andrea Zittel's long-standing aesthetic investigation into the daily routines and functional experiences of everyday life. Founded in Los Angeles in 2007, this artistic and economic 'popular up' experiment appeared in galleries, stores, and non-profit venues across N American earlier making its European debut at Sprüth Magers Berlin in February of 2009. A profit-making enterprise with social awareness, the Smockshop generates income for non-commercial artists who are not yet self-sustaining.
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Smockshop Berlin
Feb 18–April 18, 2009
Berlin
This is the first time the Smockshop (www.smockshop.org) has gear up its stall exterior North America, and it is also scheduled to be the last fourth dimension it opens for business at all, making this a unique opportunity to experience Zittel's creative and economic experiment. Ii artisans will piece of work in the gallery for the first four days of the exhibition making the smocks that are available for buy correct after their product. The works will be then on view in the gallery throughout the whole exhibition period. The double wrap-around garments designed by Zittel collectively represent an aesthetically diverse yet functionally compatible body of work. Extending Zittel's longstanding interest in the form and function of everyday life, the smocks develop a modernist tradition of habiliment design and manufacture, extending back to the Russian avant-garde, which emphasises utility and economy, and inclines towards an culling experience of clothing to the prevailing discourse of fashion.
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Andrea Zittel
A-Z Uniform Series 1991–2002
May 15–June 28, 2003
Munich
"Almost of us to own a favorite garment that makes us look and experience good, but social etiquette dictates that we wear a unlike change of clothes every day. Sometimes this multitude of options tin actually feel more than restrictive that a self-imposed constant. Considering I was tired of the tyranny of abiding variety, I began a six-month uniform project. Starting in 1991, I would pattern and made one perfect dress for each season, and would so to clothing that dress every day for vi months. Although commonsensical in principle, I often found that there was ofttimes a stiff element of fantasy or emotional demand invested in each flavour's blueprint. The experiment as a whole worked quite well, peculiarly since dreaming upward the side by side season's design helped save any monotony that might have occurred from wearing the same wearing apparel every day." –Andrea Zittel
Read more 20th Anniversary Show
John Baldessari, Alighiero Boetti, George Condo, Walter Dahn, Thomas Demand, Thea Djordjadze, Peter Fischli David Weiss, Sylvie Fleury, Andreas Gursky, Jenny Holzer, Gary Hume, Axel Kasseböhmer, Karen Kilimnik, Astrid Klein, Barbara Kruger, Louise Lawler, Jean-Luc Mylayne, Nina Pohl, Richard Prince, Ed Ruscha, Frances Scholz, Andreas Schulze, Cindy Sherman, Rosemarie Trockel, Andrea Zittel, Philip-Lorca diCorcia
April 25–October xviii, 2003
Cologne
In 1983, Monika Sprüth opened her Cologne based gallery with a solo evidence by Andreas Schulze. Starting from the idea to establish a forum for young and unknown artists, the primal focus of the gallery concept was developed in the discourse of the 80s. The gallery program was completed by recourses to creative attitudes of the last twoscore years. This research, motivated by reflection on contemporary art history, was more and more than realized in cooperation with Philomene Magers who directed her Bonn gallery since 1992. Later on a few years of loose cooperation, Monika Sprüth Gallery and Philomene Magers Gallery aligned with each other afterward, and together the Monika Sprüth / Philomene Magers Gallery opened up in Munich in 1999.
Press
Wie Wollen Wir Leben?
Architectural Digest, no 217, commodity by Gesine Borcherdt, March 2021
Starkes Doppel
taz Die Tageszeitung, review by Sabine Weier, Dec 8, 2020
Andrea Zittel
Tique, Artist feature, August 2020
What Do You Really Need? In the California Desert, Creative person Andrea Zittel Reconsiders How We Live
Vogue, article by Nich Mcelroy, Apr 10, 2020
Wie leben?
Süddeutsche Zeitung, article past Catrin Lorch, March 15, 2019
Invitation at Desert's Border
Openhouse, article by Forde Visser, 2019
Artist Andrea Zittel in Her Element
Cultured, article by Jonathan Griffin, July vii, 2017
Sight and Insight in the California Desert
T Mag, The New York Times, commodity by Kate Bolick, October 30, 2017
Andrea Zittel
Apartamento, interview by Alix Browne, Autumn/Winter 2016/2017
Portfolio: Andrea Zittel
Modern Painters, article by Thea Ballard, Jan 2016
A Chat With the Greatest Artist West of the Rocky Mountains
Modernistic Matter, interview by Brienne Walsh, 2015
The Flat Field Works
Domus, commodity by Simon Vogel, July 25, 2015
Dreambuilding in the American West
The Gentlewoman, article by Cristina Ruiz, 2015
Biography
Andrea Zittel (*1965, Escondido, CA), lives and works in the Californian Mojave Desert near Joshua Tree. Her piece of work has been presented in numerous solo exhibitions internationally, including Miller ICA Carnegie Mellon University, Purnell Center for the Arts, Pittsburgh (2020), Kunsthall Stavanger (2018), Palm Springs Fine art Museum, Compages and Design Center, Palm Springs, CA (2017), Middelheim Museum, Antwerp (2015), Nevada Museum of Art, Reno, NV (2014), Baltic Eye for Contemporary Art, Gateshead (2012), Indianapolis Museum of Art, Indianapolis, IN (2010), Schaulager Basel (2008), Contemporary Arts Museum, Houston, TX; New Museum of Contemporary Art, New York; The Museum of Contemporary Art, Los Angeles; Vancouver Art Gallery (all 2005), Deichtorhallen, Hamburg (1999), Neue Galerie am Landesmuseum Johanneum, Graz (1997), Louisiana Museum of Modern Art, Humlebaek (1996), and San Francisco Museum of Modernistic Art (1995). Major group exhibitions include National Museum of Modernistic and Contemporary Fine art, Seoul (2021), Pinakothek der Moderne, Munich (2020), 16th Istanbul Biennial (2019), Museum of Art and Blueprint, New York (2015), Kunsthalle Bielefeld (2013), San Francisco Museum of Craft and Design (2010), the Whitney Biennial, New York (2004, 1995), Documenta X in Kassel (1997), Skulptur Projekte Münster, Muenster (1997), and 45th Venice Biennale (1993), among many others.
Teaching
| 1990 | MFA Sculpture, Rhode Island Schoolhouse of Design, Providence, RI |
| 1988 | BFA Painting/Sculpture (Honors), San Diego State University, San Diego, CA |
Awards, Grants and Fellowships
| 2016 | GSA Design Awards, Citation in Art |
| 2012 | Frederick Kiesler Prize for Architecture and the Arts |
| 2007 | AICA Honour Best Architecture or Design Testify |
| 2006 | College Fine art Association Distinguished Trunk of Piece of work Honour |
| 2005 | Lucelia Artist Honour (Smithsonian American Art Museum) |
| 1999 | Alfried Krupp von Bohlen and Halbach Foundation catalogue back up prize, Zurich |
| 1997 | Oribe Honour |
| 1996 | Coutts Contemporary Fine art Foundation Award, Zurich |
| 1995 | Deutscher Akademischer Austauschdienst (DAAD Grant), Berlin |
| 1990 | Award of Excellence, Rhode Isle Schoolhouse of Pattern |
| 1989 | Award of Excellence, Rhode Island School of Design |
| 1988 | Distinction in Art, San Diego State Academy |
| 1988 | Paricia Clapp Scholarship in Fine Art |
| 1986 | Elizabeth Kraft Scholarship in Sculpture |
Curatorial Projects
| 2020 | High Desert Test Sites 2020 (HDTS 2020), The Guests of the Hotel Palenque, Joshua Tree, CA, April 18–May 10, 2020 (interrupted past COVID-19) |
| 2013 | High Desert Test Sites 2013 (HDTS 2013), Joshua Tree, CA, Oct 12–xix, 2013 |
| 2011 | High Desert Examination Sites 2011 (HDTS 2011), Joshua Tree, CA, October 15–xvi, 2011 |
| 2011 | Andrea Rosen Gallery, New York, NY, Gallery 2: Lior Shvil, Operation OZ Belev-Yam, May v–June eleven, 2011 |
| 2008 | Loftier Desert Test Sites CB08 (HDTS CB08), Joshua Tree, CA, November seven–9, 2008 |
| 2007 | High Desert Test Sites 2007 (HDTS 2007), Joshua Tree, CA, May 12–13, 2007 |
| 2006 | High Desert Exam Sites 5 (HDTS 5), Joshua Tree, CA, May 6–seven, 2006 |
| 2004 | Loftier Desert Exam Sites 4 (HDTS4), Joshua Tree, CA, October 23–24, 2004 |
| 2003 | High Desert Examination Sites 3 (HDTS3), Joshua Tree, CA, October 25–26, 2003 |
| 2003 | High Desert Test Sites ii (HDTS2), Joshua Tree, CA, May 23–24, 2003 |
| 2002 | High Desert Test Sites, Joshua Tree, CA, November 23–24, 2002 |
| 1993 | Artist Select: Part I, Artist Infinite, New York, NY, Nov twenty, 1993–January fifteen, 1994 |
Public Collections
| Addison Gallery of American Art, Andover, MA |
| Albright Knox Art Gallery, Buffalo, NY |
| CAPC musée d'art contemporain de Bordeaux |
| Middle for Curatorial Studies at Bard Higher, Annandale-On-Hudson, NY |
| Cincinatti Art Museum, OH |
| Cooper-Hewitt National Design Museum, New York |
| Daimler Contemporary, Stuttgart |
| Fondazione Prada, Milan |
| FRAC Nord – Pas de Calais, Dunkerque |
| Grazer Kunstverein, Graz |
| Hammer Museum, Los Angeles |
| Israel Museum, Jerusalem |
| Jumex Collection, United mexican states City |
| Los Angeles County Museum of Art, Los Angeles |
| Louisiana Museum of Modern Art, Humlebæk |
| Magasin 3, Stockholm |
| Metropolitan Museum of Art, New York |
| Milwaukee Fine art Museum |
| Moderna Museet, Stockholm |
| Museum of Gimmicky Art, Chicago |
| Museum of Contemporary Art, San Diego |
| Museum of Contemporary Art, Los Angeles |
| Museum of Mod Fine art, New York |
| National Gallery of Australia, Parkes Australian Capital Territory |
| Nevada Museum of Fine art, Reno |
| Palm Springs Art Museum |
| San Francisco Museum of Mod Art |
| Sammlung Goetz, Munich |
| Schaulager, Münchenstein |
| Solomon R. Guggenheim Museum, New York |
| Tate Modern, London |
| Whitney Museum of American Art, New York |
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Source: https://spruethmagers.com/artists/andrea-zittel/
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