Javascript required
Skip to content Skip to sidebar Skip to footer
Home / Performance Art Based Piece With Some of the Highest Wads in the in the Fashion

Performance Art Based Piece With Some of the Highest Wads in the in the Fashion

American artist

Chris Burden
Chris Burden.jpg
Born (1946-04-11)April 11, 1946

Boston, Massachusetts, US
Died May ten, 2015(2015-05-x) (anile 69)

Topanga Canyon, California, US
Education Pomona College
Academy of California, Irvine
Known for Functioning art, installation art, sculpture
Spouse(south) Barbara Burden[1]
Nancy Rubins[two]

Christopher Lee Burden (Apr 11, 1946 – May x, 2015) was an American creative person working in operation, sculpture and installation art. Burden became known in the 1970s for his functioning art works, including Shoot (1971), where he arranged for a friend to shoot him in the arm with a modest-caliber rifle. A prolific creative person, Burden created many well-known installations, public artworks and sculptures earlier his decease in 2015.

Early life and career [edit]

Burden was built-in in Boston in 1946 to Robert Burden, an engineer, and Rhoda Burden, a biologist.[iii] [4] He grew upward in Cambridge, Massachusetts, France and Italia.[5]

At the age of 12, Brunt had emergency surgery, performed without anesthesia, on his left foot after he was severely injured in a motor-scooter crash on Elba. During the long convalescence that followed, he became deeply interested in visual art, particularly photography.[3]

He 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[5]—from 1969 to 1971.[6]

Work [edit]

Early functioning art [edit]

Brunt began to work in operation art in the early 1970s. He made a series of controversial performances in which the thought of personal danger as artistic expression was central. His outset meaning functioning piece of work, Five Twenty-four hours Locker Piece (1971), was created for his master'south thesis at the Academy of California, Irvine,[three] and involved his being locked in a locker for five days.[7]

His 1973 work 747 involved the artist firing several pistol shots direct at a Boeing 747 passenger jet plane while information technology took off from Los Angeles International Airport. The piece had a single witness, photographer Terry McDonnell, who filmed the act.[ citation needed ]

His best-known work from that fourth dimension is perhaps the 1971 performance piece Shoot, in which he was shot in his left arm by an banana from a distance of about sixteen feet (five yard) with a .22 burglarize.[6] [8] Other performances from the 1970s included Deadman (1972), in which Burden lay on the ground covered with a canvas sail and a set of route flares until bystanders causeless he was expressionless and called emergency services (leading to his arrest);[9] Lucifer Piece (1972) (as well known as Match),[9] in which Brunt launched lit matches at a naked woman lying between him and a set of two televisions in a room covered with butcher newspaper (1972);[10] B.C. Mexico (1973), in which he kayaked to a desolate beach in Baja United mexican states where he lived for xi days with no food and only water;[eleven] Burn Roll (1973), in which he prepare a pair of pants on fire and and then rolled on them to extinguish them;[12] [xiii] Honest Labor (1979), in which he dug a large ditch;[7] Velvet H2o (1974), in which he spent five minutes attempting to exhale h2o every bit a live audience watched;[14] Practise Y'all Believe in Idiot box (1976), in which he sent an audience to the third flooring of a building — where tv monitors showed them the basis flooring — and then lit a fire on the basis floor (sources differ as to whether the monitors showed the burn, forcing the audience to realize that the screens represented reality,[14] or showed an intact ground floor, forcing them to realize that the screens did not represent reality);[15] and TV Hijack (1972) wherein, during a alive television set interview to which he had brought his own camera crew, he held interviewer Phyllis Lutjeans at knifepoint and threatened to impale her if the station stopped live manual (when asked most the incident in 2015, Lutjeans stated that Brunt was a 'gentle soul', that she knew it was an art slice, and that the incident did not impairment their pre-existing friendship);[16] to conclude the slice, he demanded to be given the station'south recording of the incident, which he and so destroyed.[17]

Still from Goggle box 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 Artery in Venice, California.[18] For this functioning, Burden lay face up on a Volkswagen Beetle and had nails hammered into both of his hands, every bit if he were beingness crucified on the motorcar. The motorcar was pushed out of the garage and the engine revved for two minutes before beingness pushed back into the garage.[19]

Later that year, Burden performed his slice White Light/White Heat at the Ronald Feldman Gallery in New York City. For this work of experiment functioning and self-inflicting danger, Burden spent xx-two days lying on a triangular platform in the corner of the gallery. He was out of sight from all viewers and he could non see them either. According to Brunt, he did not eat, talk, or come down the unabridged time.[20]

Several of Burden'due south other functioning pieces were considered controversial at the time: some other "danger piece" was Doomed (1975), in which Burden lay motionless in a gallery at the Museum of Contemporary Art, Chicago nether a 5 ft × 8 ft (ane.5 k × two.iv m) slanted sheet of glass about a running wall clock.[21] [22] Burden planned to remain in that position until a museum employee prioritized his well-existence over the creative integrity of the piece. After twoscore hours, the museum staff consulted physicians. v hours and 10 minutes after that, museum employee Dennis O'Shea placed a pitcher of water within Brunt's accomplish, at which indicate Brunt rose, smashed the glass, and took a hammer to the clock, thus ending the piece.[23]

By the terminate of the 1970s, Brunt turned instead to vast engineered sculptural installations.[3] In 1975, he created the fully operational B-Machine, a lightweight four-wheeled vehicle that he described as being "able to travel 100 miles per hour and reach 100 miles per gallon" (160 km/h and 43 km/l).[24] Some of his other works from that flow are DIECIMILA (1977), a facsimile of an Italian x,000 Lira note, maybe 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 get-go ever made Mechanical television receiver.

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'south alleged mishandling of a pupil'due south classroom performance piece that echoed one of Brunt's own functioning pieces.[8] Burden cited the functioning in his letter of resignation, saying that the student should accept been suspended during the investigation into whether school safety rules had been violated.[25] The performance allegedly involved a loaded gun, but regime were unable to substantiate this.[26]

In 1979, Brunt first exhibited his notable Large Bike exhibition at Rosamund Felsen Gallery.[27] Information technology was later exhibited in 2009 at the Museum of Contemporary Art, Los Angeles.[28]

In 1980, he produced The Atomic Alphabet – a giant, affiche-sized hand-colored lithograph – and performed the text dressed in leather and punctuating each letter with an aroused stomp.[29] Twenty editions of the work were produced and are largely in the possession of museums, including SFMOMA[thirty] and the Whitney Museum of American Art.[31]

1988'southward Samson was 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,[32] meaning that "if enough people entered the museum, it would plummet". The exhibit was forcibly disassembled past the local fire department after a complaint that it was blocking a burn down exit.[33] In 2008, Burden reported having subsequently sold Samson to "a collector in Brazil."[34]

Later work [edit]

Urban Light (2008) by Chris Burden

Metropolis Two (2011) kinetic art projection by Chris Brunt. At LACMA filmed March 16, 2013.

Many of Chris Burden's later on sculptures are intricate installations and structures consisting of many small parts.[4] A Tale of Two Cities (1981) was inspired by the artist's fascination with war toys, bullets, model buildings, antiquarian soldiers, and a fantasy about the xx-fifth century – a time when he imagines the world volition take returned to a system of feudal states. The room-filling miniature reconstruction of two such city-states, poised for state of war, incorporates five,000 war toys from the United States, Nihon, and Europe – on a one,100-square-foot (100 grandii), twenty-brusk-ton (xviii t)[4] sand base surrounded by a "jungle" made of houseplants.[35] The gallery-sized installation All the Submarines of the The states of America (1987) consists of 625 identical, minor, handmade, painted-cardboard models that represent the entire Us submarine armada dating from the late 1890s, when submarines entered the navy's arsenal, to the belatedly 1980s.[36] He suspended the paper-thin models on monofilaments from the ceiling, placing them at various heights so that as a group they appear to exist a school of fish pond through the ocean of the gallery space.[iv] In 1992, he exhibited his Fist of Calorie-free during the Whitney Biennial exhibition in New York. It consisted of a sealed kitchen-sized metallic box with hundreds of metal halide lamps burning inside. It required an industrial air conditioner to absurd the room.

Hell Gate (1998), is a 28-human foot-long (8.5 thousand) scale model, in Erector and Meccano pieces and wood, of the dramatic steel-and-concrete railroad span that crosses the Hell Gate segment of the East River, betwixt Queens and Wards Isle.[5] In 1999, Burden's sculpture When Robots Rule: The Two Minute Aeroplane Manufacturing plant was shown at the Tate Gallery in London. It was a "manufacturing plant-like assembly line which manufactures rubber-band-powered model aeroplanes from tissue paper, plastic and balsa wood". Each plane had a propeller powered by a rubber band, and when each was completed, at a rate of one every ii minutes,[37] the machine launched it to fly up and circle around the gallery.[38] Unfortunately, the machine was non-functional for at to the lowest degree 2 months of the installation, leading Earth 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".[39] [xl]

First presented at the Istanbul Biennial in 2001, Nomadic Folly (2001) consists of a big wooden deck made of Turkish cypress and four huge umbrellas. Visitors tin can relax and linger in this tent-like construction, replete with opulent handmade carpets, braided ropes, hanging glass and metallic lamps, and nuptials fabrics embroidered with sparkling threads and traditional patterns.[41]

In 2005, Brunt 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,[42] being designed and constructed with the help of the Marine Engineering science Department of the University of Southampton.[43] Information technology is said to exist controlled via onboard computers and a GPS system; notwithstanding, in example of emergency the ship is 'shadowed' past an accompanying support gunkhole.

In 2008, Burden created Urban Low-cal, a sculptural work consisting of 202 establish antique street lights that had once stood around Los Angeles. He bought the lights from the contractor who installed Urban Light, Anna Justice.[44] The piece of work is on view exterior of the Los Angeles County Museum of Art, and the solar-powered lights are illuminated at dusk.[44]

In the summer of 2011, Burden finished his kinetic sculpture, Urban center 2,[45] [46] which took 4 years to build. It was installed at LACMA in Fall 2011.[47] [48] "Chris Brunt's Urban center Ii is an intense kinetic sculpture, modeled subsequently a fast paced, corybantic mod city."[49]

Suspended from reverse 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 machine much closer to the vertical back up.[4]

Light of Reason was deputed by Brandeis University in 2014 and stands outside the Rose Art Museum on campus.[50] The sculpture consists of three rows of 24 Victorian lamp posts which point away from the museum'due south entrance.[50] The sculpture serves as a gateway and outdoor event space, and has go a campus landmark.[51] [fifty]

Burden'southward terminal completed project – a working dirigible that flies in perfect circles chosen Ode to Santos Dumont after the pioneering Brazilian aviator – was unveiled at a individual Gagosian Gallery issue outside of Los Angeles shortly earlier his death[52] and later installed equally a tribute at LACMA.[53] As well, the New Museum decided to have Twin Quasi-Legal Skyscrapers (2013), ii 36-foot-tall towers created for the museum's retrospective on Burden, remain on the institution'due south roof for several months in tribute.[53] At the time of his death, Burden was as well working on a watermill next to Frank Gehry's not and so yet completed aluminum tower at LUMA Arles, which was finished in 2021. Burden'due south piece of work remained unfinished at the time of his passing also.[54]

Exhibitions [edit]

In 2013, the New Museum presented "Chris Burden: Extreme Measures", an expansive presentation of Burden'southward work that marked the outset New York survey of the artist and his first major exhibition in the U.s.a. in over twenty-five years. Burden has also had major retrospectives at the Newport Harbor Art Museum, Newport Embankment, California (1988), and the Museum of Applied Arts, Vienna (1996).[55] Other solo exhibitions include "14 Magnolia Doubles" at the South London Gallery, London (2006); "Chris Burden" at the Baltic Center of Contemporary Fine art, Gateshead (2002); and "Belfry of Power" at the Museum Moderner Kunst Stiftung Ludwig, Vienna (2002).[41] In 1999 Brunt exhibited at the 48th Venice Biennale and the Tate Gallery in London. In the summer of 2008, Burden'southward 65-human foot-tall (twenty m) skyscraper fabricated of one 1000000 erector set parts, titled What My Dad Gave Me, stood in front of Rockefeller Middle, New York City.[55]

Collections [edit]

Brunt's piece of 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 Fine art, New York; the Tate Gallery, London; the Middelheimmuseum, Antwerp, Kingdom of belgium; the Inhotim Centro de Arte Contemporanea, Brazil; the 21st Century Museum of Gimmicky Fine art, Kanazawa, Japan; and the Museum of Gimmicky Fine art, Chicago, among others.[41]

Art market [edit]

Burden was represented by Gagosian Gallery from 1991 until his decease.[55] In 2009, a deal that Gagosian Gallery had struck to buy $three million in gilded bricks for Burden'due south work Ane Ton, One Kilo [56] was frozen when information technology turned out that the bricks had been acquired from a Houston-based company owned past financier Allen Stanford, who was afterward charged by the U.S. Securities and Substitution Commission[57] and sentenced to 110 years[58] in prison for cheating investors out of more than $7 billion over xx years in ane of the largest Ponzi schemes in American history.[59] [60] Equally of 2013, the gallery's gilded has been frozen while the SEC investigates Stanford and One Ton One Kilo cannot be mounted until the gold bullion is released.[61]

In popular culture [edit]

David Bowie's 1977 song "Joe the King of beasts" was inspired by Brunt'southward 1974 Trans-Stock-still, where Burden crucified himself on the roof of a Volkswagen Protrude.[62] Laurie Anderson titled her 1977 song "It'due south Not the Bullet that Kills You – Information technology's the Hole (for Chris Brunt)". Brunt 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 drove Hoodwinked [63] describes the Burden installation of the same name in Chicago. In poet Jason Schneiderman's 2020 drove Hold Me Tight [64] in that location is a sequence about Burden.

Personal life [edit]

Burden was married to multi-media artist Nancy Rubins.[8] He lived and worked in Los Angeles, California. His studio was located in Topanga Canyon.[47] From 1967 to 1976, Burden was married to Barbara Burden, who documented and participated in several of his early artworks.[1]

Burden died on May x, 2015, eighteen months after having been diagnosed with melanoma.[65] He was 69.

References [edit]

  1. ^ a b McKenna, Kristine (29 September 1992). "Unmasking Chris Burden". Los Angeles Times . Retrieved 21 October 2019.
  2. ^ Kennedy, Randy. "The Rest of a Career". The New York Times.
  3. ^ a b c d Margalit Fob (May eleven, 2015), Chris Brunt, a Conceptualist With Scars, Dies at 69 The New York Times
  4. ^ a b c d due east Roberta Smith (October three, 2013), The Stuff of Edifice and Destroying: 'Chris Burden: Extreme Measures,' at the New Museum The New York Times
  5. ^ a b c Peter Schjeldahl (May 14, 2007), Operation: Chris Brunt and the limits of art The New Yorker.
  6. ^ a b Gagosian Gallery website. http://www.gagosian.com/artists/chris-brunt/. Retrieved 25 May 2010.
  7. ^ a b Piece of work Ethic, by Helen Anne Molesworth, Thou. Darsie Alexander, Julia Bryan-Wilson, Baltimore Museum of Art, Des Moines Fine art Center, Wexner Center for the Arts; published 2003 by Penn State Press
  8. ^ a b c Kastner, Jeffrey (January 1, 2005). "Gun Shy". Artforum . Retrieved 2007-02-17 .
  9. ^ a b Art in California, in The New York Times, published September ii, 1973; retrieved April ten, 2019
  10. ^ McMahon, Paul (October 12, 2010). "In the Forepart Row for Chris Burden's Match Piece, 1972", in the Pomona Daily Collegian, archived at East of Borneo; retrieved 2011-12-fifteen
  11. ^ Chris Burden, Cornerstone of Performance Art, Has Died at 69, by Andrew Russeth, at ARTNews; published May x, 2015; retrieved April ten, 2019
  12. ^ SiteWorks: San Francisco performance 1969-85 - Burn down Scroll, at the Academy of Exeter
  13. ^ Review: 'Chris Burden: Farthermost Measures', by Philip Kennicott, in The Washington Mail; published December 19, 2013; retrieved April 10, 2019
  14. ^ a b Practice You Believe in Television receiver? Chris Brunt and TV, by Nick Stillman, at Eastward of Borneo
  15. ^ Performance Anthology, p. 195; edited past Carl Loeffler; published 1989 by Last Gasp
  16. ^ RIP Chris Brunt, dear fifty-fifty by the 'victim' in 'Telly Hi-Jack', by John Rabe, at Southern California Public Radio; published May 13, 2015; retrieved April x, 2019
  17. ^ TV Hijack. Feb nine, 1972, by Chris Burden, at the Metropolitan Museum of Fine art; retrieved April 10, 2019
  18. ^ Chris Burden (1995). Chris Burden. Blocnotes Editions. p. 131. ISBN2-910949-00-1.
  19. ^ "Chris Burden at Virtual Venice". Retrieved 6 Baronial 2011.
  20. ^ "White Light/White Heat Feb 8 – March 1, 1975". Archived from the original on January 25, 2011. Retrieved December xiv, 2010.
  21. ^ Chris Brunt (1995). Chris Burden. Blocnotes Editions. p. 133. ISBN2-910949-00-one.
  22. ^ Chris Brunt: "My God, are they going to go out me here to die?", past Roger Ebert; originally published in the Chicago Sun-Times, May 25, 1975; archived at RogerEbert.com; retrieved April 10, 2019
  23. ^ "Chris Burden and the limits of fine art," by Peter Schjeldahl. The New Yorker, May 14, 2007.
  24. ^ "1996 review of Brunt's MAK retrospective". Archived from the original on May 17, 2008.
  25. ^ Sarah Thornton (two November 2009). Vii Days in the Art World. New York. ISBN9780393337129. OCLC 489232834.
  26. ^ Boehm, Mike (22 January 2005). "2 Artists Quit UCLA Over Gun Incident". Retrieved 26 Jan 2019 – via LA Times.
  27. ^ "Chris Burden»Pacific Standard Fourth dimension at the Getty". Pacific Standard Fourth dimension at the Getty . Retrieved 26 Jan 2019.
  28. ^ Carpenter, Susan (11 November 2009). "MOCA revs upwardly Chris Burden's 'Big Bicycle'". Los Angeles Times.
  29. ^ "Chris Brunt's Diminutive Alphabet – Daddy Types". daddytypes.com . Retrieved 26 January 2019.
  30. ^ "SFMOMA". Archived from the original on 2014-03-27. Retrieved 2012-08-07 .
  31. ^ "Families". whitney.org . Retrieved 26 Jan 2019.
  32. ^ It Was Feared That Samson Might Topple the Museum, by Cathy Curtis, at the Los Angeles Times; published May xiv, 1988; retrieved Oct eight, 2018
  33. ^ Museum Shorn of 'Samson' Exhibition, past Cathy Curtis, at the Los Angeles Times; published May 24, 1988; retrieved October eight, 2018
  34. ^ Structural Integrity, by Eric Banks, in Men'southward Faddy, June 2008; retrieved via archive.org, April 23, 2019
  35. ^ Chris Burden: A Tale of Two Cities, February 3 – June 10, 2007 Orange County Museum of Art, Newport Beach.
  36. ^ Chris Burden, All the Submarines of the United states of america of America (1987) Archived Oct 5, 2013, at the Wayback Machine Dallas Museum of Art, Dallas.
  37. ^ "Chris Burden, When Robots Dominion: The Two-Minute Airplane Factory, exhibition catalogue". Shop. Art Metropole. Archived from the original on xvi September 2010. Retrieved 24 November 2010.
  38. ^ "Chris Burden". artmag.com. Retrieved 24 November 2010.
  39. ^ Preece, R.J. (1999). "Chris Burden at the Tate Gallery". World Sculpture News / artdesigncafe.
  40. ^ Jones, J. (15 November 2011). "Tacita Dean's artwork malfunction". The Guardian.
  41. ^ a b c The Centre: Open up or Closed, February xiii – March 27, 2010 Gagosian Gallery, Rome.
  42. ^ "Ghost Ship" Archived 2011-07-17 at the Wayback Machine at www.fairisle.org.uk
  43. ^ "Ghost Transport – a new commissioned work past Chris Burden" Archived September 21, 2007, at the Wayback Machine, Locus+, Academy of Southampton news release, 13 July 2005
  44. ^ a b "Chris Burden, Urban Light". LACMA Collections. Archived from the original on Nov 24, 2011. Retrieved November 22, 2011.
  45. ^ "Metropolis Two". as displayed at LACMA. Archived from the original on 26 October 2018. Retrieved 8 May 2016.
  46. ^ "Metropolis Ii". How Chris Brunt Created City II, A Tiny City Where 1,100 Toy Cars Zoom . Retrieved viii May 2016.
  47. ^ a b "Chris Burden's Metropolis 2 on Its Style to LACMA". Los Angeles County Museum of Art. Retrieved 6 August 2011.
  48. ^ "Metropolis Ii past Chris Burden (the movie)". youtube.com. Retrieved 6 August 2011.
  49. ^ "Urban center Two". - what it is . Retrieved viii May 2016.
  50. ^ a b c Bencks, Jarret (11 May 2015). "Chris Burden, 'One of the greatest American artists of his generation'". Brandeis University. Retrieved 11 August 2018.
  51. ^ "Chris Burden, Light of Reason". Rose Art Museum . Retrieved 11 August 2018.
  52. ^ Jorin Finkel (May 11, 2015), Remembering Chris Burden, the artist who traded daredevil performances for daring engineering The Art Paper.
  53. ^ a b Julia Halperin (May 13, 2015), Inside Chris Burden's briefcase [ permanent dead link ] The Fine art Newspaper.
  54. ^ Jessica Gelt (May xiii, 2015), Frank Gehry on Chris Brunt: 'gift of the gods', plus fine art left unfinished Los Angeles Times.
  55. ^ a b c Chris Burden Gagosian Gallery.
  56. ^ Adrienne Gaffney (March 5, 2009), Gagosian Golden Held Hostage in Ponzi-Scheme Investigation Vanity Fair.
  57. ^ Dana Goodyear (March 23, 2009), Goldless The New Yorker.
  58. ^ "Sometime Chief Investment Officer of Stanford Financial Grouping Pleads Guilty to Obstruction of Justice". U.s.a. Department of Justice – June 21, 2012. Retrieved 2012-06-26 .
  59. ^ "Allen Stanford jailed for 110 years for $7bn Ponzi". BBC News. fourteen June 2012.
  60. ^ "Allen Stanford Sentencing: The Arguments From Both Sides". The Wall Street Journal. xiv June 2012.
  61. ^ Chris Burden: One Ton One Kilo, March 7 – April 4, 2009 Gagosian Gallery, Los Angeles.
  62. ^ Thompson, Dave (November sixteen, 2010). Hallo Spaceboy: The Rebirth of David Bowie. ECW Printing. ISBN9781554902712 – via Google Books.
  63. ^ Hernandez, David Hoodwinked Sarabande Books. 2011 ISBN 978-1-932511-96-3
  64. ^ Schneiderman, Jason Hold Me Tight Cerise Hen Printing. 2020 ISBN 978-ane-597098-29-viii
  65. ^ Knight, Christopher. "Chris Burden dies: Artist'southward light sculpture at LACMA was symbol of L.A." LA Times . Retrieved 10 May 2015.

External links [edit]

  • Google Arts & Culture - Chris Burden
  • Chris Burden by Robert Horvitz – detailed overview and assay of Burden'due south early work, published in the May 1976 result of Artforum magazine
  • 1996 review of Burden's MAK retrospective
  • Ghost Send
  • UbuWeb Film & Video: Chris Burden
  • A feature commodity on Burden in the June 2008 issue of Men'south Vogue
  • "Poetic, Model: A New Criticism Of Chris Burden via Evil Monito Magazine"
  • Chris Brunt in the Mediateca Media Art Infinite
  • Photos of Chris Brunt'south Urban Calorie-free near the Los Angeles County Museum of Fine art, Los Angeles, CA – free to apply for non-commercial purposes

waltonshmis1973.blogspot.com

Source: https://en.wikipedia.org/wiki/Chris_Burden