Fine Art Commission Liaison Committee Meeting

Beverly Hills City Council Liaison I Fine Art Commission Committee will
conduct a Special Meeting, at the following time and place, and will
address the agenda listed below:
CITY HALL
455 North Rexford Drive
4th Floor Conference Room A
Thursday, August 11, 2016
4:00 P.M.
AGENDA
1) Public Comment
a. Members of the public will be given the opportunity to directly
address the Committee on any item listed on the agenda.
2)
Tom Friedman Proposed Acquisition
9)
Adjournment
AJ,CdfrLI
Byron Pope, City Clerk’
Li
Posted: August 9, 2016
In accordance with the Americans with Disabilities Act, if you need special
assistance to participate in this meeting, please call the City Manager’s Office at
(310) 285-1014. Please notify the City Manager’s Office at least twenty-four
hours prior to the meeting so that reasonable arrangements can be made to
ensure accessibility.
CITY OF BEVERLY HILLS
COMMUNITY SERVICES DEPARTMENT
MEMORANDUM
TO:
City Council and Fine Art Commission Liaisons
FROM:
Brad Meyerowitz, Recreation Services Manager
DATE:
August 11,2016
SUBJECT:
Tom Friedman Proposed Acquisition
The Fine Art Commission is proposing the acquisition of the sculpture Takeaway, by
Tom Freidman. The artist was selected by the Commission at its September 17, 2015
priority exercise. Takeaway was unanimously approved by the Commission on January
21, 2016. The sculpture is proposed to be installed on the southwest corner of the
Rodeo Drive block of Beverly Gardens Park (Rodeo Drive and Santa Monica Blvd.). The
proposed location is in an existing planter, bordered on the north by the DG pathway
and on the south by the sidewalk that parallels Santa Monica Blvd. On June 28, 2016,
the Recreation and Parks Commission, by a 3 2 vote, endorsed this location.
—
The existing plant material can be removed and/or relocated to accommodate the
sculpture. In addition, the piece was reviewed by the City’s Risk Manager and there
were no concerns with the piece or the proposed installation location. It should also be
noted that this location does not impact the Beverly Hills Art Show, since artists are not
placed in the planter.
Takeaway is made of stainless steel and is 13.5 feet tall. The purchase price of the
piece is $600,000. Shipping and installation is estimated to be an additional $30,000.
As of July 1, the Fine Art Fund balance was $3,046,289.
Photographs of the sculpture and its proposed installation location are attached, as are
information on the artist and letters of support from LACMA and Hammer museums.
LUHRING
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Takeaway,
TOM FRIEDMAN
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Takeaway, 2016, Stainless steel, Edition
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Takeaway, 2016, Stainless steel, Edition 1/3, From an edition of 3 with 2 artist’s proofs, 144 x 48 x 24 inches (36576 x 121.92 x 60.96 cm)
Rendering of Takea way in situ
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New York, NY 10011
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For further information, please contact
Lauren Wittels
212.206.9100 [email protected]
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September 15, 2015
Michael Smooke
Commissioner
Fine Art Commission
City of Beverly HElls
455 North Rexford Drive
Beverly Hills, CA 90210
Dear Michael,
On behalf of the artist, it is my pleasure to share with you information on Tom Friedman’s artistic
practice as part of his application for the Fine Art Commission for the City of Beverly Hills.
Tom Friedman makes extraordinary work that explores ideas of perception, logic, and
possibility. His often painstakingly rendered sculptures and works on paper inhabit the grey
areas between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and
the uncanny. His work is often deceptive, its handmade intricacy masked by a seemingly massproduced or prefabricated appearance. Friedman’s deadpan presentation implies content and
form are seamless; expectations are overturned as the viewer slowly perceives that chasm
between illusion and reality. Friedman’s work has been internationally exhibited in galleries and
museums, including solo exhibitions at the Museum of Modern Art, New York; the Fondazione
Prada, Milan; Magasin 3 Stockholm Konsthall; the South London Gallery, and numerous other
institutions.
Friedman’s most recent outdoor sculpture Looking Up a 33.3-foot-tall stainless steel figure is
installed at The Contemporary Austin in Texas, with its official unveiling earlier this year marking
a major new acquisition for the museum. Looking Up is by far the most ambitious sculpture of a
body of work involving the use of crushed aluminum foil roasting-pans to create figures, which,
through a process of molding and lost wax casting, retain the original imprint of the baking tins.
A charming and magnificent piece, the not-necessarily-human figure gazes up to the heavens,
inviting others to stand at its base and do the same.
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Circle Dance, an earlier stainless steel work consisting of eleven life-sized figures joined
together in cheerful play (it is based on Henri Matisse’s iconic painting, La Danse) underscores
the lighthearted spirit running throughout Friedman’s practice, often instrumental to the
promotion of thoughtful engagement and enjoyment of his pieces. Installed temporarily at
Regents Park in London and permanently on Brown University’s campus in Providence, Rhode
Island, the kinetic momentum of each figure, frozen in stance by the sculpture’s material
permanence, becomes reactivated by the reflective surface and the audience that surrounds it.
Takeaway and Untitled are proposals made for another commission in a different city. Both
continue to exemplify Friedman’s ability to construct a space of illusion mirroring the complexity
of perception and lived experience. While the precarious stack of takeaway containers sheds
commentary on a consumerist society, taking on new dimensions as an outdoor sculpture, the
whimsical sleeping figure of Untitled allows the viewer to access a lyrical fantasy world of sorts.
Friedman is always generating new ideas for public sculpture and would be thrilled at the
opportunity to work with the City of Beverly Hills on a newly commissioned piece that is both
within budget and suitable for the site in question. To give you an understanding of what you
might expect in terms of scale and pricing, estimated cost for an 8-foot stainless steel figure
would total around $500,000. It would be my pleasure to address any questions you may have
in this regard and to discuss the possibility of Friedman’s works within this context.
With the conceptual rigor inherent in his practice, coupled with his extensive experience working
with the demands of public art projects, Tom Friedman would be an excellent candidate for the
Fine Art Commission for the City of Beverly Hills. On behalf of the artist and the gallery, we are
deeply appreciative of your time and thank you for your consideration.
With best regards,
Lauren Wittels
Senior Director, Luhring Augustine
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TOM FRIEDMAN
Born 1965, St. Louis, MO
Lives and works in Massachusetts
EDUCATiON
1990, MFA, sculpture, University of Illinois at Chicago, Chicago, IL
1988, SEA, graphic illustration, Washington University, St. Louis, MO
AWARDS
2001, Grant Award, The Joan Mitchell Foundation, Inc., New York, NY
1993—1 995, Luther Greg Sullivan Visiting Artist, Wesleyan University, Middletown, CT
1993, Academy Award in Art, American Academy of Arts and Letters, New York, NY
1993, Illinois Arts Council, Individual Artist’s Fellowship
1993, The Louis Comfort Tiffany Foundation Awards in Painting, Sculpture, Printmaking, Photography
and Craft Media*
1990, Faculty Prize for Graduate Study in Studio Arts, University of Illinois at Chicago, IL
Residencies
1999, Resident Artist, Skowhegan School of Painting and Sculpture, Skowhegan, ME.
1993-1995, Luther Greg Sullivan Visiting Artist, Wesleyan University, Middletown, CT.
SELECTED SOLO EXHIBITIONS
2015
Looking Up, The Contemporary Austin, Austin, TX (permanent installation)
2014
Gravity, Stephen Friedman Gallery, London, England
Paint and Styrofoam, Luhring Augustine Bushwick, New York, NY
Up in the Air, Tel Aviv Museum of Art, Tel Aviv, Israel
2012
Tom Friedman: New Work, Luhring Augustine, New York, NY
Tom Friedman: New Work, Stephen Friedman Gallery, London, England
2010
Tom Friedman: Up in the Air, Magasin 3 Stockholm Konsthall, Stockholm, Sweden; FRAC Montpellier,
France*
2009
Tom Friedman, Galerie Bernard Ceysson Beaubourg, Paris, France*
Tom Friedman: not something else, Tomio Koyama Gallery, Kyoto, Japan
REAM, Saint Louis Art Museum, Saint Louis, MO
*
A catalogue was published with this exhibition.
*jj
‘1,
2008
Tom Friedman, Monsters and Stuff, Gagosian Gallery, London, England*
2007
Tom Friedman: Aluminum Foil, Lever House Lobby Gallery, New York, NY
2006
Tom Friedman, Gagosian Gallery, Beverly Hills, CA*
Pure Invention: Tom Friedman, Mildred Lane Kemper Art Museum, Saint Louis, MO
2005
Tom Friedman, Feature Inc., New York, NY
2004
Tom Friedman, South London Gallery, London, England*
Tom Friedman, Tomb Koyama Gallery, Tokyo, Japan
2003
Tom Friedman: Some New Work, Feature Inc., New York, NY*
2002
Tom Friedman, Stephen Friedman Gallery, London, England
Stitching, Fondazione Prada, Milan, Italy*
2001
Tom Friedman, Fabric Workshop and Museum, Philadelphia, PA
Tom Friedman, Tomio Koyama Gallery, Tokyo, Japan
2000
Tom Friedman, Feature Inc., New York, NY
Tom Friedman: The Epic in the Everyday, Museum of Contemporary Art, Chicago, IL; Southeastern
Center for Contemporary Art, Winston-Salem, NC; Yerba Buena Center for the Arts, San Francisco,
CA; Aspen Art Museum, Aspen, Colorado; The New Museum of Contemporary Art, New York, NY*
1999
Tom Friedman, Galeria Foksal, Warsaw, Poland*
Tom Friedman, Galleria Gian Enzo Sperone, Rome, Italy
1998
Tom Friedman, Institute of Contemporary Art at Maine College of Art, Portland, ME
Tom Friedman, Stephen Friedman Gallery, London, England
Tom Friedman, Tomio Koyama Gallery, Tokyo, Japan
1997
Tom Friedman,
Tom Friedman,
Tom Friedman,
Tom Friedman,
Christopher Grimes Gallery, Santa Monica, CA
Feature Inc., New York, NY
The Saint Louis Art Museum, St. Louis, MO*
Ynglingagatan, Stockholm, Sweden
1996
Tom Friedman, Feature Inc., New York, NY*
Tom Friedman, Stephen Friedman Gallery, London, England
1995
Projects 50: Tom Friedman, Museum of Modern Art, New York, NY*
Tom Friedman
2
1994
Tom Friedman, Galerie Analix, Geneva, Switzerland
Tom Friedman, Galleria Raucci/Santamaria, Naples, Italy
1993
Tom Friedman, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT
Tom Friedman, Feature Inc., New York, NY
1992
Tom Friedman, Bonzak Gallery, St. Louis, MO
1991
Tom Friedman, Feature Inc., New York, NY
Tom Friedman, Rezac Gallery, Chicago, IL*
Tom Friedman, Southeastern Center for Contemporary Art, Winston-Salem, NC
SELECTED GROUP EXHIBITIONS
2015
AND, 6OlArtspace, New York, NY
Arts & Food, curated by Germano Celant, La Triennale di Milano, Milan, Italy
Geometries On and Off the Grid: Art from 7950 to the Present, The Warehouse, Dallas, TX
2014-2015
Visual Deception II: Into the Future, The Bunkamura Museum of Art, Shibuya-ku, Japan; Hyogo
Prefectural Museum of Art, Kobe, Japan; Nagoya City Art Museum, Nagoya, Japan
2014
The Fifth Wall, Armory Center for the Arts, Pasadena, CA
Four Decades of Drawings and Works on Paper, Berggruen Gallery, San Francisco, CA
Hyper-resemblances, The Wallach Art Gallery, Columbia University, New York, NY
In
We Trust: Art and Money, Columbus Museum of Art, Columbus, OH
Room by Room: Monographic Presentations from the Faulconer and Rachofsky Collections, The
Warehouse, Dallas, TX
Study from the Human Body, Stephen Friedman Gallery, London, England
—
2013
Autocorrect, Josée Bienvenu Gallery, New York, NY
A New View: Contemporary Art, Saint Louis Art Museum, St. Louis, MO
Seismic Shifts, National Academy Museum, New York, NY
The Unphotographable, Fraenkel Gallery, San Francisco, CA*
Works on Paper, 8 Gallery, ReykjavIk, Iceland*
2012—2014
Lifelike, Walker Art Center, Minneapolis, MN; New Orleans Museum of Art, New Orleans, LA; Museum of
Contemporary Art, San Diego, CA; Blanton Museum of Art, Austin, TX; Phoenix Museum of Art,
Phoenix, AZ
201 2-2013
Now Here Is Also Nowhere, Henry Art Gallery, Seattle, WA
2012
After Photoshop, Metropolitan Museum of Art, New York, NY
Tom Friedman
Invisible, Hayward Gallery, London, England
Object Fictions, James Cohan Gallery, New York, NY
Paper, Musée d’Art Moderne et d’Art Contemporain, Nice, France
Rip It Up and Start Again, FRAC Languedoc-Roussillon, Montepellier, France
Sculpture, Paul Kasmin Gallery, New York, NY
Solo Exhibition, Luhring Augustine, New York, NY
Watch Your Step, The FLAG Art Foundation, New York, NY
2011
All That Glisters, Stephen Friedman Gallery, London, England
Influences, The Harwood Museum of Art, Mandelman-Ribak Gallery, Taos, NM
Nod Nod Wink Wink: Conceptual Art in New Mexico and Its Influences, The Harwood Museum of Art,
Mandelman-Ribak Gallery, Taos, NM
One, Another, The FLAG Art Foundation, New York, NY
Out of the Box: Artists Play Chess, World Chess Hall of Fame, Saint Louis, MO
Painting
EXPANDED, Espacio 1414 (Berezdivin Collection), Santurce, Puerto Rico
The Sculpture Park at Frieze Art Fair, London, England
.
.
2010
The Boneyard, Maloney Fine Art, Culver City, CA
Floor Corner Wall, Fort Worth Contemporary Arts, Fort Worth, TX
Human, Musée d’Art Moderne et d’Art Contemporain, Nice, France
Selections from the MCA Collection, Museum of Contemporary Art, Chicago.
Summer Exhibition, Royal Academy of Arts, London.
Tasters Choice, Stephen Friedman Gallery, London, Englang
Tom Friedman and Steve Wolfe, Stephen Friedman Gallery, London, England
2009
Chasing Napoleon, Palais de Tokyo, Paris, France
Collection: MOCA’s First 30 Years, Museum of Contemporary Art, Los Angeles, CA
Magic Show, QUAD Gallery, Derby, England
OFF THE WALL, Van de Weghe Fine Art, New York, NY
Shaping Space, James Cohan Gallery, New York, NY
Six Artists, John Berggruen Gallery, San Francisco, CA
2008
Artist’s Choice: Vik Muniz, Rebus, Museum of Modern Art, New York, NY
TheArt of Chess, Sebastian Guinness Gallery, Dublin, Ireland
Collecting Collections, Museum of Contemporary Art, Los Angeles, CA
The Complexity of the Simple, L & M Arts, New York, NY
Drawn to Detail, DeCordova Museum and Sculpture Park, Lincoln, MA
Paintings, Drawings, and Sculpture, John Berggruen Gallery, San Francisco, CA
Retrospective, Gagosian Gallery, New York, NY
Styrofoam, Rhode Island School of Design, Providence, RI
Transformed, Contemporary Art Center of Virginia, Virginia Beach, VA
2007
All the More Real: Portrayals of Intimacy and Empathy, Parrish Art Museum, Southampton, NY
Art in America: Three Hundred Years of Innovation, MOCA Shanghai, Shanghai, China
The Complexity of the Simple, L&M Arts, New York, NY
Fit to Print: Printed Media In Collage, Gagosian Gallery, New York, NY
INSIGHT? Gagosian Gallery, Moscow, Russia
Mapping the Self, Museum of Contemporary Art Chicago, Chicago, IL
,
Tom Friedman
4
Memory and Obsession, Stephen Friedman Gallery, London, England
microwave, five, Josee Bienvenu Gallery, New York, NY
New Dimensions, John Berggruen Gallery, San Francisco, CA
POPARTIS
Gagosian Gallery, London, England
The Shapes of Space, Solomon R. Guggenheim Museum, New York, NY
Summer Show, Gagosian Gallery, New York, NY
Summer Show, James Cohan Gallery, New York, NY
Summer Show, John Berggruen Gallery, San Francisco, CA
Timer 07, Triennale Bovisa, Milan, Italy
2006-2007
Into me / Out of me, P.S.1 Contemporary Art Center, Long Island City, NY; Kunst-Werke Institute for
Contemporary Art, Berlin; MACRO Future, Rome, Italy
2006
Aisle 5, Des Moines Art Center, Des Moines, IA
Altered, Stitched & Gathered, P.S.1 Contemporary Art Center, Long Island City, NY
Chess Collection, Gary Tatintslan Gallery Inc., Moscow, Russia
EX.05.03.06703: Big, Small, White, The Cartin Collection, Hartford, CT
It’s Not What You Know, It’s Who You Know, Samson Projects, Boston, MA
The Last Time They Met, Stephen Friedman Gallery, London, England
NEW YORK, NEW YORK, Grimaldi Forum, Monaco
Nichts, Schirn Kunsthalle, Frankfurt, Germany
Portraits of Artists, Luhring Augustine Gallery, New York, NY
Sculpture, Gagosian Gallery, Beverly Hills, CA
Subject: Contemporary Portraiture, Lyman Allyn Art Museum, New London, CT
Twice Drawn, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College,
Saratoga Springs, NY
Yes Bruce Nauman, Zwirner & Wirth, New York, NY
2005
Art of Chess, Luhring Augustine Gallery, New York, NY
A Brief History of Invisible Art, CCA Wattis Institute for Contemporary Arts, San Francisco, CA
drawings + sculpture, Cook Fine Art, New York, NY
Ecstasy—In and about Altered States, Geffen Contemporary, MOCA, Los Angeles, CA
Fragile, Analix Forever, Geneva, Switzerland
Laguna’s Hidden Treasures; Art from Private Collections, Laguna Art Museum, Laguna Beach, CA
Logical Conclusions: 40 Years of Rule-Based Art, Pace Wildenstein, New York, NY
Looking at Words, Andrea Rosen Gallery, New York, NY
Material Matters, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY
Masters of Illusion: 150 Years of Trompe I’Oeil in America, Kresge Art Museum, Michigan State
University, East Lansing, MI
Meditative, Feature Inc., New York, NY
Miraculous in the Everyday, University of Massachusetts, Amherst, MA
On Paper: Drawings from the 7960s to the Present, Daniel Weinberg Gallery, Los Angeles, CA
Over + Over: Passion for Process, Krannert Art Museum, University of Illinois at Champaign, Champaign,
IL; Addison Gallery of American Art, Andover, MA; The Austin Museum of Art, Austin, TX; The
Katonah Museum of Art, Westchester, NY
Paper Pushers, Richard L. Nelson Gallery & Fine Art Collection, University of California, Davis, CA
Portraits d’Artistes: De Ia Comtesse de Castiglione a Cindy Sherman, Galerie de France, Paris, France
Recent Acquisitions: Contemporary Sculpture, Solomon R. Guggenheim Museum, New York, NY
Several Exceptionally Good Recently Acquired Pictures XVII, Fraenkel Gallery, San Francisco, CA
Ten YearAnniversary Exhibition, Stephen Friedman Gallery, London, England
Tom Friedman
5
Wes Mills—Tom Friedman—Daisy Youngblood, Galerie Albrecht, Munich, Germany
2004
Another Zero, Galleria d’Arte Moderna e Contemporanea di Bergamo, Bergamo, Italy
Bug Eyed: Ad, Culture, Insects, Turtle Bay Museum, Reading, CA; James and Pamela Koenig Art
Gallery, Redding, CA
Disparities and Deformations, Our Grotesque, Site Santa Fe Fifth International Biennial, Santa Fe, NM
The Fine Line, Leslie Tonkonow Artworks + Projects, New York, NY
Needful Things: Recent Multiples, The Cleveland Museum of Art, Cleveland, OH
Noah’s Ark, The National Gallery of Canada, Shawinigan, Quebec, Canada
Recent Acquisitions: Contemporary Sculpture, Guggenheim Museum, New York, NY
Self-Evidence: Identity in Contemporary Ad, DeCordova Museum and Sculpture Park, Lincoln, MA
Symbolic Space, The Hudson Valley Centre for Contemporary Art, Peekskill, NY
Think Small, Illinois State Museum Chicago Gallery, Chicago, IL
View Eight, Mary Boone Gallery, New York, NY
Why Not Live For Ad, Opera City Art Gallery, Tokyo, Japan
2004-2002
Thin Skin: The Fickle Nature of Bubbles, Spheres, and Inflatables, AXA Gallery, New York, NY;
Scottsdale Museum of Contemporary Art, AZ; Gemeentemuseum Helmond, Helmond, The
Netherlands; International Museum of Art and Science, McAIlen, TX; Chicago Cultural Center,
Chicago, IL; Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, KS; Bedford Gallery,
Walnut Creek, CA; Boise Art Museum, Boise, ID*
2003
Ameri©an Dre@m, Ronald Feldman Fine Arts, New York, NY
Fright Wig, Feature Inc., New York, NY
In Full View, Andrea Rosen Gallery, New York, NY
Intricacy, Institute of Contemporary Art, Philadelphia, PA
The Invisible Thread, Buddhist Spirit in Contemporary Ad, Newport Center for Contemporary Art,
Newport, RI; Snug Harbor Cultural Center, Staten Island, NY
The Moderns, Castello di Rivoli, Rivoli, Italy
A Simple Plan, James Cohan Gallery, New York, NY
Stacked, D’Amelio Terras, New York, NY
Stranger in the Village, Guild Hall, East Hampton, NY
Tom Friedman, Gaylen Gerber, Joe Scanlan, Daniel Hug Gallery, Los Angeles, CA
Undomesticated Interiors, Smith College Museum of Art, Northampton, MA
2002
177th Annual Exhibition, National Academy of Design, New York, NY
Face/Off A Podrait of the Adist, Kettle’s Yard, Cambridge, MA
Playground, Institute of Contemporary Art, Maine College of Art, Portland, ME
Plotting, Carrie Secrist Gallery, Chicago, IL
Retrospectacle, 25 Years of Collecting Modern and Contemporary Ad, Denver Art Museum, Denver, CO
Sunday Afternoon, 303 Gallery, New York, NY
2001
Amused, Carrie Secrist Gallery, Chicago, IL*
Ad at the Edge of the Law, The Aldrich Museum of Contemporary Art, Ridgefield, CT*
Ade Contemporaneo International, Museo de Me Moderno, Mexico City, Mexico
Casino 2001: First Quadrennial of Contemporary Ad, Stedelijk Museum voor Actuele Kunst, Ghent,
Belgium*
Een goed in de weg staande tafel, Galerie van Gleder, Amsterdam, The Netherlands
Tom Friedman
6
One Million Dollars, The 16 Beaver Group, New York*
Point of Departure II, San Francisco Museum of Modern Art, San Francisco, CA
Ruido Blanco/Silencio Blanco, Program Centro d Arte, Mexico City, Mexico
The Spring Exposition, Joseph Silvestro Gallery, Brooklyn, NY”
1999-200lAlmost Warm and Fuzzy: Childhood and Contemporary Art, Tacoma Art Museum, Tacoma,
WA; Scottsdale Museum of Contemporary Art, Scottsdale, AZ; PS 1 Contemporary Art Center, Long
Island City, NY; FundaciO ‘la Caixa,” Barcelona, Spain; Crocker Art Museum, Sacramento, CA; Art
Gallery of Hamilton, Hamilton, Canada; Cleveland Center for Contemporary Art, Cleveland, OH*
2000
American Bricolage, Sperone Westwater, New York, NY*
The Americans: New Art, Barbican Art Gallery, London, England
ANP: 3ness, Museum Dhondt-Dhaenens, Deurle, Belgium*
Art on Paper 2000, Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC”
Arte Americana, ultimo deccenio, Museo d’Arte della Città di Ravenna, Logette Lombardesca, Ravenna,
ltaly*
Bubbles, Center for Contemporary Non-Objective Art, Brussels, Belgium
Collecting Ideas: Works from the Polly and Mark Addison Collection, Denver Art Museum, Denver, CO
Collector’s Choice, Exit Art, New York, NY
Domestic Bliss, South London Gallery, London, England
Drawing, Stephen Friedman Gallery, London, England
Extra Ordinary, James Cohan Gallery, New York, NY
The Greenhouse Effect, Serpentine Gallery, London, England*
Grok Terence McKenna Dead, Feature Inc. New York, NY
Hairy Forearm’s Self-Referral, Feature Inc. New York, NY
Hand Made in America, Sprovieri Gallery, London, England
Of the Moment: Contemporary Art from the Permanent Collection, San Francisco Museum of Modern Art,
San Francisco, CA
Open Ends: Actual Size, The Museum of Modern Art, New York, NY*
Self-Portraits from the Permanent Collection, Robert Wood Johnson Galleries, Metropolitan Museum of
Art, New York, NY
Snap! Photography from the Collections, Wadsworth Atheneum Museum of Art, Hartford, CT
Vanitas Person: An Exploration of the Self and Other Related Characters, Robert Miller Gallery, New
York, NY
The Visionary Landscape, Christopher Grimes Gallery, Santa Monica, CA
1999
Collectors Collect Contemporary Art: 7990—7999, Institute of Contemporary Art, Boston, MA*
Holding Court, L&R Entwistle & Co Ltd, London, England
Ideas in Things, Irvine Fine Arts Center, Irvine, CA
On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln,
MA
Stuff, TBA Exhibition Space, Chicago, IL
Waste Management, Art Gallery of Ontario, Toronto, Canada”
Zero-G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, CT”
1998
Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, IL*
Bob and Wheel, DFN Gallery, New York, NY
Drawing a Conclusion, Dorsky Gallery, New York, NY”
Dust Breeding, Fraenkel Gallery, San Francisco, CA; Luhring Augustine, New York, NY*
Encyclopedia 7999, Turner & Runyon, Dallas, TX
Tom Friedman
Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New
York, NY
Humble County, D’Amelio Terras, New York, NY
More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York,
NY
Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, CT*
Poussiëre (Dust Memories), Fonds Regional d’Art Contemporain de Burgogne, Dijon, France; Fonds
Regional d’Art Contemporain Bretagne, Galerie du Trib, Rennes, France*
Transience and Sentimentality: Boston and Beyond, Institute of Contemporary Art, Boston, MA
Word Perfect, Gallery 400, University of Illinois at Chicago, Chicago, IL
Young Americans Part II, Saatchi Gallery, London, England*
1999-1997
At the Threshold of the Visible: Miniscule and Small-Scale Art, 7964-7996, Johnson Museum of Art,
Cornell University, Ithaca, NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art
Gallery of Ontario, Toronto, Canada; Art Gallery of Windsor, Ontario, Canada; Virginia Beach Center
for the Arts, Virginia Beach, VA; Santa Monica Museum of Art, Santa Monica CA; Edmonton Art
Gallery, Alberta, Canada*
1997
A Lasting Legacy: Selections from the Lannan Foundation Gift, Geffen Contemporary at the Museum of
Contemporary Art, Los Angeles, CADane County Collects, Madison Art Centre, Madison, WI*
Frankensteinian, Caren Golden Fine Art, New York, NY
Identity Crisis: Self-Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, WI; Aspen
Art Museum, Aspen, CO*
Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, Chicago, IL
Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, England
New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, CA*
1996
A Collection of Sculptures, The Classic Collection, Rotterdam, The Netherlands*
Affinities: Chuck Close and Tom Friedman, Art Institute of Chicago, Chicago, IL*
Currents in Contemporary Art, Christie’s East, New York, NY
Group show, Feature mc, New York, NY
Hero, Fieldwork/Project Room, Commonwealth Gallery, Madison, WI
More Than Real, Royal Palace, Caserta, Italy*
Stretch the Truth, Art: Concept, Nice, France
Subversive Domesticity, Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, KS*
Universalis: 23, Bienal Internacional Sao Paulo, Pavilhao Ciccillo Matarazzo,Parque do Ibrapuera, São
Paulo, Brazil*
XXIII Bienal Internacional de São Paulo, São Paulo, Brazil*
1995
b/wphotos, Feature Inc., New York, NY
A Collection Sculptures, The Caldic Collection, Rotterdam, The Netherlands*
I Gaze a Gazely Stare, Feature, New York, NY
lo-fi, Lauren Wittels Gallery, New York, NY
Oltre Ia Normalitä Concentrica, Palazzo da Zara, Padua, Italy*
Pulp Fictions: Works on Paper, Gallery A, Chicago, IL
Strung into the Apollonian Dream
Feature, New York, NY
1994
Common/Uncommon, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL
Tom Friedman
8
Critical Mass, A&A Gallery, Yale University School of Art, New Haven, CT; The McKinney Avenue
Contemporary, Dallas, TX
Objects: Tom Friedman and Linda Horn, Evanston Art Centre, Evanston, IL”
precept/image/object, Lannan Foundation, Los Angeles, CA
Presque Rien, Galerie Jennifer Flay, Paris, France
Research and Exhibition, The McKinney Avenue Contemporary, Dallas, TX
Rien a Signaler, Galerie Analix, Geneva, Switzerland”
Tom Friedman, Jim lsermann, Jennifer Pastor, Richard Telles Fine Art, Los Angeles, CA
1993
The American Academy Invitational Exhibition of Painting and Sculpture, American Academy of Arts and
Letters, New York, NY
Jeanne Dunning, Tom Friedman, Julia Fish: Subject Matters, Kendall College Art Gallery, Grand Rapids,
Ml
Mixed Messages: A Survey of Recent Chicago Ad, Forum for Contemporary Art, St. Louis, MO
New Works, Feigen, Inc. Chicago, IL
Once upon a Time.
A Loose Form of Narrative, Gallery A, Chicago, IL”
Substitute Teachers, Sadie Bronfman Cultural Center, Montreal, Canada”
Times, Anderson O’Day Gallery, London, England
.
.
1992
Hair, John Michael Kohler Arts Centre, Sheboygan, WI
Healing, Wooster Gardens, New York; Rena Bransten Gallery, San Francisco, CA
Lying on the Top of a Building the Clouds Seemed No Nearer than When I Was Lying in the Street,
Galerie Monika Spruth, Cologne, Germany
Misadventures, Foster Gallery, University of Wisconsin at Eau Claire, Eau Claire, Wl*
The Mud Club, Winchester Cathedral & Lake Nairobi, Gahlberg Gallery, College of DuPage, Glen Ellyn,
IL”
New Works, Feigen, Inc., Chicago, IL
1991
Casual Ceremony, White Columns, New York, NY*
Huma Bhabha, Tom Friedman, David Shaw, and Sally Webster, Feature Inc., New York, NY
Itch, N.A.M.E. Gallery, Chicago, IL
White Bird, Gallery 400, University of Illinois, Chicago, IL
1990
Godhead, Feature Inc., New York, NY
Looking at Labor: What Price Beauty, Randolph Street Gallery, Chicago, IL
Minus, Robbin Lockett Gallery, Chicago, IL
Thesis: Tom Friedman, Brian Sikes, Gallery 400, University of Illinois at Chicago.
The Thing Itself, Feature Inc., New York, NY
SELECTED BIBLIOGRAPHY: MONOGRAPHS AND ARTIST’S PROJECTS
2013
Tom Friedman: Up in the Air, exh. cat. Milan: Skira Editore, 2013.
2009
Latreille, Emmanuel, Tom Friedman, Saint-Etienne: Ceysson, 2009.
2008
Corrin, Lisa and Ralph Rugoff. Monsters and Stuff, London: Gagosian Gallery, 2008.
Tom Friedman
9
2006
Tom Friedman: Ream, New York: Gagosian Gallery, 2006.
Goodeve, Thyrza Nichols, Lawrence Douglas, and Alexander George, Tom Friedman, New York:
Gagosian Gallery, 2006.
2004
Tom Friedman, London: South London Gallery.
2003
Tom Friedman: Oh Too 0 Three, New York: Feature Inc.
2002
Celant, Germano. Tom Friedman, Milan: Fondazione Prada, 2002.
Untitled, 2002, Benefit edition for Parkett Editions, Zurich, Switzerland.
2001
Cooper, Dennis, Bruce Hainley, and Adrian Searle. Tom Friedman. London: Phaidon Press, 2001.
2000
There, 2002, Benefit edition for New Museum of Contemporary Art, New York, NY.
Platt, Ron. Tom Friedman, Winston-Salem: Southeastern Center for Contemporary Art, 2000.
1999
Tom Friedman, Warsaw: Galeria Foksal: New York: Feature Inc., 1999.
1997
Steiner, Rochelle. Currents 70: Tom Friedman. Saint Louis, MO: Saint Louis Art Museum, 1997.
1996
Grynsztejn, Madeline. Affinities: Chuck Close and Tom Friedman. Chicago: Art Institute of Chicago, 1996.
Tom Friedman: Work Book. New York: Feature, 1996.
1995
Friedman, Tom and Robert Storr. Projects 50: Tom Friedman. New York: The Museum of Modern Art,
1995.
1991
Snodgrass, Susan. Tom Friedman. Chicago: Rezac Gallery, 1991.
SELECTED BIBLIOGRAPHY: BOOKS AND EXHIBITION CATALOGUES
2014
George, Herbert. The Elements of Sculpture A Viewer’s Guide, 87, London, Phaidon Press Limited,
2014.
Griffin, Jonathan, Paul Harper, David Trigg and Eliza Williams. The Twenty-First Century Art Book, 90-91,
London: Phaidon Press Limited, 2014.
Visual Deception II: Into the Future, exh. cat., 60-61. Nagoya, Japan: The Chunichi Shimbun, 2014.
—
2013
Getlein, Mark. Living with Ad: Tenth Edition, 45-46. New York, NY: The McGraw-Hill Companies, Inc.,
2013.
Holzwarth, Hans Werner, ed. ART NOW Vol. 4, 152—55. Cologne: Taschen, 2013.
Moszynska, Anna. Sculpture Now, 27—28. London: Thames and Hudson, 2013.
Tom Friedman
10
Works on Paper, exh. cat., 36—37. Reykjavik: Crymogea, 2013.
2012
Migone, Christof. Sonic Somatic: Performances of the Unsound Body, 39—41. Los Angeles and Berlin:
Errant Bodies Press, 2012.
Rugoff, Ralph. Invisible: Art about the Unseen: 7957—2012. exh. cat., London: Hayward Gallery, 2012: 57.
Sacamoto, Carla. For Which It Stands: Americana in Contemporary Art, 134—37. New York: The Curated
Collection, 2012.
Tovar, Joao. Paper, 52. Nice: Association T, Musée d’Art Modern et d’Art Contemporain, 2012.
2011
Berry, Ian and Jack Shear, eds. Twice Drawn, exh. cat., 251. Saratoga Springs, NY: The Frances Young
Tang Teaching Museum and Art Gallery at Skidmore College; Munich, London and New York:
DelMonico/ Prestell Publishing, 2011.
Johnson, Ken. Are You Experienced? How Psychedelic Consciousness Transformed Modern Art, 113,
166, 169. Munich: Prestel Publishing, 2011.
Spies, Werner. Berboten, 7. Zurich: Thomas Ammann Fine Art, 2011.
2010
Wolf, Sylvia. The Digital Eye: Photographic Art in the Electronic Age. Seattle: Henry Art Gallery, 2010.
2009
Wahler, Marc-Olivier, Mark Alizart, Frédéric Grossi. From Yodeling to Quantum Physics Volume 3, Paris:
Palais de Tokyo, 2009.
2007
Collins Judith. Sculpture Today. London: Phaidon Press, 2007.
2005
Getlen, Mark. Gilbert’s Living With Art, New York: McGraw-Hill, 2005.
Molon, Dominic, and Michael Rooks, Situation Comedy: Humor in Recent Art, 38. New York: Independent
Curators International, 2005.
2001
Art at the Edge of the Law, exh. cat. Ridgefield, CT: The Aldrich Museum of Contemporary Art, 2001.
2000
Corrin, Lisa & Ralph Rugoff. The Greenhouse Effect, London: Serpentine Gallery, 2000.
Lauer, David A., and Stephen Pentak. Design Basics, 28—29, 278. Forth Worth: Harcourt Brace College
Publishers, 2000.
1999
Diaz, Eva, Ko’an Jeff Baysa, Michelle-Lee White. Zero-G: When Gravity Becomes Form, New York:
Whitney Museum of American Art, 1999.
Morgan, Jessica. Collectors Collect Contemporary Art: 1990-7999, Boston: Institute of Contemporary Art,
1999.
Strick, Jeremy, ed. Modern and Contemporary Art: The Lannan Collection at the Art Institute of Chicago,
88—81, 89, 99, 104. Chicago: The Art Institute of Chicago, 1999.
Ritchie, Christina. Waste Management. Toronto: Art Gallery of Ontario, 1999.
Talbott, Susan Lubowsky, & Lea Rosson DeLong. Almost Warm and Fuzzy: Childhood and
Contemporary Art. Des Moines: Des Moines Art Center, 1999.
1998
Adams, Brooks & Lisa Liebmann. Young Americans 2: New American Art at the Saatchi Gallery. London:
Tom Friedman
11
Saatchi Gallery, 1998.
Cameron, Dan. Cream: ContemporanyArtin Culture. London: Phaidon Press, 1998.
Dagognet, Franois, Catherine Elkar, John Fante, Emmanuel Latreille, Cyril Harpet, Lafcadio Hearn,
Raymond Roussel, Basho. PoussiOre (Dust Memories). Rennes, France: Fonds Regional d’Art
Contemporian Bretagne, 1998.
Harris, Susan & Jennifer Gross. Drawing the Question /Dra wing a Conclusion. New York: Dorsky Gallery,
1998
Klein, Richard, Dominique Nahas, Ingrid Schaffner. Pop Surrealism. Ridgefield, CT: Aldrich Museum of
Contemporary Art, 1998.
Smith, Coutenay. Blunt Object. Chicago: David and Alfred Smart Museum of Art, University of Chicago,
1998.
1997
Castelnuovo, Sheri, Stephen Fleischman, and Toby Kamps Dane County Collects. Madison: Madison Art
Center, 1997.
Haas, Elise S., Garry Garrels & Janet Bishop. New Work: Drawings Today. San Francisco: San Francisco
Museum of Modern Art, 1997.
Rugoff, Ralph & Susan Stewart. At the Threshold of the Visible: Minuscule and Small Scale Art, 79647996. New York: Independent Curators Inc. 1997.
Sobel, Dean & Marc J. Ackerman. Identity Crisis: Self-Portraiture at the End of the Century. Milwaukee,
WI: Milwaukee Art Museum, 1997.
,
1996
Baudrillard, Jean, Francesco Bonami. Umberto Raucci, Carlo Santamaria, Massimo Sgroi, Giorgio
Verzotti. More Than Real. Casterta, Italy: Royal Palace, 1996.
Schimmel, Paul et al. Universalis: XXIII Bienal Internacional São Paulo. São Paulo, 1996.
1995
Huizing-van Calden, Yvette. A Collection Sculptures. Rotterdam: The Caldic Collection, 1995.
Romano, Gianini & Italo Rota. Oltre Ia Normalitä Concentrica. Padova: Cittã di Padova, 1995.
Self, Diana. Subversive Domesticity. Wichita, KS: Edwin A. Ulrich Museum of Art, Wichita State
University, 1995.
1994
The Louis Comfort Tiffany Foundation: 7993 Awards in painting, Sculpture, Printmaking, Photography
and Craft Media. New York: The Louis Comfort Tiffany Foundation, 1994.
Polla, Barbara S. & Gianni Romano, et al. Rien a Signaler. Geneva and Milan: Galerie Analix Forever and
A&M Bookstore, 1994
Rowe-Sheilds. Objects: Tom Friedman and Linda Hor. Evanston: Evanston Art Center, 1994.
1993
Basha, Regine & Stuart Horodner, et al. Substitute Teachers. Montreal, Quebec: Sadie Bronfman
Cultural Center, 1993.
Cottong, Kathy & Norman Dubie. Once Upon a Time...A Loose Form Narrative. Chicago: Gallery A, 1993.
1992
Arning, Bill & Ben Kinmont. Casual Ceremony. New York: White Columns, 1992.
Peterman, Dan. Misadventures. Eau Claire: Foster Gallery, University of Wisconsin-Eau Claire, 1992.
Hudson. The Mud Club, Winchester Cathedral & Lake Nairobi. Glen Ellyn, IL: Gahlberg Gallery, College
of DuPage, 1992.
Tom Friedman
12
SELECTED BIBLIOGRAPHY: PERIODICALS
2015
Jansen, Charlotte. ‘Eat It!” Elephant, no. 21 (Winter 2015): 62-71.
2014
D’Agostino, Paul. “So-Callings and Close-ups: Tom Friedman’s Paint and Styrofoam.” L Magazine, vol.
12, no. 14 (2-15 July 2014): 36.
Janson, Char. “What Is It About Tom Friedman’s ‘Up in the Air’.” ARTslant, 10 December 2015.
http://www.artslant.com/ew/articles/show/41507
Kastner, Jeffrey. “Reviews: Tom Friedman Luhring Augustine Bushwick.” Artforum 53, no. 2 (October
2014): p. 278-279.
Smith, Roberta. “Art in Review: Tom Friedman.” The New York Times, 1 August 2014: C23.
—
2013
Smith, Roberta. “40 Nations, 1,000 Artists and One Island: Frieze New York at Randalls Island.” New
York Times, 11 May2013: Cl.
Wilk, Deborah. “The Next Most Collectible Artists.” Art+Auction 36, no. 10 (June 2013): 123.
2012
Cooper, Ivy. “Pawn Stats.” ARTnews 111, no. 3 (March 2012): 28.
“Critics’ Picks: The Five Best Events This Week.” Time Out New York, no. 848 (16—22 February 2012):
34.
Dorment, Richard. “Invisible: Art About the Unseen 1957-2012.” The Telegraph, 12 June 2012
Gayford, Martin. “Invisibile Art Show is Filled With Jokes in London: Review.” Bloomberg, 14 June 2012
“London’s art gallery hotspots.” Guardian, 11 October 2012
Margolis, Rachel. “Circle Dance’ sculpture set to arrive on the Walk.” The Brown Daily Herald, 6
November
McLean-Ferris, Laura. “Invisible art: So, what does it say to you?” The Independent, 13 June 2012
Morse, Trent. “Reviews: New York—Tom Friedman.” ARTnews 111, no. 5 (May 2012): 109.
“Private View: Tom Friedman.” Modern Painters, February 2012: 22.
“Your essential Frieze Guide.” Chrisites Magazine, October 2012
2011
Art ReviewX Multiple: 15
Art + Auction, October 2011: front cover
“Tom Friedman: Frieze Art Fair 2011 Highlights.” Shortlist, 6 October, Issue 196:15
The Independent Art & Books, 7 October: front page.
2010
Herbert, Martin. Art Review, May 2010: 78.
Review of show at Stephen Friedman Gallery, London. Kulturefiash, April 2010.
Stillman, Steel. “The Feature Story.” Art in America, December 2010: 57-62
2009
Moyniham, Miriam. “St Louis Artist’s Imagery Is Intense.” Post-Dispatch, 11 June 2009.
Rosenberg, Karen. “Mote Over, Humble Doily: Paper Does a Star Turn.” New York Times, 19 October
2009
2008
Applin, Jo. UBriC.a.BraC: The Everyday Work of Tom Friedman.” Art Journal, Spring 2004: 69-81
Artner, Alan G. “Beautiful art books published in 2008.” Chicago Tribune, 13 December2008
Tom Friedman
13
Compton, Nick. “Hammer House.” Wallpaper, issue 106, January2008: 100-104, cover
Cook, Greg. “Ugly Beauty.” The Providence Phoenix, Mar 28-Apr 3, 2008: 12
Cullinan, Nicholas. “Tom Friedman, London.” Burlington Magazine, September 2008: 627-629
Degen, Natasha. “Tome Friedman: Gagosian Gallery.” Frieze, June 2008.
Jenkins, Amy. Review of show at Gagosian Gallery, London. The Independent, 5 July 2008.
Johnson, Ken. “Hunting a Tribe of Minimalists on the Streets of the Upper East Side.” New York Times, 5
January2008: Eli
“Unwrapping the Secrets of Ordinary Objects.” New York Times, 17 May 2008
Karriere, No. 3, Autumn 2008: 31
Lack, Jessica, and Robert Clark. Review of show at Gagosian Gallery, London, Guardian, 3i May—6 June
2008.
McQuaid, Cate. “Breaking Down the Styrofoam.” Boston Globe, 28 March 2004: D14-i5
Review: Tom Friedman exhibition, London. Wallpaper.com, 4 June 2008
Wilk, Deborah. “The Complexity of the Simple.” Time Out New York, 17-23 January 2008: 65
Wright, Karen. Review. The Independent, 5 June 2008: 5
2007
Baker, R.C. “Don’t Chew On It.” Village Voice, 14 Aug 2007
Davis, Ben. “Power Play: Tom Friedman at Lever House Lobby Gallery.” Artnet.com, 13 June 2007
Bedford, Christopher. “Review: Tom Friedman at Gagosian Gallery (Beverly Hills).” Tema Celeste,
Mar/Apr 2007: 80-8i
Finkel, Jon. “You’ve Seen the Email, Now Buy the Art”. New York Times, 4 Feb 2007: E28-29.
Myers, Terry R. “Review: Tom Friedman at Gagosian Gallery (Beverly Hills).” ArtReview, no. 7, January
2007: 150
Schwendener, Martha. “Review: All the More Real.” New York Times, 24 August 2007.
Smith, Roberta. “Space Exploration, Conducted on a Spiral.” New York Times, 20 July 2007: E27, E31
Tuchman, Phyllis. “From A to Z.” Adnet.com, 24 September 2007
2006
Biesenbach, Klaus. “Into Me/Out of Me: Third Chapter: Waste and Value.” Flash Ad, vol. 39 (May-June):
100-104
Bonetti, David. “Masterworks’ Exhibition Lacks Only One Thing: Masterworks.” St. Louis Post-Dispatch,
30 April 2006: F4
“Mildred Lane Kemper Art Museum Washington U’s Art Collection Has Never Looked Better.” St.
Louis Post-Dispatch, 29 October 2006: F3
Duncan, Jim. “Art Center Wins Big, Again.” Cityview (Des Moines, Iowa), 16 Nov2006: 25
Kastner, Jeffrey. “Tom Friedman Feature Inc.” Artforum, January 2006: 220
Knight, Christopher. “Art as a shared experience.” Los Angeles Times, 3 November 2006: E22
Otten, Liam. “Tom Friedman at Kemper Art Museum.” Washington University Record, 26 October 2006
Spears, Dorothy. “The First Gallerists Club.” New York Times, 18 June 2006
“Tom Friedman at Gagosian Gallery.” Addaily.com, 26 October 2006
“Tom Friedman at Gagosian Gallery Beverly Hills,” The Week, 24 November 2006
Vogel, Carol. “Why Small is Big.” New York Times, 17 November 2006
2005
Asim, Jabari. “Some Think Artist’s Work Is Nothing But Waste of Good Space.” News-Press, 27 May
2005: Eli.
Baker, R.C. “Voice Choices,” Village Voice, Oct/Nov: 167.
Cotter, Holland. “Review: Tom Friedman.” New York Times, 5 August 2005: E28.
de Grasse Tyson, Neil. “The Long and Short of It.” Natural History, April 2005: 24-28.
Goings On About Town: Chelsea. The New Yorker, September: 19-23.
Tom Friedman
14
Johnson, Ken. ‘Review: ‘A Few Domestic Objects Interrogate a Few Works of Art’ at Mary Boone.” New
York Times, 21 January 2005: E37.
Knight, Christopher. “Around the Galleries: The Ordinary Becomes Building Blocks of Life.” Los Angeles
Times, 18 February 2004: E28.
Kerr, Merrily. UAt the Auctions: Fast and Furious in New York.” Flash Ad, Jan/Feb: 48.
Lavey, Kathleen. ‘Seeing Is Believing.” The Lansing State Journal, 11 January 2005: 1 D-3D.
Levine, Cary. “Logical Conclusions: 40 Years of Rule-Based Art.” Brooklyn Rail, April 2005.
MacAdam, Barbara A. “Logical Conclusions.” ARTnews, vol. 104, issue 6 (June): 119-1 20.
Posthuma, Jente. “ZoVolmaakt Dat HetPijn Doet.” Mister Motley eet alles, No. 05: 16-23.
Saraiva, Claudia. “mini me.” thidy4, Dec/Jan: 228-230.
Segal, David. “They Do Know Squat About Art: At Auction, Bidders Are Not Moved by Tom Friedman’s
Feces on a Cube.” Washington Post, 19 May 2005: Cl.
Temin, Christine. “Repetition Makes the Ordinary Sublime.” Boston Globe, 20 July 2005: El.
Vogel, Carol. “Weary Bidders Make One Last Grab for Contemporary Art.” New York Times, 11
November 2005: B4.
Yablonsky, Linda. “Why Small is Big.” Ad News, December 2005: 122-127
2004
“Another Way of Looking.” Another Magazine, Spring/Summer 2004.
Adbusters, Nov/Dec: 3.
Cantrell, Scott. “Shock & Awe.” Dallas Morning News, 2 September 2004: 8E.
Davies, Paul. Review. Modern Painters, vol. 17, no. 3, August 2004: 125-126.
Huff, T. J. “Daily Impermanence.” AdsEditor.com, 1 February 2004.
Indyke, Dottie. “The Fifth International Biennial SITE Santa Fe.” ARTnews, November: 157.
Kimmelman, Michael. “The Convention Of Beastly Beauty.” New York Times, 6 August 2004: E29, E31.
Kynnkob, Cepren. “Ymo Mu Hambopunu.” FHM Magazine, June: 62-69.
McElroy, Joseph. “A Poetry of Transience.” Shambhala Sun, March 2004: 58-65.
Searle, Adrian. “Jolly Blue Giant.” Guardian, 15 June 2004: 12.
Temin, Christine. “Getting Under The Skin.” Boston Globe, 13 February 2004: D21, D24.
White, Derek. “Hero/Anti-Hero: Barney vs. Friedman and Vice Versa.” NY Ads, no. 1/2, vol. 9,
January/February 2004: 62,
2003
Baird, Daniel. “The Madness of Ordinary Material.” Brooklyn Rail, June/July 2003.
Cotter, Holland. “Finding Surprises as They Are Turned Up by the Karma Wheel.” New York Times, 7
November 2003.
Cunniff, Bill. “Artists’ Creativity Bubbles Over In Thin Skin Exhibit.” Chicago Sun Times, 18 April 2003.
“Don’t Miss.” Time Out New York, April 2003: 55.
“Highlights.” Contemporary, April/May, No. 50: 27.
Johnson, Ken. “Review: ‘Stacked’.” New York Times, 28 February 2003: E45.
Mattick, Paul, Review. Ad in America, vol. 91, no. 11, November2003: 160-161.
Menin, Samuel, and Valentina Sansone. “Sculpture Forever.” Flash Ad, May/June: 122, 124 (illustrated).
Momin, Shamim. “Three Variations on Sculpture: E.V. Day, Teresita Fernández, Tom Friedman.” Flash
Ad, May/June 2003: 114-117.
Robecchi, Michele. Review. Flash Ad Italia, February/March 2003: 138.
Romano, Gianni. “Tom Friedman, Hyperactive Child.” Flash Ad Italia, December/January 2003: 74-77.
Ryan, Zoe. “Intricacies of Lynn’s Mind.” Blueprint Magazine, March 2003: 89.
Smith, Roberta. “Review: Tom Friedman.” New York Times, 25 April 2003: E49.
2002
Baird, Daniel. “Tom Friedman at the New Museum of Contemporary Art.” The Brooklyn Rail, January—
February 2000.
Tom Friedman
15
Baxter, Joell. “Tom Friedman: Museum of Contemporary Art.” New Art Examiner, vol. 28, November
2002: 47.
Besio, Armando. “Tom Friedman, l’artista che gioca con ii pubblico.” La Repubblica, 25 October 2002.
Cameron, Dan. “Tom Friedman, Same and Different.” Parkett, no. 64 (2002): 50-63.
Camnitzer, Luis. Torn Friedman: The Unexpected Magic of Craftsmanship.” Art Nexus, no. 44,
(April/June 2002): 74-77.
Casciani, Stefano. “Persi e ritrovati.” Domus, No. 845, December 2002
Coffer, Holland. ‘Creations Small in Scale but Towering in Impact.” New York Times, 31 May 2002: E38.
Di Genova, Arianna. “Polverine magiche dentro al museo.” Alias, 23 November 2002.
Eskin, Blake. “Still Life with Garbage and Bee.” Artnews, no. 5, May 2002: 150-153
“Fuel for Thought.” Discover, vol. 23: 29 August 2002.
Goodman, Jonathan. “Tom Friedman, Wim Delvoye: The New Museum New York.” Parachute:
Contemporary Art Magazine, No. 106, April 2002.
Herbert, Martin. uMissouris Odd Man In.” Art Review, April 2002: 25.
Israel, Nico. Review Artforum, vol. 40, issue 7, March 2002: 133.
Johnson, Ken. “Review: ‘Thin Skin’ ‘The Fickle Nature of Bubbles, Spheres and Inflatable Structures’.”.
New York Times, 29 March 2002.
Kent, Sarah. Review. Time Out London, 27 March—3 April 2002.
Kimmeirnan, Michael, “Sunday Afternoon: 303 Gallery.” New York Times, 14 June 2002: E38
Kreye, Andrian. Review. Suddeutsche Zeitung, Jan 23.
Lack, Jessica. Review. Guardian, 13—19 March 2002: 35.
Matsui, Midori. “Mapping Your World, Torn Friedman’s Flexible Sculpture.”Parkett, no. 64 (2002): 64—77.
Mazzoleni, Gian Ernilio. “La rivolta del quotidiano.” Carnet, November 2002.
McEwen, Adam. “Some Assembly Required.” Frieze, September 2002: cover, 74-79.
Moreno, Gene. “Emily’s Way.” Art Papers, vol. 26, January—February 2002: 13.
“The End of the Future.” Art Papers, vol. 26.5, September/October: 22-27.
Rimanelli, David. “Torn Friedman.” Interview, March 2002: 62.
Review. IONS Noetic Sciences, Mar-May, cover.
Review. lichiko, Jan.
Thon, Ute. “Animateur der kleinen Dinge des Alitags.” Art Das Kunstmagazin, November 2002
Sumpter, Helen. Review. Evening Standard, 8—14 March 2002: 43.
“Tom Friedman.” IN, vol. 1, issue 2.
Waters, John. “Serious Playboys: Torn Friedman in conversation with John Waters.” (interview), Parkett,
no.64(2002): 78-91.
“The Young Americans.” Hot Air News, 2002.
--
-
2001
Baird, Daniel. “Violence, Fantasy, and Childhood: Two Shows at PSi.” Brooklyn Rail, February-March
2001.
Bischoff, Dan. Star Ledger, 2 December.
Budick, Ariella, Review. Newsday.com, Oct 19.
Depoorter, Frank. “The First Quadrennial of Contemporary Art. ‘Casino 2001’.” NY Arts, 14—15
September 2001.
“Don’t Miss.” Timeout NY, April 2001: 55.
Fallon, Roberta. “Seven Wonders.” Philadelphia Weekly, May 23.
Friedman, Tom. Portfolio, Arena +, Spring/Summer 2001: 251.
“Fun with Sugar Cubes.” Philadelphia Weekly, June 6.
“Galeria.” Gatopardo, June2001: 130.
Gioni, Massimiliano. “New York Cut Up: Hand Made Tales.” Flash Art, Nov/Dec.
Golonu, Berm. “Torn Friedman: Yerba Buena Center for the Arts.” Sculpture, vol. 20, no. 5, June: 64-65.
Gopnik, Blake. “The Morph The Merrier; In Mundane Objects, Tom Friedman Finds Magical New Forms.”
Tom Friedman
16
Washington Post, Nov 11 Gi, G4.
Israel, Nico. Review. Artforum, 39, no. 10, May 2001.
Ivy, Angus. “Review: ‘3ness’.” Zingmagazine, no. 14, Winter 2001: 21 0-211.
Kazanjian, Dodie. “Objects of His Affection.” Vogue, vol. 191, issue 11, November 2001 374—83.
Lazere, Arthur. “Tom Friedman: A Survey of Recent Work.” Culture Vulture.net, Oct 29.
Leshko, Adriana. Art: Now You See It.” Harper’s Bazaar, issue 3473, April2001: 154.
Lowry, Glenn D. uRencontre avec Tom Friedman.” Connaissance des arts, April 2001: 104—7.
Naves, Mario. “His Medium is the Mundane.” New York Observer, 10 Dec 2001.
Pederson, Victoria. Review. Paper, Oct.
Review. Time Out New York, 11-18 October2001.
Rice, Robin. “Commercial Break.” Philadelphia City Paper 9-16 August 2001: 27.
Richard, Frances. Review. Artforum.com, 19 Nov.
Romano, Gianni. uTom Friedman, Hyperactive Child.” Flash Art Italia, February—March 2001: 138.
McGee, John. uTom Friedman.” Tokyo Classified, issue 373,18 May2001: 17.
Midori, Kimura. ulom Friedman: Artist Interview.” Bijutsu Techno, vol. 53, no. 809, August: 115-124.
Rapa, Patrick. “Pieces of You.” City Paper, May 31-Jun 7, 2001.
Roche, Harry. UArt A Dip in the Pond.” www.sfweekly.com, January.
Rosenberg, Karen. “Breaking and Entering.” The Village Voice, 28 August 2001: 67.
Siegel, Katy. uBestof2001Artforum vol. 40, issue 4, December: 108.
Smith, Roberta. “Magic Transforms Ordinary materials into Extraordinary Works.” New York Times, 26
October 2001: E49.
Stevens, Mark. “Modern Ruins.” New York, vol. 34, issue 43, November 12: 117.
Viveros-Faune, Christian. Review. The Art Newspaper, November
2000
Bischoff, Dan. StarLedger, 2 December2000.
Black Diamond, no. 3 (Summer, 2000): 1.
Bonetti, David. “Friedman best of ‘Juvenilia’ show.” Examiner, 9 Nov 2000.
Budick, Ariella. Long Island Newsday, 12 October 2000.
Campbell-Johnson, Rachel. “Redoing What Comes Naturally.” Times of London, 12 April 2000: 21.
Caplan, Nina. “Greenhouse Effect.” Metro, 4 April 2000: 18
Celant, Germano. “Magie etre dimensioni.” L’espresso, 10 August2000: 171
“Tom Friedman.” Interni, December 2000: 176—81
Chorpening, Kelly. Gallery Channel, www.thegallerychannel.com, April 2000
Cotter, Holland. “A Gathering of News Isms, Old Masters and Noodles.” New York Times, 10 September
2000: 94.
“Art in Review.” New York Times, 31 March 2000: E35.
Dean, Corinna. “Carefully Cultivated.” The Architect’s Journal, 11 May 2000: 48.
Doran, Anne. Time Out New York, 6 April 2000: 73.
Dorment, Richard. “Natural Born Thriller.” The Daily Telegraph, 19 April 2000.
Egan, Maura. “Assembly Required.” Details, November 2000, 122—25
“Fragrance of Culture.” Noblesse, March 2000: 88—90.
Frank, Peter. “Visionary Landscape.” L.A. Weekly, 11 February 2000.
Frankel, David. “X-Acto Science: Tom Friedman.” Artforum, Summer 2000: 138—41 cover.
“Preview: Spring 2000.” Artforum, May 2000: 48.
Friedman, Tom. IN, 1, no. 2 (2000).
Fulco, Elisa. “The Pada World’s Artistic Island.” Artindex, no. 2 (Winter 2000): 61—63.
Gardner, James. New York Post, 24 November 2000.
Golonu, Berm. “Previews: Tom Friedman.” Adweek, vol. 31, November 2001: 6.
Grant, Simon. “Improving on Nature’s Work.” Evening Standard, 7 April 2000.
Healy, Jim. “Greenhouse Effect.” What’s On in London, 19 April 2000.
Tom Friedman
17
Herbert, Martin. “Domestic Bliss.” Time Out London, 30 August 2000.
“Missouri’s Odd Man In.” Art Review 3 (April 2000): 25.
Hirst, Christopher. “From Urban Jungle to Upside-down World.” The Independent, 8 April 2000.
Humphrey, Jacqueline. “Exhibit Reveals Versatility of Paper.” News and Record, 7 December 2000,: 10.
• “Artist Project.” K48, FalllWinter: 34-35.
Husband, Stuart. “Urban Jungle.” Obse,ver Magazine, 2 April 2000.
IONS Noetic Sciences Review, March—May 2000: cover.
Johnson, Ken. “Art in Review. ‘Extra Ordinary’.” New York Times, 9 June 2000: E29
• “Review: Collectors’ Choice.” New York Times, 15 December 2000: E41.
Jury, Louise. “Parrots Speak Lost Rainforest Tongues.” The Observer Magazine, 2 Apr 2000.
Kastner, Jeffrey. “On Form in Emptiness: A Zen Way.” New York Times, 17 December 2000, Arts and
Leisure: 43—44.
Kent, Sarah. “Greenhouse Effect.” Time Out London, 19 April2000: 52.
Time Out London, 27 March—3 April 2000.
Koestenbaum, Wayne. “Best of 2000.” Ariforum, December 2000: 128—29
Kreye, Adrian. Suddeutsche Zeitung, 23 January 2000.
Lazere, Arthur. Culturevulture.net, 20 October 2000.
Levin, Kim. “Choices.” Village Voice, 4 April 2000: 82.
MacMillan, Ian. “Oh My God, They Killed Dadall.!” Modern Painters, Autumn 2000: 22—27, cover.
McEwen, John. “Art.” The Sunday Telegraph, May 5.
Packer, William. “London’s Green and Pleasant Land.” Financial Times, 11 April 2000.
Pasquini, Stefano. “Portrait of a Weirdo: Tom Friedman at the Museum of Contemporary Art of Chicago.”
NYArts, October 2000: 44—46.
Pederson, Victoria. Paper, October 2000.
Peres, Daniel. “Letter from the Editor.” Details, November 2000, 26 (reproduction of Adweek).
Puryear, Martin, Sarah Sze, et al. “MoMA to MOCA, Storm King to Fogg.” New York Times, 10
September 2000: 95.
Quinones, Paul. Review. FlashArt, May/June 2000: 115—16.
Richard, Frances. www.Arfforum.com, 19 November 2000.
Rugoff, Ralph. “Are You Looking Carefully? Then Let’s Begin.” Financial Times, November 2000: VI,
188—119
“Best of 2000.” Ariforum, December 2000: 122—23, cover.
“Touched by Your Presence.” Frieze, January/February 2000: 84—89.
Saltz, Jerry. “Anything Goes.” Village Voice, 11 April 2000: 77.
Schwartzman, Alan. Eye Online, www.onview.com, 1 May 2000.
Searle, Adrian. “Stuck in the Woods.” Guardian, 4 April 2000: 14.
Shank, Will. “Kindergarten Materials, old master attention.” Bay Area Reporter, 12 July 2000.
“Museum shows to remember.” Bay Area Reporter, 28 December 2000
Siegel, Katy. “Best of 2000.” Artforum, December 2000: 116.
Staple, Polly. “Greenhouse Effect.” Art Monthly, May 2000, 38—40.
“Stephen Friedman.” Umelec6,21 January2000.
Time Out New York, 11—18 October 2000.
“Tom Friedman.” New York Magazine, 10 September 2000.
Viveros-Faune, Christian. Review, Art Newspaper, November 2000.
Watanada, Gen. “Fine Arts Column” Japanese Association of GreaterBoston Newsletter, 1 November
2000: 5
Zinnser, John. “Painter’s Journal.” www.artnet.com, 7 November 2000.
1999
Berdan, Kathy. “A ‘Warm and Fuzzy’ Guide for Kids.” Des Moines Register, 13 September 1999. T1—2.
Bil, Laura. “Waste Management’ Rules.” The Varsity, 13 April1999. 9.
Bless, Nancy. “Signs and Wonders.” Sculpture, December 1999. 33—39.
Tom Friedman
18
Blizzard, Peggy. ‘Art in Show Conveys ‘Ideas in Things,” Irvine World News, 16 September 1999. B1—B6.
Chattopadhyay, Colette. “Ideas in Things.” Artweek, December 1999: 24.
Chu, Ingrid. “ATimeofWaste.” National Post, 8April 1999.
Dault, Gary Michael. ‘Think Most Modern Art Is Trash? This Show’s for You.” Globe and Mail, 17 April
1999: C12.
Farel, Zena. “All the Young Guns.” India Weekly, 11 September 1999: 25.
Gorczyca, Lukasz. “Energie Skumulowanw.” Sztuka Polska lantyki, May 1999: 51 (reproduction).
Grabner, Michelle. “Review: Stuff (TBA Exhibition Space).” Frieze, September/October 1999: 106—7.
Hawkins, Margaret. “Worthwhile Notions.” Chicago Sun-Times, 23 April 1 999L: 24.
Hoims, Karin. “Not All Warm, Fuzzy: That’s About the Size of It.” Des Moines Register, 26 September
1999.
Kuc, Monica. “Zmiana Skali.” Gazeta Wyborcza, 9 July 1999
Minami, Yusuke. “Realistic Evidence.” Salon Realistic Evidence Site, 1999: 24.
Peñaloza, Si Si. “World of Waste Can Be a Wonderful Thing.” NOW Magazine, April 1999
Sarzynski, Piotr. “W Galerii.” Polityka, 1 May 1999: 45
Schoenkopf, Rebecca. “It’s Quite Clearly a Monkey.” Orange County Weekly, 30 September 1999.
Schulman, Daniel & Jeremy Strick, Museum Studies, Volume 25, No. 1.
Schwartzman, Alan. “Twilight of the Idols.” Art and Auction, December 1999: 40—43.
Stach, Szablowski. “W Innych Wymiarach.” Warsaw City Magazine, 6 July 1999
“Staring,” Stare, Spring, 51 (reproduction of Artweek).
Stockel, Tommy. “It’s a Small World.” Art-Land 5, no. 1 (1999): 22—23.
Temin, Christine. “DeCordova Show Proves Art is Not Always Square.” Boston Globe, 24 January 1999.
Van Siclen, Bill. “On the BaIl,’ Artists Explore the Sphere’s Possibilities.” Providence Journal, 22 January
1999.
Walsh, Daniella. “Rethinking the Familiar in Art.” Orange County Register, 3 October 1999: 30.
Watson, Simon. “Simon Says: Collect.” www.artnet.com, December 1999.
West, Aurora. “Tom Friedman’s Art Is like a Spinning Fried Egg in Space.” Museo 2 (Spring 1999): 2—3
“Rope on a Soap.” Esquire, Oct.
“In Safe Hands.” l-D, Oct.
1998
Amano, Kazuo. “Young Americans.” London Jewish News, 28 August 1998: 28
Austin, Niki. “Provoked to Sculpt.” London Jewish News, 28 August 1998: 28
Baker, Kenneth. “Enigmatic Art Revealed at Fraenkel.” San Francisco Chronicle, 17 September 1998
Belle, Tina. “Young Americans.” London LZ East-West, 7 October 1998
Brown, Hero. “Party On.” Independent, 13 September 1998.
Burton, Jane. “Mad in the USA.” Daily Express, 5 September 1998.
Cyrot, Laurence. “Poussiëre fertile.” Hors d’ceuvre, FaIl 1998
Damianovic, Maia. “Una stagione di monstre a New York.” Tema celeste, July—September 1998: 58, 106
(reproduction).
Darwent, Charles. “American Gothic.” New Statesman, 4 September 1998: 40—41.
Dorment, Richard. “A Brush with Young America.” Daily Telegraph, 26 August 1998.
Ebner, Jorn. “Weltenklange und ihre Körper.” FrankfurterAllgemeine Zeitung, 14 November 1998: 42.
Goodman, Jonathan. “Small Wonders.” World Ad 18 (Fall 1998): 40—43
Hubbard, Sue. Time Out London, 18 November 1998:61
“In Safe Hands.” l-D, October 1998.
Kaihatsu, Chie. Studio Voice, June 1998, 80
Mills, Christopher. “Hubba Hubba: A Sexy Boston Art Show at the ICA.” Boston Phoenix, 20 March 1998:
13.
Negrotti, Risanna. “States of Mind.” What’s On in London, 7 October 1998: 8—9.
“Over-sexed and Over Here.” RA Magazine, September 1998: 27
Rayner, Alex. “The Yanks are Coming!” i-D Magazine, May 1998: 56
Tom Friedman
19
“Rope on a Soap.” Esquire, October 1998
Rothkopf, Scott. ‘Modernism to Kitsch and Right Back Again.” Harvard Crimson, 6 March 1998: Bi, 1ff.
Schjeldahl, Peter. “No Big deal.” Village Voice, 4 August 1998: 117
Searle, Adrian. “The Infants Liam and Noel on the Sofa.” Guardian, 8 September 1998: 10—11.
Servetar, Stuart. “New York Fax.” Art Issues, January/February 1998: 34—35
Smith, Alyson. “Bras and Stripes.” The Face, September 1998: 186—87
Smith, Caroline. “Young Americans.” Attitude, September 1998: 94—95
Staple, Polly. “Lovecraft.” Untitled, Summer 1998: 22.
Zena, Fare. “All the Young Guns.” Indiaweekly, 11 September 1998: 25.
1997
Alesia, Tom. “Who Says Gum Not Good Art?” Capital Times, 11 April 1 997.
Aletti, Vince, and Levin, Kim. “Our Biennial.” Village Voice, 21 January 1997: 85.
Bonami, Francesco. “Biennials? A View from Brazil.” Flash Art, March/April 1997: 59.
Cameron, Dan. “Glocal Warming.” Aflforum, 17—22 December 1997: 130
Cotter, Holland. “A Show That Could Travel in Just a Carry-on Bag.” New York Times, 14 December
1997, Arts and Leisure: 44—45.
Damianovic, Maia. “Futuro presente passato 1967—1 997 (Speciale Biennale).” Tema celeste, May/June
1997: 58—59, 63.
Greene, David A. “Captain of Industry.” Village Voice, 18 November 1997: 107.
Halle, Howard. Time Out New York, 13 November 1997: 43.
Leffingwell, Edward. “Nationalism and Beyond.” Art in America, March 1997: 34—41.
Levin, Kim. “Short List.” Village Voice/Choices, 11 November 1997:2.
Miller, John. index, January 1997: 30—35.
Pagel, David. Los Angeles Times, 14 February 1997: F36.
Porges, Maria. “San Francisco Fax.” Art Issues, March/April 1997: 34—35.
Rice, Nancy. Art Saint Louis, Summer 1997: 9.
Rubin, Birgitta. “Utan Murar.” Dagens nyheter, 18 March 1997: B1.
Silva, Eddie. “Present, Accounted.” Riverfront Times, 14 May 1997.
Smith, Roberta. “Art Guide.” New York Times, 31 October 1997: E36.
“Tiny Objects, Grandiose Statements.” New York Times, 24 October 1997: E35.
Storr, Robert. “Just Exquisite? The Art of Richard Tuttle.” Artforum, November 1997: 86—93, 130.
“True Obsessions.” Time Out New York, 23 October 1997, 47.
1996
Alexander, Randy. “Review: Hero.” NewArt Examiner, May 1996: 54.
Artner, Alan. “Work Ethic: Linking Chuck Close and Tom Friedman on the Basis of Effort.” Chicago
Tribune, 3 May 1996: sec. 7, 58ff.
“The Aspirin Age.” Chicago Tribune, 7 June 1996.
Barrett, David. “Review.” Art Monthly, vol. 202: 27-28.
Blair, Dike. “Review.” ZAPP Magazine, No. 7 (March 1996).
Borruso, Sarah. “Substance Abuse.” hotwired gallery, www.hotwired.com/gallery, October 1996
Camper, Fred. “Art People: Tom Friedman’s Object Lessons.” Chicago Reader, 1996: 26.
Canning, Susan M. “Review.” NewArt Examiner, April 1996,44-45.
Canton, Katia. “Revelaçao Norte-Americana Virã a Bienal.” Folha de São Paulo, 22 June 1996: 3.
Ebony, David. “Tom Friedman at Feature.” The NYC Top Ten, http://www.articons.com, February 1996.
Friedman, Tom. “jst,” (Portfolio), Grand Street, no. 57 (Summer 1996): 23—34, text by Robert Storr.
“Goings On about Town.” New Yorker, 5 February 1996: 15.
“Goings On about Town.” New Yorker, 2oJanuary 1996: 20.
Goncalves Filho, Antonio. “Trës sugestoes para o visitante.” 0 estado de São Paulo, 3 October 1996:
H16.
Grabner, Michelle. Review of “Chuck Close and Tom Friedman.” Frieze, September/October 1996: 76—77
(reproduction).
Tom Friedman
20
Guha, Tania. Time Out London, 13 November 1996.
Hoig, Garrett. “Two of a Kind? Exhibit Show Links in Method between Close, Friedman.” Chicago SunTimes, 2 June 1996.
Johnson, Ken. “Friedman’s Flea Circus.” Art in America, Vol. 84, May 1996: 78—81.
Levin, Kim. “Art Short List.” Village Voice, vol. 41, 13 February 1996: 8.
Mahoney, Robert. “Review.” Time Out New York, 31 January 1996: 24.
“News of the Print World.” Print Collector’s Newsletter, March—April 1996: 17.
O’Hara, Delia. “Unique Artists Find Common Ground.” Chicago Sun-Times, 26 April 1996: NC9.
Schjeldahl, Peter. “Hudson’s Way.” Village Voice, 2 July 1996: 87.
Smith, Roberta. “Art in Review.” New York Times, 26 January 1996: C25.
Sugiura, Kunié. Interview. Bijutsu Techo, June 1996, front cover, 22—25: 37—40.
Smith, Timothy Paul. “Worlds within Worlds.” The Sciences, July/August (1996): 28—33.
“Tom Friedman: Busca a arte total.” Folha de São Paulo, 4 October 1996: A-8.
Wilk, Deborah. “Affinities: Chuck Close and Tom Friedman: Art Institute of Chicago.” New Art Examiner,
September 1996: 37—38.
.
1995
Cotter, Holland. ‘Beneath the Barrage, The Modern’s Little Show.” New York Times, 7 April 1995: C27.
Hainley, Bruce. “Next to Nothing: The Art of Tom Friedman.” Artforum, vol. 34, November 1995: 4—5, 73—
77.
Kastner, Jeffrey. “Review: lo-fo.” Frieze, August 1995: 72—73.
Levin, Kim. “Choices.” Village Voice, vol. 40, issue 18,2 May 1994, 11.
Mitchell, Charles Dee. “Critical Mass’: More Than Meets the Eye.” Dallas Morning News, 3 February
1995.
Narbutas, Siaurys. “Modernus menas padeda atlaidziau zvelgti pasauli.” Lietuvos ,ytui, August 1994.
Rich, Charles. “At MoMA: A ‘Mad’ Muse.” Hartford Courant, 1 April 1995.
Schjeldahl, Peter. “Struggle and Flight.” Village Voice, vol. 40, issue 16, 18 April 1995: 79.
1994
Connors, Thomas. “Evanston Art Center.” New Art Examiner, May 1994.
Greene, David. “Doors of Perception.” Burelle’s, May 1994: 18, 23
Mollica, Franco. “Review.” Tema celeste, Autumn 1994: 64
Perretta, Gabriele, “Review.” Flash Ad Italia, Summer 1994.
Romano, Gianni. “Interactive Child.” Arquebuse, May 1994: 24—25.
Postmedia, Autumn (artist’s project).
“Tom Friedman.” Zoom, no. 129 (1994).
“In and Out Liquid Architectures (Through a Few Objects).” Temporale, no. 31, 1994: 34—37.
Tager, Alisa. “Emerging Master of Metamorphosis.” Los Angeles Times, 3 May 1994: Fl, F8.
Trione, Vincenzo. “De Soto, Ulisside del bello.” II mattino, 27 May 1994.
1993
Artner, Alan. “Sharp Conceptual Show Dares to Be Different.” Chicago Tribune, 22 January 1993: sec. 7,
56.
Auer, James. “There’s No More Than a Hair’s-breadth between Art, Reality in This Exhibit.” Milwaukee
Journal, 17 January 1993.
Blair, Dike.”Review.” Flash Art, November/December 1993: 112—14.
Flynn, Patrick J.B. “Review:Hair.” Artpaper, February 1993.
Heartney, Eleanor. “New York, Dans es Galeries.” Art Press, October 1993: 24—28.
Humphrey, David. “New York Fax.” Ad Issues, May/June 1993: 32—33.
Levin, Kim. “Choices.” Village Voice, Vol. 38, Issue 8, 23 February 1993: 65.
Lillington, David. “Review: Times.” Time Out, 16 June 1993.
Tom Friedman
21
“Times.” Metropolis M, Winter 1993: 47—49.
Mensing, Margo. Changing Hands: Renovations in the Domestic Sphere.” Fibrearts, Summer 1993.
Nesbitt, Lois. “Review.”Aflforum, Summer 1993: 111—12.
Paine, Janice T. “Hair Pieces: Exhibition Worth Combing.” Milwaukee Sentinel, 8 January 1993: SD.
Shepley, Carol Ferring. “Tom Friedman Shapes Art out of Everyday Things.” St. Louis Post-Dispatch, 14
January 1993: 3E.
Southworth, Linda. “An Extraordinary Exhibition at Arts and Letters.” Washington Heights Citizen and
Inwood News, 28 February 1993: 10—11.
1992
Bernardi, David. “News Reviews.” Flash Art, May/June 1992: 149.
Cameron, Dan. “In Praise of Smallness.” Art andAuction, April 1992: 74—76.
Faust, Gretchen. “New York in Review.” Arts, March 1992: 79.
Kahn, Wolf. “Connecting Incongruities.” Art in America, November 1992, vol. 80: 116—21.
Marrs, Jennifer. “Simple Style with a Complex Meaning.” Courier, 2 October 1992: 15, 18.
Smith, Roberta. “Casual Ceremony.” New York Times, 3 January 1992: sec. C.
1991
Artner, Alan. “Friedman Debuts with Winning Simplicity.” Chicago Tribune, 22 February 1991: sec. 7, 56.
Barckert, Lynda. “The Work of Art.” The Chicago Reader, vol. 20, no. 21, 1 March 1991.
Brunetti, John. New City, vol.6,14 March 1991, 14.
“Goings on about Town.” New Yorker, 23 September 1991: 12.
Heartney, Eleanor. Art in America, December 1991: 118.
Hixson, Kathryn. “Chicago in Review.” Arts, issue 65, May 1991: 108.
Levin, Kim. “Choices.” Village Voice, vol. 36, issue 38, 17 September 1991: 104.
McCracken, David. “Gallery Scene.” Chicago Tribune, 8 February 1991: sec. 7, 68.
“Gallery Scene.” Chicago Tribune, 30 August 1991: sec. 7, 54.
Palmer, Laurie. Artforum, vol. 29, May 1991: 151.
Patterson, Tom. “Trio of Solos: Thoughts on Three Current Shows at SECCA.” Winston-Salem Journal, 1
September 1991: C6.
Smith, Roberta. “Art in Review.” New York Times, 13 September 1991: C5.
1990
Harris, Patty. “Four Summer Art Shows.” Downtown, 29 August 1990: 12A—13A.
Levin, Kim. “Choices.” Village Voice, vol. 35, issue 32, 7August 1990: 102.
COLLECTIONS
Aspen Art Museum, Aspen, CO
Baltimore Museum of Art, Baltimore, MD
The Contemporary Austin, Austin, TX
Crystal Bridges, Bentonville, AR
Denver Art Museum, Denver, CO
Fotomuseum Winterthur, Winterthur, Switzerland
Magasin 3 Stockholm Konsthall, Stockholm, Sweden
Metropolitan Museum of Art, New York, NY
Mildred Lane Kemper Art Museum, St. Louis, MO
Museum of Contemporary Art, Los Angeles, CA
Museum of Modern Art, New York, NY
San Francisco Museum of Modern Art, San Francisco, CA
Solomon R. Guggenheim Museum, New York, NY
Walker Art Center, Minneapolis, MN
Tom Friedman
22
Weatherspoon Art Museum, University of North Carolina, Greensboro, NC
Tom Friedmao
23
LUH RING
AUGUSTINE
Smith, Roberta
“Art in Review: Tom Friedman”
The New York Times.
Friday, August 1, 2014. p. C23.
531
West 24th Street
New York
NY
toot,
teL 212 206 9100
fax
212 206 9055
wwwluhringaugustinecom
“Toxic Green Luscious
Green,” a 2014 work
by Tom Friedman in
his show ‘Paint and
Styrofoam.”
Tom Friedman
‘Paint and Styrofoam’
Luhring Augustine Bus hwith
25 Knickerbocker Avenue, at
Ingraham Street, Bushwick,
Brook tyn
Through Aug.23
The artist Tom Friedman tends
to blow our minds and then move
on, rarely repeating himself. (A
starburst made of toothpicks or a
realistic fly, having seemingly
alighted on the corner of a pedes
tal, come to mind.) Nearly each
artwork is some one-off feat of
concept, technique and common
materials. So it’s unexpected to
see Mr. Friedman staying in one
place as he does here and to real
ize that the effect is even more in
tense.
This show is suffused with the
tension of trying to reconcile
what you see with the exhibi
‘
-
r.
I.
-
.?
‘:e
‘.‘..ç,
-‘
.—
tion’s title: “Paint and Styro
foam.” Whether painting or
sculpture, every work in this
show uses these two materials.
Their names buzz around in your
head with almost no place to
land, as you try to figure out
where one material stops and the
other begins, or what you are
looking at in the first place. This
is especially true of the mono
chrome, seemingly abstract
paintings that line the walls. (Fit
tingly, one work consists of a tiny
eyeball wedged into a corner,
easy to overlook.)
Minus the show’s title, other
sculptures are determinedly, but
also conventionally, trompe l’oeil,
especially the wood stool, guitar
and disconnected microphone of
“Moot” and the purple (Jeff
Koons.like) balloon of “Purple
Balloon.” But “Pepto Bismol
Pink” — an attenuated ganglion
ot vaguely intestinal shape — de
viates. A divot sn its white pedes
tal reveals Styrofoamish btue,
probably before you even focus
on it.
Each of the paintings has a dif
ferent subject, effect and surface.
and a title alluding to its particu
lar secrets. The cream-colored
“Kid” presents a fastidious can
vas weave, a strip frame, a big
swipe of paint and a tiny ball (a
recurring motif), intimating a
smiling (or smiley) face. The
swirling brushwork at the dark
blue “Night” yields part of van
Gogh’s “Starry Night,” just as the
artist’s visage can be found in the
bright yellow of “Self Portrait.”
And so on, from one visiontesting surface to the next. The
simplest is “Blue Styrofoam Sea
scape,” whose central ridge co
alesces into a perfectly atmos
pheric horizon. And Mr. Fried
man breaks tree of flatness in
“Blue” and “Toxic Green Lus
cious Green,” creating bas-relief
piteups of objects, trash and
words that include Styrofoam
peanuts — previously a favored
material and other references
to his singular career.
ROB F.RTA SMITH
LUHRN
AJUSTNE
Morse, Trent.
“Reviews: New York Tom Friedman”
ARTnews.
Volume 111, Number 5. May2012, pg. 109.
-
53i West 241h Siren
New York y won
tel 212 206 9100
fax
212 206 9055
www.luhrtngaugustinc.com
reviews: new y o.rk
casian legs that stop at mid-calf, is un
nerving in its hyperrealism Unfortu
nately it’s too teminiscent of Robert
Gober’s work
Some of the least conspicuous pieces
were also the most thought provoking.
--
Th
Tom Friedman
Luhrlng Augustine
This show was all over the place. Posi
tioned on the floor, on the walls, and up
near the ceiling. Thm Friedman’s multi
farious sculptures and flat works were
variously abstract, semiabstract, text
based, and figurative. Still, these pieces
(all from 2012) had at least one com
monality: they came with a smirk and a
wink.
A focal point of many of the sculptures
was reality versus materiality, or the illu
sion that a thing is made of certain matedais when in fact it’s made of something
else entirely. To that end, an eight-foottall statue of a man urinating seems to
comprise crushed
aluminum toil and
oven trays; however,
the shiny metallic
figure, his clothes.
and his pee stream
all consist ol a
slightly more pre
cious alloy; stainless
steel.
In a similarly de
ceptive manner,
carvings of half
eaten apples piled
on the floor look
real enough to bite
into—but, not so
fast, they’re painted
Styrofoam. Another
Stsiofoam work,
portraying tattered
New Halance sneak
ers, droopy sucks,
and stumps of Cau
‘4%
“__
Tom Ftiodman, Untitled (peeing figure]. 21112,
stainless oteel, figure: 96” 30” a 27”;
urine stream: 55” x 10 x i4”. Luhrin Augustine.
Particularly conceptual was a photo
graph depicting crinkly paper held up
with pushpin5 that was itself printed on
crinkly paper and affixed to the gallery
wall with pushpins
There was also a portrait that consisted
of the handwritten words “mouth,”
“noSe,” “eye.” ‘and eye,” positioned
where thust’ body parts might be in a
more representational picture. Another
text piece messed with the difficult tospell term “verisimilitude,” changing it to
‘vernsimilar versimiltited,” verisimlila—
tood,” verrimilotude,” and so on. The
crux of that work pretty much summed
up the exhibition as a whole: a series of
vedsimilitudes gone humorously awry.
—Trent Morse
ARTncws MAY 2012
109
“Tom Friedman”
The New Yorker.
March 2012.
LUH RING
AUGUST) NE
5SIWcst24thSlrcct
NewYorkxyiooii
212 2oô 9100 fax 212 zo6 9055
www.luhringaugustine.com
THE NEW YORIiER
601N65 ON ABOUT TOWN: ART
TOM FRIEDMAN
Jasper Johns once described the process of art-making as “Do something, do something to
that, and then do something to that.” Friedman’s obsessive approach multiplies that three-step
formula until it seems infinite, in his first show in New York in seven years. Many, many tiny
squares of paint replicate the pattern of TV static “snow” on a Styrofoam screen; thousands of
skinny bright-yellow dowels are stuck into a large Styrofoam ball, a diligently silly model of the
sun. The larger-than-life-size man in the sculpture “Untitled (Peeing Figure)” is, as its title
suggests, relieving himself, while facing a corner. The piece appears to be painstakingly made
out of discarded aluminum packaging, but is actually cast stainless steel, perhaps a witty
homage to Martin Kippenberger’s cast-aluminum icon, “Martin, Into the Corner, You Should
Be Ashamed of Yourself.” Through March 17.
Through March 17
LUHR1NG AUGUSTtNE
531 W. 24th St., New York, N.Y.
212-206-9100
Iuhringaugustine.com
LUH RING
AUGUSTINE
Herbert, Martin.
Art
Review.
531 Vest 24th Street
NewYorkratooit
212 ao6 9100 fax 212 206 9055
www.luhringaugustine.com
May 2010, pp. 78-82.
FEATURE:
Is
be
counterfeited using
Styrofoam
a kgb fillrrd worlohoo and eroririe viewIng spxe
wcicect away in a ctjrrvertc-d indurtrinl building in Springbdd,
hlassachtnera Tom Friedrnarr f lsavinct a 5tyrfoam moment
tt trOt ho Inst tlie rty’five’vearoid Arrierirar: artists iascrnaticn
with aerruded polystyrene gum back at 1mm as far as a 2cm-high
‘irttidOd selF’portrair raived from the stull in 996, with frequent
recidivism sitrc What’s different this tirtiC arourrd is that Friedman.
in making tire body cr1 skewed quotdiair ctrunletfeits that’s about
to go on show at Stephen Fnednran (no relation) in London, Is
only using St’yrcrlcram, Oh. and paint Nor fiat yuu’d know it, In
Friedman’s hands. Styrofoam attN nrrthina like Sk and
faint frqueritly behaves nothing like paint,
On one wall in thu artist”, vic’wiig space. for inctarrce. it
Untrtled (Paper TcwaV f20lO, which replicates tile paper-towel
rhmtpenser in the siudr building It hooks close to real, 1 a ittle
nartonisbr but the sheet of sanitary paper hanging our of it° That’s
toidlied yawt, acrylic painted on plastic and pocird oft list tire
tee dear platte cie-patk holder amid the wId tangle is1 StTICD1m
forgeries a half peeled haana. a rrwrsh,iralluw ap a tOick, a gavel,
olives, a beam can, a pizaa slice glmstenitr-3 with grease. in Untitkd
(&rilqr,ec) (2011)), wh,ch rev on a pllnrh of ,intreated Styrofoam
(Friedman points it a tiny strip ci faked comjgaied cardboard
in thu crarkerlack avveo*ly. which bi,rttr our of what looks lire a
ginned aarrkenwarc Inc but iers’r The cardboard took him a week
to- make, by gluing mrtsscule sections tcgethc’ri he tays I kadn’r
natrced it) Elsewhere, in Untgkd (Par) (2010), a ‘p!arrs p01i full 31
suit (and containing one small ‘green thorn) rests at an nipossibly
precipitous angle atop a ‘baseball bat’, which irr turn SitS Ofl tome
‘tarn cardbrsard’(tsutolwlriclr anOtrier ‘drei see,rrv to be growing)
skirted with ‘rcssthprcks’, a ‘pencil, air ‘eraser’
Friedman, who uses the wotd ‘akhemy’ repeatedly when
discassinghismethods isn’rmakngarrysecrerrsfwhatrheoewisrks
are made from, When I spoke to him, he was planning to title lit
London thow 5ryrnfnartr and Paint, and part of what runs thraugh
the mind when kmohng at Its contents is a piaastmbie confuiron
of prrapetsies. a comples. ol reftuations based on self-evident
gaps between kniswlermje and appearancc-. it’s a snOrt Connie in
cognitive dissatrartoe’ we know how Styrofoam and paint are
supposed to perform hr.w oraviry works and mat balcioro can’t be
pierced tv1 krrive: witnout popping (see Untitled (B’ou prier) again)
We might wonder, ndditcnaily, at the mind that wrild Fashion a
Inornyan teil rectangle ofplywood out cilayers alScyrnicrarn paint
it so that it timulatea wood ad then obscure that diusumularcn
th a thin coat Iwhitewath to ruggert a tentative Robert Pyman.
The msster’ak may be simple; the qam.ng is arsoh,ed and fringed
with ccrndyi and rite mental assoc.iatlorrs become pleasurably
cample. ad convoluted Attached to the white painting isa piece
of rwee made From platting hne, rolled-out lengths of dry paint
and nuog in an are From StyroFoam ‘trails, This is, says Friedman, ‘a
wry smite It Fgures.
IN HIS STUDIO
that can’t
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and
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LU H RING
AUG USII NE
Herbert, Martin.
Art Review.
May 2010, pp. 78-82.
531
West 24th Street
New York NY 10011
tel Ztx 206 9100 fax 212 206 9055
www.luhringaugustinecom
£
—p
1
LUH RING
AUGUSTINE
Herbert, Martin.
“Feature”
Art Review.
May 2010, pp. 78-82.
West s4th Street
New York NY 10011
tel 212 206 9100 fax 212 206 9055
www.luhringaugustine.com
fEATUREs TOM FRIEDMAN
ii
This kind of systernic’hur’ccrcwball, creativrty.sparkinsj
thinking the greatest lirwtatkn of rrraterials, the greatest freedom
of subject matter: the most painstaking nstfiods to make the most
rnsignificantob5ects is bmuadk1 typical af Friedman, s his 20-yearsurety show, currently at Stackholm Maypsirs 3, demonstrates.
So, too, is the serwe of restless progression Friedman, arriving at
the Ursiriersity of Illinois at Chicacjcr as a maker ot Thomas Hart
Benton style drawings. had a eureka moment when he eissptied
his studio, painted it white and rebooted 0nc of the shows oldest
works, Untried (1990)
toilet roll unrolled fully, the cardboard
removed and the paper rolled back up into an immaculately riglrt
cylinder teflects the circular logic that anrrrated his iinst mature
work, another piece Iruni tInt same year, featuring two identically
wrinkled sheets of paper (just try d).nsarkedhirrr as an artist capable
of runnrrsg bogyinig. slow’burrririg, labsor astensive changes on
the tinsplcst matcriah. (And one inFluenced, he’d taid, as much by
Andy Kaufman’s dcccptnve comedy of ‘Uirnerrpiay’ asby other art)
‘I began by lirmning myself as much as I could’ Friedman
rernennbers ‘To begmn as an artist theme’s no canon in this culture.
and a miD icr, ways of pregresswg So where do you start? I began
to think about simplicity You have a material: you translu’trri the
nsateria[ you present tIre nsaternal As I started worL:rrg thrcsugh
that. I noticed I was able to break down those ideas in thinking
about simplicity more and more, so that it unfolded into some idea
at Complex:ty’ (As the t990s progressed, works such as Untitled.
1995. a frozen outburst corrrtructed 0f thousands of toothpicks.
made this evolution appareirt) ‘And tkn. Friedman continues.
‘the conmplernty started to evaJue alto ideas of systems getting so
-
-
—
-
flc
rrr?v;c
complee, like a bug in a computer program’ see, for etample,
Cloud (1998), countless Scm dowels I powder-blue polystyrene
connected at right angles to form a continuous, cumulus-shaped
loop ‘that the logic got screwed up. And that led into ideas of
fantasy, and dream’
Enter the horror and sci’k uceitarios bracketed by workt
like Untitled (2000). which depicts the artist’s corns apart body
in construction paper. resting on a paper pool of blood, and the
comical grotesquerme of Green Demon (2003). the tower rig figure
that greets visitrirs to Friedmarr’s Stockholm show. Depicting a
demon from Tibetan tantric imagery, it’s made from green string.
extruded 1oam, pencils, fluff, painted balls and more. Behind it. on
the institution’s Wal. is the phrase ‘Hirrrans Suck (Original Sin.
2008). Friedman originally sketched the please rapidly in balloon
loLtening then parnstakinsgly copied it in black yam around black
nails. Eisevrfrcme in the show a tiny ligura pursued by a gent F0
(Monster Fly. 2008); a collage of hideous body parts (Monster
Cdia’ge. 2008); a photocollage of a giant hole in a verdant
larrdscape made by a massive laIlirrg man fUnrirksi. 12)6). a
construction-paper sculpture of Friedman facing the wail entlcU
Nobody (2002). and a hgure in alumin:um foil, in the tame pose.
entitled Hollow Man Offer:nna Nnthing to Into One (2008).
Firrit attempt at a theory on Eriedrtsan: lie’s far mere at
lrrsme in his head than in his body. and rlsere’s a certain arraoont
of anxiety in hi5 art about hurnran corporeality’s flaws and fai[ngs
There are lots of inygiene issues in his work, from pieces using
toilet roll, soap and tonatirpicks to the enliihitenn of a small 5phere
of his own slot on a plirith in 992 (At one sIrnw someone sat on
—
LUH RING
AUGUSTINE
Herbert, Martin.
“Feature”
Art Review.
May 2010, pp. 78-82.
531 West 24th Street
New York
tel 212
zo6
NY
bolt
9100
fax
212
zo6
9055
www.luhringaugustine.com
—
F
I
I
I
“A lot of my thinking is
about; what can you do
with
that brief bit of
attention the viewer is
giving you?”
i’
LU H RING
AUGUSTINE
Herbert, Martin.
“Feature”
Art Review.
May2010, pp. 78-82.
5i
West 25th Street
New York ,ay roon
tel 212 zoó groo fax 212
206 9055
www.luhringaugustine.com
FEATURETOM FRIEDMAW
Friednawn is tmcommonly aware of an inspired by th aflery
srtuatroir’ wires hrt switched galerists to Gagesian a few years ag’,
says it was because, ttr an extent. he makes his work with doolors
and venues in mind, arrd wrrtad to sea how Iris rrrrrnmate mostly
smmrl scale art would evolve in the vast h,stigvrs
caos empire,
ft led to the monsters’ wsrks and later, to ki leaving Gagosian to
return to Stepf ten Fr,edman, with whom he’d worked prorarriusly
Prirrremrily, yost intuit, his art has morphed as a fentn of keeping
himself interested, w’irih may well account for h;s sensitivity to.
and desire to ttvake rnosimuiar use of, tire vewert own bird spars
,aitvrrtirsn. (Friedman Tom, that is is easily bored, labs tire lint
to admit, he used to meditate but doesn’t any rra0re rlctrrripscirrs
include watching Family Guy and making rriasic)
So rho changes gum on Tire’ lok’ of Irs Macjo tin 3 show, a
new nstbsatiori sntitleJ Up in the Air (2010), in which countless
Styrcilutam Forgeries of everyday objects hang from the ceilrnq,
heralds Eriedrn’srr’s current cnn rmredlum lr-maey-subfnctn shapeshift. Among its contents, a rernivture USS Enterpbse,o dictionary,
a dinky Duclr.srrrp urinal, a geist screw at, album by ‘Tonr Fricdrnaa’
a qont cigar, a rifle, a c’ ci and boils, a PerlE-a hen, a bi hutgv,
earteytiring gr’s’vitating trevards ,a similar sca’.s, a im,br mportance
F, Friedman, theugh, it’s a1l ,‘sborst the forte ‘Its a systems piece
I had an arerra, and anytbinmo. within a certain framework, can go
in It started witi’ my waatrrg to sanrehow convey everything
not l.mit thregs to u caregcay Music, politcin spirituality- you can
subdivide these categonier. am] their linus’ out h:res tic represent
Ikorrt sbdivrdrtd cutegr.rrcs:
Here’s the rub. onil perhaps rho ‘nstmuclicrr FricctnrOns
latest Styrofoam art ice1s like a vast tcsscllatrtd. kcoseiy c0nui,cte’i
pcmtmat vi m2inorrisrrrs Arrseriears cultssre the good and bud
mixed accept.nrjly together. Fashioned (rent ar enrjchat,c&
Amr’ercan mcuiptrI material (Styrofram was synthesisco in Dow
Chemrcal’s Mrcrrrg sir labs rn rhe 19.trts) Arid it suggests aicrrg
with those aleremontorred, culturally s,ier’rf c lrvrjicne concerns
xstential orslrseetor ol a target picture— that the ultimate suhect
of Friedman’s poetics may be hio country, its brtdrck teatures
and materials and how they migirt reach verne kind of apotheosis
As air artirt, to arm conscrrrudy fir that is roost l1flely to mist by
a mile. if Friedman hits it dead on. it’s perhaps because he was
thinking about something else all along 2
,
—
—
-
lIre infinitesimal FO.i rj lv rr’.rn.rtcly Fnedrnarr hail a spare)
A t9o p Otcrgt5ph ftat,rr€i5 ban bowing a spit bubbia, the only
iac nwd, Ore human
body cart make Their thme ‘ho nierairril si lii’ L-mdy by muirrsteru
There’s lbs Nut h1r’ff2OB) a collage in which Friedman has
,:rewed up pictures il h5 rows lace, Uistortrng them into queasy
rebels One might stort to road things into thin, arid a phyvickug cal
basis in his technic.ofry rmmers’r.io artrtrokrrrq (Friedman didn’t hire
an assistarit until 2002)
Such armchair psyclasleujy nay be litre as far as it goes
but it’s nor how Friedman sees or talks about hrs work despite Iris
affirmation that, in recent years, he’s wanted to privilege poetics in
his art over airless ckisd -vystenr thirikrrrrj. II h art has a conslrtenc
‘subject’. ith the process of reception ‘Sometrrre wakes up in the
wcrnsng, he rays, theybrush Lheir teeth. they talk with their parities
they go to work somenne incites them to the museum alter u’,rrk,
they have a drink and a coneersaticira rtrrd go hr and there, like ‘s
culmination ci all their irstery up to that momenc So a lot of my
tknkrsgisahraut wkjtcanyoiidewrthrhathseib.tofatssnt.sn tine
virtwen is giving eu7 Often this has nvrt[u€d sarprisel the decree
to whch a rrvtemr& oari be trarssfomnred (sssia-ietimes in thrt moat
unlikely of way as in ,i couple of Fredrnarrs most, farnoun works.
street l paper which the artist claimed to have stared at fur a
thousand hus, and a pl.nth wherein a cirtlrt of airspace above r
had supposedly been cursed by ,soiivlo)
Work by low, Frte&rran it on view at Stephen Friedman Gafemy
tandem. as part of a two-person show, Tm Friedman anti Steve
Wofiv. until 29 May Friedman’s Up in rise Ak is at Mrryarrrr
3 Stockholm Konsthjft thrøiqh 6 loire
dwectmr.InUum Si’
t,4v.r
,r..rsi.m’i
,,..r, .0w
isI’we.,.aS.cjenrrrret roe
tjrqahd(&nienO
-
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44,5
a
S
Arctwo.irw
Gn,Pnnr..nJ a, .rr,.a,,.4.w,.
:..a.
tCr.e’r
Kastner, Jeffrey.
“Tom Friedman Feature Inc.”
A rtfo ru rn.
January 2006, pg. 220.
LUH RING
531 West 24th Street
NewThrkreYtoott
tel 212 206 gtoo fax 2t2 206 9055
www.luhringaugustine.com
FWVIEWS
NEW YORK
Toni Friedman
FEATURE INC.
tbm Fri.dm5ri,
UM2OO5.
Siy,stoam. CO.5,
awiSe pnt, 35,
3555533W.
233
arnrtsneu
Though tin doubt initially conceived primarily as a practical measure.
the ck-cistott to immakr Tom Friedmait’s recent exhibition accessible ‘by
jppnintiiieitt cinly ako had a ccrtliil conceptual logic. The extreme
It .igl!Itv of Filedniaris work claxly demands sonic form of crowd eon
trot The scrupulous agglomerations
ol paper. cardboard, Styrafoani, string,
wire, md tither assorted Craft iiiatetials
that made up this new suite of works
operate, as usual, at the very litnits of
technical frasibility, sreming ahway.s
juti one inadvertently swung backpack
away (torn animihilamion. Ac its most
successful, Friedman’s work has an
intellect ital subtlety that s nicely in
limw with its structural delicacy, encour
agitig a solitary and Iocuscd mdc of
untc’rJ..itimn, so the payoff Icir thy nunur
uicomnc-nicncr of hasing to call the gal
lery for pI-rinisstditi to visit was an
unusually cotitempltitive envirotimem.
Friedman has developed a reputa
lion br being able to coax extraordi
nary things from ntuttdattr tuiarerials,
.incl his titiequalled talent for improba
ble be,its of tinall-seak etmgitmerring svas
again ott display here. From a lacy
kner-htgh cone of punched paper (all
works arc from aoa and, as is that artist’s habit, are itmostlv niutitled
save for brief expbivamrv descriptions), to a clump of white putycstrr
thread hung front the ceiling so that its nearly twelve-loot Icing teti
drils arratiged thetnselvs into a tiny silkrtt cottiet, to a bi72rre little
constellation ol pencils, svirc, pilloss’ stuffing, and Stywkiam pellets
that squatted in the corner of the south gallery like some localized
amniospheric disturbance from a parallel universe. the show was viii
tage Friedman, Quirky and Ittdntriou, it wits suffused whit all the
“howdjadothat?” charm that has charasterized the artists output over
die past decade ,md a half.
bitt for all Friedman’s celebrated prrstidigttaiu,cnc, iherc has always
been another, rather cnoontsh aspect to Iii, prtt.ncc And iii tact it ssas
thus mnuide of addrrss—titiapotogetieallv broad, svtth a tasw for sbpttik
as mmiuch as for thc wry conceptual bun mot—tht doitunatcd the show
The c’iirramicc to the gallery proper was guarded by a sky blue Styrum
loam bumblebee hoscritug over a tiiatdiing colic, an tiuimatioci-stvle
rerapiiubtiiiti cit his creepily lifelike model OSects from the i990S
1 hr sCulSe that frieelmamt new have eottcetved the sltosv at least partly
as ,tn oppulrtuutttv to permumm tongue-in-check rc-visimtngs of earhir
gestures svas confirmited elsewhere. lii the center of the mont. a little
inussleniatu tutatte of painted Styrofoam ipherec md standing ott a
eardbtuani box v-vuikrcl both the Icing list of self-portraits produced by
the .sit,%t over the years (in matrrials as various as sugar cubes, drink
ing straws, and aspirin) and the array of shoplufted balls in hit hulari
mush subversive lint flallr, t95L. Nrarhy, ;o.ovn lhou,çbla, a l.itflc
ptcce of strategically cnunpltstl paper on which th artist had pouted
the hiudis’idul letters of the word “thoughts” 9,99 t$rnrs, suggested
his Fu’u’iytltnug. t991- 9c. in svhutclu lie imtscribrcl it similarly sized shrtt
tuf paper with, hc slaimed, every svotd to the btiglish language, And
the pair of paiiited Styrofoam ‘leaptiug legs” that hting itt the middle
of the itiain room were a sort of deadpan versitin tif the artist’s unauiv
(atitasneal, often spctacttLirh dtsmrmbred uk size gures. Here the
kitieticisin iii the artificial body (probably, like its predecessors, 1
portrait) was more joeftil thait macabre, au appropriate metaphor ir
a show that gctwrally depicted the lighter side of Fricdinaniaita—
emphastritig the artist’s sense of humor without dirnitushitug his bri—
curl technical factlitv.
—Jeffres’ iUl,,cr
LU H RING
AUGUSTINE
Smith, Roberta.
Tom Friedman”
The New York Times.
April 25 2003.
west 24th Street
NewYorkNYtooIt
tel 212 zo6 9100 fax 212 206 9055
www.luhringaugustine.com
Tom Friedman
Feature
530 West 25th Streel
Chelsea
Through M0y3
Despite their ostensible diversity
of forms and mateiials, most of the
28 pIeces in Tom Friedman’s sixth
solo show In New York circle back
to one theme: drawing and its thf 1nitely flexible fundamentals. Near
ly everything on 1ew refers to or
Incorporates paper, line or pencils
sometimes in extreme applica
tions. (Extreme, far example, Is the
life-size aluminum foil demon, stud
ded with candy and pierced with
dozens of pencils, a sugar monster
as St. Sebastian.)
Not everyone will see the hairy
eyeball on the flour In the second
gallery as a mass of line, but It Is, in
fact, made of wotnd, embroidered
and loose thread. 13ut by then clues
have been dropped: a pencil elon
gated, In perfect proportion, to over
ftve feet; an enormous scribble on
the wall that has actually been
carefully cut from the paper on
which it was originally drawn; and
a small block wit a doorway that
could be solid iron but Is paper
densely penciled with graphite.
Several works are not what they
appear to be, in the front gallery,
one of the artist’s trompe l’oeIi rep
licas of a fly (materials include
plastic, hair, wire and paint) Is
smashed to the wall, as if just swat
ted. In the back gallery, we see the
same fly agaLn, now made of pencil
on paper. First the model, then the
drawing.
In establishing the all-pervasive
ness of his idea of drawing, Mr.
Friedman seems to parody more
complicated pfforts. The hairy eye
ball, for exmpto, could be a lowtech version ct one of Tony
Qursier’s vtdeo p:eces; the graphite
cube,
lightweight Joel Shapiro
house. Whatever he may be think
ing, Mn Friedman’s show has an
unusual clarity in the interaction of
materials and thought. In fact, he
connects the two In such a lean,
linear fashion 53 to be called oar
row.mlndeçl fin a good way, of
course). Becauss of the fragility of
these works and the number of visi
tors, the gallery has set tip an ap
pointment system for admittance:
(212) 675-7772,
ROBERTA SMITH
—
McEwen, Adam.
“Some Assembly Requited”
Ftieze.
Issue 69, Septembet 2002.
LJHRNG
AUG USTN F
53’ West 24th Street
New York NY 10011
tel 212 206 9t0 fex 212 206 9055
wwwIuhringaugustine.com
Tom Friedman’s studio is a sensory deprivation chamber.
A small shed about 50 feet from his home in the western
Massachusetts countryside, it is windowtess and
featureless, immaculately tidy, completely empty and
painted white.He has compared it to the blindingly white
prison cell in the science fiction film THX 1138 (1970).
Friedman works in this environment to get a better view
of the shape of his own thoughts. Knotted, looping, selfgenerating, endlessly expanding and dissipating, these
are the raw materials with which he makes his sculptures
and drawings. The end result, the object, whether it’s a
frail thread of chewing gum stretched between ceiling
and floor or a hyper-real dragonfly assembled from hair
and clay, is just a diagram and a trace of the stuff he’s
scraped from the inside of his head.
Friedman’s works operate as closed, repetitive systems
which run until they break down; at this point an eerie
sense of the unreal begins to seep from the split gaskets.
‘The idea of pulling things further and further apart is
interesting’, he has said. ‘Stretching a piece of gum is an analogy for this idea: as you stretch the gum the
connecting thread becomes thinner and thinner. I reached a point where the idea of fantasy started to filter
in, because when the connection between things becomes so slight, they are not read as a cohesive whole.’
One sculpture consists of a clear plastic monofilament repeatedly knotted and then hung from the ceiling.
Delicate, beautiful and profoundly unfamiliar, it looks like the ghost of a snake’s intestine. The plastic has
been transformed by intense, repetitive labour into something mute and elusive, an organic residue that
remains, paradoxically, the definition of a ‘man-made’ object. The finished work, though comprehensible,
confounds.
Most of Friedman’s objects are named ‘Untitled’, and almost all are accompanied by clear descriptions:
Untitled, ‘a self-portrait carved from an aspirin’ (1994); Untitled, ‘a gelatin pill capsule filled with tiny
spheres of Play-Doh’ (1995); Untitled, ‘a continuous ring of plastic drinking cups one inside the other’
(1993); Untitled, ‘all the words in the English language written on a large sheet of paper which sits on
the floor’ (1992-5). But the declarative simplicity belies an uncanny sculptural presence. A cardboard
box covered with tiny polystyrene balls, Untitled (box balls) (2002), seems to lay bare some secret of its
physical make-up, but in a language that, though strangely familiar, we cannot translate. Other pieces, such
as a partially used bar of soap which Friedman has painstakingly inlaid with a perfect spiral of his own
pubic hair, or a large white plinth displaying a half-millimetre sphere of his own shit, are the result of a
collision between deadpan humour and an obscure and irrefutable logic.
LU H RING
AUG U SI I N F
McEwen, Adam.
“Some Assembly Required”
Frieze.
Issue 69, September 2002.
ti West 24th Street
NewYorkrsyroo,,
teL zn
206 9t00
fax
212 206 9055
wwwtuhringaugustinecom
Sometimes Friedman’s work seems to share something with that of Martin Creed: a gravely hiLarious
literaliness that challenges the viewer to take it literally Creed’s blob of Btu-Tak, say, as a way of
sticking art and life together, or Friedman’s strand of gum in terms of stretching a thought to breaking
point. If Creed is concerned with nothing as it tends to everything, Friedman is concerned with everything
as it tends to nothing. Perhaps, eventually, they get to a similar place, where the object manages to be both
dumb and mysterious, and the nature of physical reality becomes deeply ambiguous.
-
Friedman yearns for entry into a communal space, beyond the purely physical, beyond the now clumsy
seeming fiction of cyberspace, where thought alone connotes existence. In a piece of writing entitled
Future (1999) he describes a society that, through a fusion of technology and consciousness, has
outgrown the need for the physical body. He is interested in the work of Timothy Leary, the acid guru
whose early 1970s vision of a technology-based neural network now seems soberingly prophetic. ‘I
imagine a collective mental space’, Friedman says, ‘where all potential ties in the ability to construct a
thought.’ 2
Friedman’s work argues that everything is endlessly connected, and therefore endlessly mutable. Like
some autistics who see the world as a landscape of numbers, and for whom the solution to a mathematical
problem is found simply by walking out into the landscape and picking up the answer, he proposes a
universe in which the atoms, like meaning, continuously verge on collapse and rearrangement. Referring
to a sculpture entitled Dustball; a three-quarter inch diameter ball made of house dust which sits on a
ground of sifted dust (1994), Friedman once said that he was interested in ‘the idea that much of us is
falling apart and we are tending towards this different kind of unity’. 3
If everything is constantly falling apart, then, conversely, everything is also constantly being remade,
in new forms. Friedman’s tiny, bewilderingly precise fabrications of insects are not so much decoys
as stopping points on a path of ceaseless and fantastic transformation: from minuscule ball of shit to
fly to dragonfly to caterpillar to spider, they mutate freely and endlessly. for him art offers an entropic
mental landscape in which all elements are in constant flux. In this he is close to Robert Smithson, the
quintessential avatar of entropy and spirals, psycho-archaeology and science fiction. (Smithson’s Spiral
Jetty, 1972, can be seen as a time machine, designed to provide access to an infinite archive of thought.)
For both, thinking is a synonym for the cosmos.
There are echoes of Friedman’s preoccupation with quanta and multitudes in the visions produced by
the human brain when in an unstable state. In Crowds and Power (1960), his exhaustive compendium of
cultural and mythic symbols, Elias Canetti gives various accounts of the notion of ‘multitudes’ found in
the hallucinations experienced by alcoholics and drug addicts. ‘In delirium due to cocaine poisoning’, he
writes; ‘the visual hallucinations often become ‘microscopic’; innumerable tiny details are registered
animalcules, holes in the wall, dots.’ He notes ‘the frequency of diminution’ in the visions: ‘Not only is
everything perceived and felt which actually is small; not only is a world formed in which things known
to be small predominate, but also large things are diminished in order to be able to enter this world [...]
Everything is multiplied and everything is reduced in size [...J In every possible way there is more life
around him. but it affects him as though he were a giant.’
-
LJHRNG
AUUSTI NE
McEwen, Adam.
“SomeAssembly Required”
Frieze.
Issue 69, September 2002.
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forming his Lilliputian elements from Play-Doh, scalpelling tiny pieces of cardboard, knotting filament,
kneading galaxies of pills and furballs, Friedman uses repetition and extreme distortion of scale as a way
of gaining more information. They allow, he says, a closer and closer investigation of something, like
looking into its molecular make-up’. 4 In fact, his work mimics the shape of thought in more specific
and literal ways. Friedman’s drawings and sculptures abound with spirals, lattices, constellations,
images of tunnels and patterns that explode from a central point. These constantly reappearing templates
coincide closely with the visual experiences of those halLucinating on LSD or mescaline. These were
first classified in the 1 920s by Heinrich KlUver. a neuroscientist at the University of Chicago, who
discovered that the images commonly reported by subjects in the early stages of drug-induced trips fall
into distinct categories. ‘The typical mescaline or lysergic acid experiment begins with perceptions of
coloured, moving, living geometrical forms’, wrote Aldous Huxley in 1954 in Heaven and Hell. ‘In time,
pure geometry becomes concrete, and the visionary perceives, not patterns, but patterned things, such as
carpets. coverings, mosaics.’ Klüver, after interviewing dozens of subjects, classified these patterns into
four ‘form-constants’: tunnels, spirals, cobwebs and honeycombs.
More than 70 years later research has found a neuroLogical basis for the phenomenon. The primary visual
cortex is a credit card-sized section of the brain about two millimetres thick that serves as the first layer
of processing for images gathered by the retina. It consists of about 100 million neurons, each of which is
wired to thousands of others. In a paper published last year Jack Cowan, a neuroscientist at the University
of Chicago, presented a mathematical model of the visual cortex which, when given a virtual trip,
produces patterns that match with uncanny accuracy the categories described by KILiver. 5 ‘We calculated
that given the kinds of anatomy in the visual cortex’, said Cowan, ‘there are only four kinds of patterns
it will make when it goes unstable. It turns out that those four kinds of patterns we get from the math
correspond exactly to the four classes of patterns that Klüver ended up with, based on his looking at the
drawings.’ 6
In essence, Cowan and his colleagues demonstrated that the images produced under hallucination are a
direct representation of the brain’s circuitry. The tunnel leading to a bright white light reported in many
near-death experiences, for example, is simply a reflection of the physical arrangements of strip-like
columns of neurons in the visual cortex. Hallucinating is, as Cowan puts it, ‘almost like seeing your own
brain through a mirror’. 7 Timothy Leary speculated in The Psychedelic Experience (1964) that ‘these
visions might be described as pure sensations of cellular or sub-cellular processes’. As he correctly
guessed, the spaced-out braintunes into and visualizes its own architecture.
I don’t know whether Friedman has ever hallucinated, and I have no idea if he has any experience with
[SD, mescaline, alcohol, cocaine or any other trance-inducing mechanism save, arguably, the making
of his work. But when he says that ‘for some reason, when I think about an idea I think about it as a
physical thing [...J It’s not so much what the ideas are, but what they look like, and where they are in
relation to each other’, he is precisely, and literally, as good as his word. 8 His work invites the analogy
of hallucinatory images because these images are just the products of a system working under abnormal
conditions. And ‘sometimes you learn a lot about a complex system from the conditions which occur
when it breaks down.’ 9 Which is also Friedman’s methodology.
-
LUHRNG
AUGUSTI NE
McEwen, Adam.
“SomeAssembly Required”
Frieze.
Issue 69, September 2002.
51’ ‘Vest a4th Stied
NewYork NY 10011
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There’s a compelling argument which holds that for most of us schizophrenia is only as far away as a
scratch on the surface of the skin. As we shed our skin, daily, hourly, by the moment, in an endlessly
swirling blizzard of dead and dying cells, perhaps some ‘other state’ Friedman’s ‘different sort of unity’
is more available, and more recognizable, than we might imagine. The phrase ‘natural high’ comes
to mind; so does the intensified condition of mania sensibly deadened by doses of lithium for better
interaction with the ‘normal’ world experienced by manic depressives. Such a state might be a useful one
for an artist (and also a familiar one: current research on ancient cave drawings concludes that whoever
made these dots, spirals, tunnels and zigzags forms that appear in the art of almost all cultures and go
back more than 30,000 years was, by whatever means, hallucinating).
Where we live, in the real world, and where we live in our minds, and the conceptual relationship between
these two equally fictive places. are the subjects of Friedman’s work. The ultimate aim of his artistic
endeavour might be to reconcile these two realms through thought. It sounds utopian; it seems to involve
notions of an afterlife, or a Platonic or Borgesian other-life. It is an ambitious undertaking. But, in the last
words of Timothy Leary, spoken, perhaps hopefully, on his deathbed: ‘Why not? Why not? Why not?’
-
-
-
-
-
-
1. Dennis Cooper in conversation with Tom Friedman, Torn Friedman, Phaidon Press, London, 2001, p.
2. Interview with Hudson, ibid.. p. 138.
3. Interview with Robert Storr (extract) 1995, ibid., p. 120.
4. Interview with Hudson, ibid.. p. I 37.
5. Philosophical Transactions ot’the Royal Society, vol. 356, 2001, p. 1.
6. Quoted in Ronald Kotulak, Seeing more than meets eye’, Chicago Tribune. January 1, 2002.
7. Ibid.
8. Dennis Cooper in conversation with Tom Friedman, Torn Friedman, op. cit., p. 25.
9. Interview: Terry Sejnowski. Director, Computational Neurobiology Laboratory, Salk Institute, La Jolla,
California.
Rugoff,
“Are
LUHRNG
AUG USTN F
Ralph.
You
Financial
Looking
Carefully?
Then
Let’s
Begin”
Times.
531
November
18-19,
2000.
West 24th Street
New York NY
tool!
tel 212 206 9100 fax 212 206 9055
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Are you looking
carefully? Then
let’s begin
Tom
Friedman
is yet to receive the ‘art star treatment’,
retrospective in
San
Francisco
humour and wonder at-n not
always intmtsite companions,
hut in Tam Fri dman’s qtit
etly da7lJing art they rarely
part company. A travelling
retrospective of Frieduian’s
work, currently on view at
San Francisco’s Yerba
Buena Center tor the Arts, is
almost guaranteed to triwc
visitors in a state of
bemused eshhlaration. And
in chroniclitig his output
over the past 12 years, It
provides ample vldence
that the 35-year-old Anterl
can ranks among the two or
three most ingenious artists
of ltis generation,
If Friedman has yet to
receive the art star treat-
meat accorded to some of itLe
less talented peers, it is prob
ably due to the fact that he
works In a decidedly tnlrtor
key. This is nut art that
baldly invokes issues of life
and death, S La Damien
Him-at, or indulges in displays
of emotional turbulence and
personal pathos. Friedman’s
tools are a cool deadpan wit
and painstaking craft, and
his aasthetic speciality is the
creation or objects ihat an,
modestly spectacular tint
aspire to be both ordinary
leaves
but a
Ralph Rugoff exhilarated
eshibitiun’s hihhights. a
Fastlibottety c5rvt?d self-nor
trait. So minute that it seem
itigly exists In a realm ot
micro-gravity, it deftly
conjures a stilubic sense of
idetitity: take a 1tilt, it beck
ons, and watch your self rita.
solve,
Misdmicvously reapplying
lessons from minimalist and
conceptual art, many of
Friedtttait’s most engaging
works similarly combine
technical virtuosity with an
adroit conceptual louch.
Made from 30.000 toothpicks,
a ettnhtirstshaped sculpture
is so visualiy complex that II
defles your ability to take it
in front any single perspee-
tlve, making It alt aptly siltsive emblem of enlighten
meat.
A
haunting
fourtoat-high human figure.
constructed entirely out of
sugar cubes, manages to
seem both anatomically precisc and reminiscent of primitivit computer graphics, as
though the artist were trying
to bridge the growing gap
between virtual and physical
experience, the way works of shows the arttst lying lace
art can tear apart our pris- up on the cetling, us ir floatcotmceptions and dismutitlo lug in a gravityjrui? environ.
our familiar cliches. Yet the merit; though you may be
wrk elaborately inventive almost absolutely certain
construction
it is corn that this is an itwend ptc
posed entirely of coloured litre of Friedman lying on
construction paper is just the floor, the image remains
as gripping as the rilaturbitig Improbably cuitvtncin, end
spectacle it portrays. Effec’ In the end, the fiction It
tively splitting our response suggests is too appealing to
between horror and tuscin completely dismiss. You end
tlon. it leaves us wonderIng up trying to juggle both
at our own role in assem po”ojttilitica in your mind at
tiling the meaning rut things ilte Stime tiaw,
We SCS.
Almost all of Friedman’s
Ultimately. this is the con- work entices viewers to look
ceptual stOmping ground für closely and carefully, while
ntuch of FrIedman’s Sri also insisting that Looking is
—
—
Even his various selfportraits reveal almost noth.
big about the artist hut a
great deal about htw WI!
make sense of the visible
world One consists of a
passport.cized photo in
which Friedman wears a
latex mask ot his own faee
However seemingly simple.
this exercise in visual duplictty c-an lnve you dumb
struck: Friedman’s mask is
so implausibly life-like that
invartabty
connected
to
thinking. Indeed. “1.000
Hours of Staring” (19P21997).
a blank sheet of paper that
time artist periodically
contemplated over a five’
year period, proposes that
looktatg, rather than a pas
ales activity, is a creative
process in which artist and
spectator alike participate.
And in offering no marks or
other visible proof of the
artist’s immaterial labour,
—__________
For one sculpture included in his
the artist hired a
and fantastic at the same professional witch and instructed her to cast a curse on a
time
The result is a kind of TwI. spherical space directly over an empty plinth
light Zone etrrealtsm tabrl•
cated from common household items. (Among other
substances. Friedman has
created art works out of
eraser shavings, pubic hair,
cooked spaghetti, ptmrloineu)
rubber balls, laundry
powder, and spiders’ legs), A
singie aspirin tablet provides
thçedfltn1 for one of the
retrospective,
—.—-.-------——
experience. The show’s tour
de-force is a uniquely maca
bee ntpture that depicts a
shattored and evtscorated
body lying, like an accident
victim, in a pool of hlod. A
self-portrait of time artist, it is
on rune Ivel a metaphor
For the violence of aesthetic
—
—
‘j jnur,t” reminds us
you find yourself endk.sty that our dectsion io invest
scrutinising this tiny photo something with meaning
graph like a hapless immi- always involves an act of
gratlon officer, vainly belief, even at times an irra
attempting to reach some tiontal leap of faith
definItIve conclusIon about
Of course, work ot this
the re-alttv it portrays,
nature leaves itselt wide
Another
deadpan open to accusations that it is
black-and.white photograph merely another example of
LUH RING
AUGUSTINE
Rugoff, Ralph.
“Are You Looking Carefully? Then Let’s Begin”
Financial Times.
November 18-1 9, 2000.
the emperor’s new clothes,
but this thought has clearly
never troubled FrIedman.
His oeuvre. in fact, features
an array of barely .lsible
andcve nscen works that
seam deliberately designed
to taunt sceptical critics of
contemporary art. For one
sculpture included In his ret.
rospective, the artist hired a
professional witch and
instructed her to cast a
curse on a spherical space
directly over an empty
plinth. Exhibited as “Unti.
tied (Cursed Space)”, Fried
man’s imperceptible work
drofly alludes to Yves
Klein’s famous 156 exhibi
tion. Le VIds for which the
French artist emptied out a
Paris gallery and then satu
rated the space with his
patented invIsible pictorial
Friedman has created
art works out of
cooked spaghetti,
laundry powder, and
spiders’ legs
sensibility. At the same
time, it wickedly pokes fun
at the quasi.religious aura
that surrounds displays of
modern
art
most
in
museums.
Yet Friedman, for all his
posimodem wit. is definitely
an enchanter. As it spell’
bound, vlewem at the Yerba
Buena show tend to linger
over different works, paus
ing to marvel at a delicate
troinpe.l’oell sculpture of a
spider set loose on a wall, or
to puzzle over an Impossibly
complIcated cardboard con
struction of a towering
robot.
And when not asking us to
focus our awarens by con
centrating on Intricately
crafted objects, Friedman is
intent on expanding our
vision — sometimes quite lit
erally. One of the least
noticeable. and most Intrigu
ing, works In this show is a
far-flung galaxy created by
fixing hundreds of tiny
Styrofoam beads In a pattern
stretching across a vast
expanse of bare white wall.
Like an exercise in ltl.
Lual fluidity, it forces you to
alternately sharpen and
broaden your gaze.
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It Is precisely this kind of
play, Friedman Implies, that
gives meaning to our aes
thetic encounter’s, The mate’
rial facts of art are not, alter
all, really significant In and
of themselves. In our con
stant shuttling between
mental and physIcal experi
ence. what counts Is bow we
make Creative connections
between the two. And In the
lightness of Friedman’s
humble materials
paper,
Styrofoam, aspirin and air
there Is a potent echo of the
‘Torn Friedman’: at Yerba
lightness of thought itself.
It proves to be remarkably
eontagious, When you leave Buena Center tor the Arts,
San Francisco. until Janu
his exhibition you feel 11gb- ary 28; concludes at the Nw
tar as well, and your brad Museum. New York: October
spIns in gleeful wonder.
II 2001-January 17 2002.
-
-
Frankel, David.
“X-Acto Science: David Frankel on Tom Friedman”
Artforu m.
Summer 2000.
LUH RING
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1’;
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I
LUH RING
“X-Acto Science: David Frankel on Tom Friedman”
Artforum.
Summer 2000.
531
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z4th Street
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There’s an element of the science nerd in ibm
Friedman, or so I would guess—the oversolemn
teenager who pauses in the middle of Stephen
Hawking’s Brief HLctoy of Thne, puts aside his
cobblestone glasses, and says, Oh WOW, This is
the Friedman whose language, in his writings
and interviews, is sprInkled with a vocabulary
of diagrams and rules and methodologies and
logics, the Friedman who sees his studio as a
“laboratory” in which he plays “both the scientist
and the experimental subcct,” and who can say,
“When I make something
I want to build it
(mm the atom up.” In art, this side of Friedman
has ancestors in figures like Sol LeWitt, whose
rational rationale has been to fix on a procedure
and h)llow it until the Work is done—to discover
its empirical result. But there is another, weirder
side to Friedman’s art, and it seems to be getting
more blatant as time goes by.
.
“. ‘“
r,.ss,
tx-
i
i
isw
.
.
Some of Friedman’s woilis actually look like some of t.eWttt’s—
for example, ,t sixteen-inch openwork cube beth up from atrasthi
edged different-length sticks isi hhse polystyrene realized chit year.
t,cW,tt hat based mint works on the cube, bat you can often figure
out the s,stCtli chat generates thcm, and if you can’t, you will situally find it written down somewhere nearby Fnednun’s cube is
,mthcr itUl): It is systenutie, yen, but in the way of a male, an
intricate there dsmcns,orul ,.gstw with uamcwlwre inside it an
unrenthabk renter, Au earlier, simdarfr aaiiauucted work, CotsJ,
tgS, hada btOOiOrphic outline and hung midair; Friedman once
desaibed it as ‘a physical remnant—a skagnam. actuafly—of a mt,,il
scapc” I don’t think LcWtit has ever been that metap3secscaL The
vague outer rdg of
it sectncd ti, ist stop, though also to
be mhnttely circnstbk —is bounded in the new piece; every time a
kngth of polviterene readies one of the robe’s imaginary ileflnusg
walk, it nuns ntnc;y degreei or uat ends, drawing the trim, in the
air.
If eath of their works is to be imagined as the physical shipc of
ttxungruut øf the two when
,s thought, the new one is the more
you pictUre it inside vow head.
Friedman’s work has c.tten hadS elsarp-dged homorow mot.
daniy. whidi, howesec, is uwafly quite subtle. But thc first piece
the visitur saw in his show this spring at the Feature galkty, in New
York, was a kind of three-dimesuinnal drawtng made ow of severed
pdai’Ic5s rising off • thect of paper lskc ixtipedectiy flosh stapLe,.
(knaguic the CeWiny oununiom (or this First, catds spiders
The pokct ptorecmr of nor hypothetical Fticdnun-is.sdcncrbjdi
n,iisi sire his shin not from an inky hillpisint but From an
mile. The idea of thc surgical air became esplinc in th show’s
most spectacular piece. a uttcd and pattully dnttwmbcted corpse
that bob likes victim of JaJ. the Ripper but is made entirely out
of chin unrcissfotccd p,per. Red paper is flat layers, cut in rpp!e
edged bloct and whiptike bthcs, draws the Like of binod in
2365
135
LUH RING
AUGUSTINE
Frankel, David.
‘X-Acto Science: David Frankel on Tom Friedman”
Ariforum.
Summer 2000.
tlw figure lits, and paper biulds the body itself, a tot-toted array
f miitteiuduious large sheets and im shsrds, here tolled into a
bruised cylinder to form an ann or kg. there vecnnrtgly jsicI cmiii
pled its the artist’s hands to suggest some battc’td fragnietit of
vtscrra An cvtraordinar cnrnh:naiioii of high rc-prcsentattiinal cal.ambnoti and xh appearance o(hnjtal acc:clcnt, thus fragile smulumc
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translation of the goddrd ftwni seen in caside outiputee graphics.
‘the figure stands in a link cede of sugar, as if its suilissance were
gradually srftirtg in the ground; while suggestitig a slow corporeal
olIapse, this dusted ring also evrikrs some kind of magical tranisib—
sizuitia,iriis into sweetness, You might he seeing a siirir who hail
won hnitsclf a hak,, wliidt, howcs-cr, he wears around his fcct
THE IDEA OFTHE SURGICAL CUT BECOMES EXPLICIT IN THE GUTTED AND
PARTIALLY DISMEMBERED CORPSE THAT L’il)KS LI)E A VICTIM OF JACK
THE RIPPER BUT IS MADE ENTIRELY OUT OFTHIN, UNREINFORCED PAPER.
tsrsqa
Taii,
t,4.,nh,,, i.Wilii.d
III,, sea.
ii. any. ivia
s, dwW
U,,, —
a..— .t2.i’
7,,
is1e UIL 0
L*-0 1151
t_ r.i.
La 1, 4&
rs,s.s 41, it, iG’
‘SiUtt,41i 45”
Sscua es
140
SOTtIOUM
proeukcs a cons t,,tcd rrattion, not the sitialkat question being,
How the hell will they %htp
ThC precision and ingenuity at the
work ate a hs,rarrc contradiciton of its Grand Gutgncil gntrsomc
nest. Its peculiar ns.ttcmrnt of pity and terror, awe and giggles,
is on ssrcngthciwd by the lad that thy figure ia a scI1punrtt.
Setting this iceflafl() in a mt,ti, alttngstde a Itiasie proleclor (also
made of papcr nitLi a work bawd rsn the dollar bill, Fnednian may
has-c been nsII1uitllt a thesis about c000odnons among violence.
the itidia, and money. Mthuugh the wry purzlcs and paradoses tn
which be specialires don’t always lend themselves to obvious tucia]
critique, he is not uninterested In the modern wot1d the gallery lit
efalure a.uump.unytng the sbøw tndukd a long spccultive state
inent be had written about thc effects of computer technology on
the psyche, md the two other human Itgurcs he tdded here were
both explicitly robotic. One of these is particularly wonderful: A
coittphtcd acaffolduig of gra-beowti cardboard that reminds mc
simultaneously of Gcorgc Lucas and of Vldimtr Tatlin, it reveala
the detail with which at has been imagined only tram dose range.
Every itnuetural element seenu to differ from its neighbor, every
oini and digit to he separately designed and engineered, and the
whcic eLgilt- loot-high apparatus is evenly scattered with minuscule
beads of Styrofoam, as if the thing were sweating. The second
sciulp:w, this one halt the othet’s height, re enibles an earlier figure
(mm tS, made entirely of wooden cubes now the cubes are sugar.
The modular surface of the work suggests it three-dimentional
looking at Friedman’s work, which will be shown in dypib in a
teiti)spcsltvc ips-ning July Bat she l1ucutti of Canitcntpvrary An.
Chicago (ntganired by the Sositlwastern Center for Contemporary
Art, Winsqon-SMrm, NC), you are often made aware of the time it
has taken him to make it, In one piece at Featun’, he seems to have
drawn a l’ollock-lakc skein ol thick abstract line, then to have cut
along cach side of the line (the X-acto knife again) and rcmoved
the blank paper, so that the drawing’s negative space is literally
emptY As Roy lichtenstem dttl in bet various diligent rrndenngs
of an Expressionist bnishsuoke, Friedman is exploiting a tension
between contrary artistic principics, one of spontaneity, the other
of painstaking care. An installation in the show played out a similar
contradiction. Another knife drawing, it ss’as carved into the plaster
wajjbo.rtd, and was vtsibk oniy close up; each lint being tist the
width of the blade, it disappeared from any distan. Yct the shape
itself was a large jagged cunhuras, or perhaps one of those cartoon
speedi hsibNc that should frame an exclamation like Zap! or
Pow’, but that Friedman instead kit empty. He often seems to
amvc at these selt-eanceling oppositions, here between presence
and absence, positive and negative, between on the one hand a
dramatic form and gesture and on the othersomething approach
tog invisibility. Yet the rcwlt i highly productive. Lake those aaiita
a century back who were fascinated by advanced abttract ideas
alvitit a forih dimension, Friedman is transtatitig a virtual reality
into viuial reward ti
LUH RING
A GUSh F
Smith, Roberta
“Tiny Objects, Grandiose Statements”
The New York Times.
October 24, 1997.
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Qiljc cts jork imc.i
ART REVIEW; Tiny Objects, Grandiose Statements
Tom Friedman, sculptor extraordinaire, continues to endanger his eyesight by making objects of mindboggling refinement and tininess. His fourth exhibition at the Feature gallery in SoHo contains a dozen
sculptures and three works on paper
--
the most pieces this 32-year-old artist, who lives in Conway, Mass.,
has exhibited at one time. It represents several years of his eccentrically herculean labors, often expended
on the most ephemeral of materials.
These include a gnarled, translucent strand that hangs from ceiling to floor in the first room of the show.
In actuality, it is a very, very long piece of nylon monofilament, which the artist laboriously knotted
thousands of times until it resembled a string of tiny glass beads. Like many of Mr. Friedman’s efforts, it
takes the relaxed modesty of 70’s Process Art to Faberge heights of obsession.
At once whimsical and uncannily devotional, Mr. Friedman’s work continually circles art’s first principles,
poking at them, exalting them, isolating them, drawing them out in the open for better viewing. The main
principle, of course, is that art usually involves the transformation of inert, everyday materials into
something that can feed the spirit, if you pay enough attention to it. To insure our attention, Mr. Friedman
flirts with different kinds of invisibility, executing enticing disappearing acts that pull us into his game.
Mr. Friedman’s materials are resoundingly mundane, including typing paper, plastic straws and Play-Doh.
And his transformational processes, as it were, can be as low-tech as his materials: the knotting, for
example. Or they can be masterly, as in the trompe l’oeil sculptures of a daddy longlegs spider and a
dragonfly, which are hard to distinguish from the real thing. Or his techniques can be nonexistent. One
work in this show consists of a large blank piece of paper that the artist has purposefully stared at during
the last five years. It is, according to its title, the repository of “1,000 Hours of Staring.”
This can seem, at first, like a Conceptual Art hoax, but it could be said to honor, in glorious isolation, the
intense visual scrutiny that all successful artists expend on their work, the long hours of looking, looking,
looking in order to figure out how to make it better. And the stared-at paper is not all that different from
the dragonfly, which is so perfect that the hours spent making it are all but invisible.
Another piece defines a middle ground between the extremes of the insect replicas and the stared-at
paper. It is a construction made entirely of little bits of household trash
name it
--
--
bottle caps, paper clips, you
that has been sprayed white and carefully suspended from the ceiling. It looks like the world’s
most complicated model spacecraft, but in fact it is merely an imitation, an approximation of precise
LUHRIN
AUG USII N F
Smith, Roberta
“Tiny Objects, Grandiose Statements”
The New York Times.
October24
53xWest24th Street
1997.
New York NY loon
p.2
Ni2 206 9100 fax 2,2 206 9055
www.luhringaugustine.com
One of Mr. Friedman’s main themes is the accumulation of tiny, hard-to-see gestures into something that
is surprisingly grandiose, especially when viewed up close. For example, approach the large drawing that
from across the room looks like a chaotic firestorm of fine, randomly crisscrossing lines. Suddenly, you see
that each line is in fact an arrow pointing at a tiny dot without touching it. The drawing is covered with
thousands of these pinging points of light. It is as if some dedicated stargazer had decided that the usual
constellations
--
the Big Dipper, the Great Bear and so on
--
were too simple, and set out to plot all the
stars in the Milky Way instead.
Similarly intergalactic is an environmental piece that covers the gallery’s entire north wall, evoking a
white-on-white version of deep space with nothing more substantial than hundreds of tiny, widely spaced
balls of Styrofoam stuck in paint.
Other pieces blend Mr. Friedman’s trompe l’oeil and Process Art tendencies. Working in Play-Doh, he
recreates every pill in “The Physician’s Desk Reference,” scattering them about in a kind of medicinal color
spectrum. Similarly encyclopedic, and also in Play-Doh, is a work subtitled “Small World.” In the
somewhat naive manner of a small child,
it
recreates
500
things, among them a ladder, a clipboard, a
space missile and a 12-inch stick. But as each item is about a half-inch high, the piece is a tour de force
display of patience, focus and skill, like everything else in this terrific show.
Tom Friedman’s work is on view at Feature Inc., 76 Greene Street, near Spring Street, SoHo, through Nov.
14.
Johnson, Ken.
“Friedman’s Flea Circus”
Art in America.
May 1996.
LUH RING
AUGUSTINE
53 West 24th Street
New York NY bait
ICI 212
xoS
9100
fax 112
206 9055
www1uhringauustinccom
LU H RING
Johnson, Ken.
“Friedman’s Flea Circus”
Art in America.
May 1996.
.
s’sr West z4th Street
New York rqy roori
tel 2t2 206 sroo fax 212 :o6 9055
www.luhringaugustine.com
Friedman’s
Flea Circus
With his tastefar Itwmbte materials—
bubble gum, toothpicks, soap—
and a,flairfor compulsive process, Tom
Friedman both parodies and celebrates the
prinwryformat concerns qf20th-century art.
BY KEN JOHNSON
claw the tuany, tkcspthsdy modest surface of Tom Friedman’s
mercurial alt nuts a penetrating cntwal Inquiry into the nature
of the modernist endeavor, The diversified oeuvre of this Chtcago
based artist (b. 19(s5) can be cktssitied into three areas: some wrkt
resolve around the properties of various unlikely materials fog.,
soap, pubic hair, spaghetti); some depend mainly on a painstakingly
rsion€i process (list
catty rrnm a paperback dictionaty on a
single sheet of paper—&erythisg, l992’Wi); and some are devoted
to Use eostruct1on of a particular, usually punning or paradonkal,
Image (a photograph of the artist lying on the flour turned upside
down so it looks as if he’s lying on the ceiling), One or two or all of
these approaches may be combined In a single work.
The most Immediately material-oriented work In Friedman’s
recent New York solo (his fourth) consisted of a wad of bubble gum
stretched sonar 20 feet from the ceiling to the floor, a reach that in
the middle drew the gum into a nearly invisible thread. Like an earli
er project in which he molded 1,504) pieces of chmord bubble gum
iCtIs a pink. grapetruit-oizs-d sphere that stuck, seemingly vu its own,
to the wali Isow AlA Sept ‘92J, this could be viewed as little more
than an amusing stunt, however, by allowing the physical proper
ties—’chewttwss, stickiness, elasticity—at such a tiemotic material
to delennine the sculpture’s realicatian (as Richard &na did, tor
eanraple, with molten lead), Friedman produces a witty Po-concep’
tualist paxadyot Minhr.alttm, process art and modernist reflechity.
A poor ilongraplipaper drawing demonstrated Friedman’s pmoc’
with procedure; tin’ esisfollion checklist described It thus: A
cupatron
line Is started at the ksvs’r center of the paper. The end 01 thin line
rnertes two more hives at 45-degree angles. The ends at these two
lines nerzle Iwo more lines each..., and so on up to the Ith gen’
tratlun. Each generation Is c shorter than the pisnious generation.
Each line is numbered as to ha generation. The drawng
h*s over
36,000 bnes’ This Sal Lewilt-like recipe )iekls a linear network of
wondrous complexity, but unassumingly pinned to the wall sans
flame, the drawing delitareatehy eschews live pretensions f high art,
and of sn-l*sed art hi particular. It looks as though It might have
been mode by a booed hlghschoal student. A sculpture made by spa
lcmatka% gluIng 30,000 muM toothpicks outward tram a single
point lisle u lwst form (an emblem at enligbtcumetg!) similarly
Stocks, by virtue vi’ ta banal hobbyist’s faovure, ideals of tonnaflst
aefslism. lint thev’ trategleaJy “dumb works held a’s imigorat.
fr aid pacul srai ph!lasophkal snap: the Sod airrardentist autism
.
LUH RING
AUGUSTINE
Johnson, Ken.
“Friedman’s Flea Circus”
Art in America.
May 1996.
531 Vest 24th Street
New York NY 10011
tel 112 206 9100 fax 212 206 9055
www.luhringaugustinc.com
j,
4’:Wr
9,4,-IS’
I
1t I’t
satiric spin tends to
compound modernist seff-awar.n.s.
U. makes fun of th. church Into which
h. was born, but he Is no apostate.
Friedman’s
they tarpet is tinsci1 the that at reflissirt, etoredatisonma by a1,tt t
are coittirletd. 1mph-at> qurtyirip the elerseistel natist or ,,rnaihe
thoitØtl. t’tItdmatts taUnt pbs , asadernist 00c,de
tekyttea ad lOran perceptin yma lea chatty and attetitiety tnmàt
pound ratlare then denoibsti modernist or enscietnosent, Be ota
Aottre ysto’re not missAall anytidr4. aId yeti are rewarded byotlemotse
hut attIc chioth Into ntueh he ens hem, bat he is ,wi tpnttalr
tosnutireahis diocoswut5L The OIOtmaed awaneness than precipitated
lisnitwes a *91t01e Ifltrixkbttan.
nedmna caiwrpttrnl rntrues ohiwkl not dasutwz aitenttrin totart
is
Jahfr visual tl1a1lo,is 1659 las oor%stitfrr. hnenser
he
he au4as strands at Footintanu ad rotor 1t*Lher In a pir ó1
one arvtk&aciyrootpe4hng plere, liar enumple, teps made h Idicog end
iits,*ybascd eltoOs, a couple at ocluitsite, deShUttRy reØstk
.ç*Uite the
On cd bondrads Ott shoni septenu. of okWy
01 hooseltica otado oSt at plantie, hiIr it59
ot9snenta ate Ltd St 45.dp,tm etajes—oleened, balra1l’— hene at
and wire—3ne rnchcal no the pall and the ehepcehaU ainrtg 11w j
jatrwd pencil stale nuens coetanuma aluand ies om
oa
leSinl4C while, otherwIse empty pctlestat liSle rod,icec1 a
nwntuadtnla att 1l.by44hieh enald ease that occupies the flaet
shuttle eltocti ytot tototdensl ‘11am In hind did 1w do 1ht?’
sitS desdpais,alnheta,etk seEpease.,,lon4be plere puns a the
IAhe iøêtan t oltirf stoics Ito p toy with csstws ft rn, seahs and
09
øra poacWocsde Inn, mid thi’ nnrrIcpendtcnb and stotw add a
per01pted,’but as sflnbolkaly otqtttot. iota’. Ohe’ mtindurp mere
dtrmlnn Vihal ropthitws, tisnigh, is tine a nee.w barth ad
csatkxeaninp. tøoGh the *oatetoioo of flies witls decoy death
aa,gnttan joints emote
atuinniust. lmpkokd rzola1Inefleid.
lheju*1pnittIntt atus4and wiow cube meSh one title
a1t101nteolI,
at
)‘inqmostly lb IllS tsregaln soptids, dse*rcamulaskn çtmaaEn
artinth et bctetTnots—a tiny bald hit en, kccs displayed no a white
ml
Ohüotti arcourci Sir tie alaual aileacihon of tfrdeanit woot. Ecti Coo.
pedestal.
macho trct our ttioutts to the io7Intt pataali t
Thee
does the octs.pilous. hm tenti, haedn.nn care with elkS tie artist tar
purity and r*tlq*i*liIy lay m nistem’s pmgrenshlat wlri and l con.
4,
01st out tIe latpr to’ taka he aai4ftis hlmast’ l,.a labur-Iptewlswncar
horror
itfr memy.tatkna& i4toaattoJ artoalky of
comttaOl
dishneutsies Fncsietan auth Soot that f Richard Tuttle, to wba he
rwa3 S. Thu, éndeadhig tie fit
le ilj, the puritord
has bee,, compared or Iran, newer 1,nns of detSioral4 tin. onero
cat
and
the
dar5I
tuetttYt’. Frted,ilft’a stork trahocendo
stockot’ arc lie tots ts-,t bohed to Ouce humati. i br.eae of tics
anshontate cleSlnrss and t.apu Into deeper ,*ic,V4IS itt idihrcntu
l’s—. CvOWfI*UII tesOleSSneOt bad tetitaai of aituawe dyle, but Fnedooos s
fyremararusrans
n,glwat rnftemanhip males him acinsen ,ntatiw of Ed Rosetta.
Fe.. F,,,boon O.as.d so i.e 1*4. tr.ter so at I?t,WI jstO’ i fr0 iti -‘
FoaS. hit n.* least it, as cisioti Impact them is F,rdmono canny
5
JPtJ th. — owot atan .o.%. l*e oo,at t.as.ni Sc. foo 11 1,517
ma, otili eak’ Thou5tt his tounto tend to the dboombise, they idnW
* iSto 004 tot 50400
10041 SIc a
omt,st In
,t to otud, an sotaibras pt r Sc as on the teto nabipbntwe.’n tie it— . ,lu
b,...a SIdi14
tie and the b,5 III. pla wtLb leak incolset. a,, the one hand, the
ror,resemkofl of a Carpe qualtity of thise—$tou. Iaethplc to. pencil
,
in
septenta, nc—into a total area andor. an the olheO twirl the Itota’
the of somr.tMnL toty within a tirropaiaisely sad spare. A humble
pbanuac.*tlcai tapotie assaa a peipani. comic presence wtteo
otrandid 0*115 espanuise plane of a relailtely ira.diose whirc
pethutol That ptenen. is titi&d when, an chart lespe4lee, yea End
Lie capooie filled with a,yeind minate. tariotanly colt WIb. tach
initoldiLly rotted froot Play Dab by the aitist Friedman’s pcapenuity
omit Seal iwopeals uwoceib1Sk lam about tie teqoble higrrhnrot
lie majør miaderniol art emit. (.Joel Shapiro’s Itttrbuues’anth”
ptInrka*E4aiktyfl*ors, CL 1179, fsme to mind) It ttlnn ourtes to
iS
F
T
‘4
LUH RING
AUGUSTINE
Johnson, Ken.
“Friedman’s Flea Circus”
Art in America.
May 1996.
531 West 24th Street
New York NY loon
tel 212 :o6 9t00 fax 212 206 9055
www.luhringaugustine.com
the tlorr heIr and paper build, the body ttself,a tunated wrap
of the gadded hmun seen st snob ruortpotrr gratttftesi
flue Spurn stand, to a little cock of togae, a. ii a. .oiotanco torte
pt’adaaiiy ithing sit the wtt.nwI, while ttaggrsImg a si,,w tnqere ,I
csilLtpse, tb’s dusted nngabtet ember tone’ kind at magtcal trant,,he
oltrnatecot lute swntsta Yin, lwgln Ire .etit a 00111 wioi had
won hnsaeita hale,, 6,1,. hewett,, he wan atneisti hi, fort
tsststisrnat
,,tmt,irttotinwos larpe sheets ansI toty etneuk, here nslled otto a
ht’ond qbnda tus Strum an ann or leg. there ,tnnhngiy,ost crow
pled in the aetiat’s handi to raggrtt tustre Lsatseensl ftagmn,t of
ettern An ewrraotdisary unishmatus, .1 h,5h rqret.rniarttttiai el’
adatwts and the appearance suibeural acndent, thur fragile v,Juno
THE IDEA OF THE SURGICAL CUT BECOMES EXPLICIT IN THE GUTTED AND
PARTIALLY DISMEMBERED CORPSE THAT LOOKS LIKE A VICTIMS OF JACK
THE RIPPER BUT IS MADE ENTIRE1, OUT OF THIN. UNREINFORCED PAPER
a cotoohoed Itactilol, 0(11 the iiiuikst qarsInat 11(1115.
How 1* tell will they thip iti ‘flee peesm OXI n5rnmly tA the
work are a innrec ursorajwtson out, Grsatd Cotgnol geltesomc
tie... its rcniae ,acatctocnt °lt’y arol tenor. awe and gtggks.
needs ettgshcod by the fact that the litton ea oU pourat.
SetOng lbs saruna natnttm altrnpode a Raisin priw000 (alan
mack 45 yape and a week hittil en the dulix biL Fnodmar mar
Kse been onsnuatwg a thewa about loftnp.itonl nmnn5 ainktsee,
the mrdci, wtd monr, Aithou9k the wry puoiki and
035 102
ri.o1r., OslOrt
Lint wares.
ftu4O
mewn warm
a—
—
Sina 0*0w
I—tees,.-,
(atot (249,
car
—at.
c—ta.——.
i
54w
—-a
we,.
Ii.
aittilSO
paradoaet
in
wbcd, ha tprcuaiate. don’t aiway. lend thewsaises to ubwtutee sweral
ctlltqtic, bets net aoto,reonted rn the toudem world the plkry hi
enlace accowpateymg the .itow included a long tfieutiartvc Irate
went he had wntten altoat the ellecu ni onnipata treintuhagy on
tita 2.511*, ar.J the two ,tthnt humans fsgorru he nidudU here were
both espbettiy tnlustte, One of these ti ttrnrcsebdy woeikrt5ut A
cort,1’twaSeJ owfiaicintg eel grayttse,wn cmdhoazd that rrmeeedg me
sattaltatteoanfy of Geu5e Lucas and ttf Viadits,t Tathn,et roe eth
the detail wait which it has freto sssarnd only loon, dose eosc.
Psery ttnjctuoof element teensa to sidlor hem ta ncs5hbor, esery
pow nod ch5,, tobe separately dvttgtsed and engjneered, oral he
whale clht foot h.h apparotst to esenty icanerrd sd, meruostle
bead, of Stefoom. as 4 the thmg were twralmg The rerund
ctstpssue, this one ball the ehn’, hergist, teeattthk. an rather ftgusre
bm iØ, tootle rnttmiy eel wooden oshws woo the oust. ate rapt
The nodidno aurleer sight we,ek lusteer. a therr.,frmensiorsai
,mkss,y at I t,rrlou,s’s w,trk. olpeh wet hr shown in depth In a
ruttrnptcteec .4reltm5 July Sat tie Murcssts if Contemporary A...
lorgantted by the Seoaheatteen Canoe leeCantempomey
toad, aware of the tape It
to rnak it, Jo wee liner at Peatort, ire teens to hare
drawn a Poltuck like tkc,st of tfttttk ahirrcws her, then to base sits
akeny each side of the hoe (the X’asrt, knikagont and rcmereed
the biet,tk paper, so titat the deanteg’s ne5paler spores literally
empty A Roy brhtensrest dud mips ranotas duk;eet remfenr.
of an Epreirsomst heiohscsnko, Fnodnsan is reploolog C erosIon
hrtweett contrary arttauc pnnsapkt5 otteoi tputstattetty. tire ether
ccl paenstxtkotg rare, An instaflatton sn the show plaid out a simIlar
wnrrautsctson, Another knife drawssp, 1 wa cameti into list piarrer
wallboard, and wan susdek only dose np each her hems put the
atsith t the blade, it disappeared hem any distance. Yet the shape
serif Was o heyr lasted tonh,unt, cc perhrpt one of those nntrntt
npttedr bubbles that thuuid frame an endamatsos like Zap! tie
tkcat, hot that Frtedsan instead ltth empty. fir ofrn seems to
ante. at these sdi-concdtn rsppatsuottt5 here between ptesense
and absence, rytsitwe mel negative, between nit hr one iuttd a
dnnsarsc Ions and 5ntstee ad ot, the other tomeibmg opprimult’
s,’sg ,nt’ttrtshtv Yet the retuir so inghly prutf tumor, bier thsc anittu
a crnstrty hack ‘sIlo were faseauard by advauaed abstncz idea,
atents a fsetnh d,rrsrner,n, fnrd,nruo orrandasm enifl,tai realny
Ott, social reward.’
tttwueo
Act, Weston,, Skt, Ut I, you are olseet
has raieca htm
LU H RNG
AUGUSTINE
Cotter, Holland.
‘Beneath the Barrage, The Modern’s Little Show”
The New York Times.
April 7, 1995.
53i WCSt
a4th Street
New York ry loon
td 212 206 9100 fax 2t2 206 9055
www.luhringatigustine.com
By HOLLAND COTTER
Alter a walk through the multi.
media sound and fury of Bruce Nau’
man’s retrospective at the Museum
of Modem Art, with Its shouting
voices and casts of dead animals,
even the hardiest viewer may want
to decompress. Tom Friedman’s lit
tle show of paintings and sculptures
in the museum’s lobby gallery Is a
good place to start.
If Mr. Nauman’s recent work Is
big, loud and heavy — brow-beat
Ingly sardonic when Wa funny, just
brow-beating when it’s not — Mr.
Friedman’s Work Is light and small,
so small that It could easily escape
nOtice. To take an example: a
minute white speck of material un
der Plexiglas on the wall turns out to
be a self-portrait of the artist carved
from an aspirin tablet,
The cure for a Naunian-imposed
headache? Possibly, although Mr.
Frlcdman, who 1,19 and began his
career in Chicago, can cause head
aches of his own. His laborious “an
gels on the head of a pin” teats of
minhaturiam are sometimes as de
manding on the eye as Mr. Nau
man’s higii.volume rants are on the
ear. The surface of “Everything,” a
scuffed-looking piece at paper on the
floor near the portrait bust Is cov
ered with almost microscopic words,
all the entries in a small English
dictionary copied out by hand in blue
Ink,
Work like this seems to exist part
ly in the realm of ritual (thInk of
such examples ot devotional virtuos
ity as rosary beads carved with
faces and minIature Korans carved
in nutshells), partly in folk art (ships
In bottles) and partly in sheer per
sonal obsessIveness.
In Mr. Friedman’s work (as in Mr.
Nauman’s), that obsessiveness
takc the form of a wittily fetishIstic
approach to the body, A bar of plain
white hand Soap, smoothed with use,
Is marked with a pattern of tine,
perfectly aligned concentric circles
made from embedded hair. And a
flesh-colored globe actherlng toa cot-,
ncr of the wall jest outside the gel-’
Icry Is molded from countiess wads
nf chewed bubble gum.
Beneath the Barrage,
The Modern’s Little Show
Equally labor-intensive and funny
is Mr. Friedman’s take on art styles
that have preceded him. Both the
purity of hard-edge painting and the
A world of motes,
small words and
orbits of hair.
personal (ouch of gescural abstrac
tion are alluded to In a patch of
aquamarine toothpaste brushed di.
redly unto the wall. A bristling bush
of triangles made of folded construc
tion paper suggests a Minimalist
structure. And Earth Art is accounl
ed for in a little spher,of gray’
brown dust sitting on the gallery
floor.
Mr. Friedman certainly has dis.
(ant roots in Process Art and Con
ceptualIsm Richard Tuttle comes to
mind, as do Ray Johnson and Fluxus,
But his Immediate forebears include
several contemporary Chicagobased artists: Tony Tassec, Mitchell
Kane, Jeanne Dunning and Vincent
Shine, among them, They have all
routinely used mundane household
materials and images to smudge the
now all-but-mvislble line between
hIgh and low Culture,
Like them. Mr. Friedman is less
imerested in creating shattering ef
fects than In introducing a perceptu
al blip or two into the everyday data
flow. In one piece, he painstakingly
reconstructs, with paint and press
type, a classroom map of North
America. The colors are bright, the
place names clear, It takes a second
to realize something’s wrong. The
continent is upside down and flipped,
with the Atlantic on the left and
Maine on the bottom. This is Amer
ica viewed from the North Pole.
The Joke has just enough lag time
to let Mr. Friedman’s skewed vision
of the world register. This vision
tends to be open-ended and slightly
pixilated; it accommodates both
jokes (there are many) ned cosmo
logical musings, the latter prompted
by the little orbits an the bar of soap,
the floating planet made of gum, and
the little ball of gray dust stilling in a
kind of corona of its own disinlegra
(Ion over there in the corner,
Disintegration — of the body, of
the universe
Is certainly a cause
for anxiety, and there are all kinds of
ways to cope with it. Mr. Nauman’s
maxirnalist overload is one, Mr.
FrIedman’s conceptually nimble
shaping and ordering another. His
approach scents lobe in Ihe ascend
-tint at the moment, shared by some
accomplished younger artists Sin.
bn Uddeli and Gabriel Orozco,
among them — who together offer a
promising new ripple, if not exactly
a wave, for art in the 90’s.
—
—
“Turn Frwdrn,t,i” remains on
at lht’ Museum of Modern Art,
11 West 53d Street, Manhattan,
through May £6.
wc’w
An untitled aulpture of construc
tion paper, by Tom Friedman.
HAMMER
April 13, 2016
Re: Tom Friedman
Fine Art Commission
City of Beverty HilLs
455 North Rexford Drive
Beverly Hi[I.s, CA 90210
Dear Fine Art Commission Liaisons,
We are writing today to offer the Hammer Museum’s full endorsement of your possible
purchase and permanent installation of Takeaway, 2016 by Tom Friedman in Beverty Hilts.
Over the past three decades Tom Friedman has established a distinct sculptural practice
which has rightfully received significant attention and accolades. His work has been
exhibited in countless galleries and museums around the world. Notably, the artist has
received solo presentations at the New Museum, New York; Museum of Modern Aft, New
York; Fondazione Prada, Milan; Magasin 3 Stockholm Konsthall; the Tel Aviv Museum of Art,
Tel Aviv; and South London Gallery, London. In addition to these gallery presentations,
Friedman has gained a reputation for his outdoor sculptures. Examptes of his public work
are permanently installed at Brown University and the Betty and Edward Marcus Sculpture
Park at The Contemporary Austin. The accomplishments speak volumes to Friedman’s work
and demonstrate that the Fine Art Commission’s possibte acquisition fits perfectly within
their track record of commissioning exceptional public sculpture.
Tom Freidman’s work has the uncanny ability to enchant every day, domestic materials with
wonder. The piece under consideration, initially formed with disposable aluminum roastingpans, is a superlative example. Keeping with the tradition of his previous outdoor
sculptures, Friedman transforms these mundane objects into a stainless steel sculpture. The
result, Takeaway, 2016, is a wonderful sculpture that meets the physical needs for outdoor
display while maintaining an everyday aesthetic that defines the artist’s practice. The
subject of Takeaway, 2016, a figure running with an unstable, towering stack of aluminum
roasting-pans, makes ptayful reference to the artist’s choice materiat. Shifting viewer
perception, Friedman transforms the ordinary to extraordinary and forces us to consider the
world that surrounds in new ways. Fabricated with impeccable craftsmanship, Friedman’s
pieces resonate with all viewers.
Hammer Museum 10899 Wilshire Boulevard Los Angeles, CA 90024
310-443-7000 fax 310-443-7099 www.hammer.ucla.edu
The artist’s proven success in public settings, exhibition accomplishments, and accessible
visual language make him the perfect choice for your next addition to the beautiful Beverly
Hilts Sculpture Lawn. The whimsical subject and rigorous use of materials in Takeaway,
2016 epitomize the formal and thematic style that has earned Friedman’s international
reputation. As such, this piece would certainty highlight the public’s experience of Beverly
Hilts while adding to the growing pedigree of your commission’s growing collection of
international contemporary sculpture which has become a leader in the area of public art.
/
C nie Butter
Chief Curator
LACMA
—
LOS ANGELES COUNTY MUSEUM OF ART
5905 WILSHIRE BOULEVARD
LOS ANGELES CALIFORNIA 90036
T 323
F 323
857 6023
857 6217
E celiel@lacma org
.
March 22,
2016
Michael Smooke
Fine Art Commissioner
City of Beverly Hills
455 North Rexford Drive
Beverly Hills, California 90210
Dear Michael:
I am pleased to write in support of the acquisition by the City of
Beverly Hills of Takeaway, a major new sculpture by renowned artist Tom
Friedman.
Takeawav would be a striking, significant, and popular
addition to the City’s important collection of public sculpture.
I first saw it at
I have known Friedman’s work for some 25 years.
Feature Gallery in New York in the early l990s (shortly after he
completed his MFA) and have been mesmerized ever since by his remarkable
combination of technical mastery, uncanny use of materials, sly wit, and
I have sought out opportunities ever since to see
deep thoughtfulness.
his art in gallery shows, private collections, and museum exhibitions-—
including the survey, Tom Friedman; The Epic in the Everyday, which I
was lucky enough to see at the New Museum of Contemporary Art in New
York.
Friedman’s work has been exhibited across the country (from west coast
to east, including Beverly Hills, San Francisco, Aspen, Chicago, and New
York, among others) as well as internationally (London, Paris,
Friedman receives
Stockholm, Milan, Tel Aviv, Tokyo, and more)
general-audience and
(both
publications
important
in
coverage
frequent
art press) including the New York Times, Financial Times, Artforum,
He has likewise been the subject of numerous
ARTnews, and many others.
monographic publications, and his work has been included in many books
and exhibition catalogues devoted to Pop Art and various other aspects
His work is represented in numerous museum
of contemporary art.
collections including the Museum of Modern Art and the Metropolitan
Museum of Art (both in New York), the San Francisco Museum of Modern
Art, and the Museum of Contemporary Art (Los Angeles), among many
.
others.
LACMA
LOS ANGELES COUNTY MUSEUM OF ART
Friedman’s sculptures typically appear to be something they are not (for
example, what looks like a pile of half-eaten apples is actually
This “visual sleight-of-hand”
carefully carved and painted Styrofoam) .
may on first impression seem like a one-liner, but in fact Friedman’s
work forces us to slow down and think about what we are actually seeing,
not only in relation to our cognitive processes but also in relation to
As New York Times critic Roberta Smith has
our physical existence.
written, Friedman in his work demonstrates ‘‘unusual clarity in the
In fact, he connects the two.’’
interaction of materials and thought.
Takeaway is from an ongoing body of work in which Friedman uses crushed
aluminum foil roasting pans, tin foil, take-out containers, pie pans,
and the like to create large-scale figures that lie then casts in
stainless steel, retaining the original materials’ imprints and
Not only does Friedman inject magic into ordinary materials,
markings.
but he then injects the magic of ordinary materials into monumental
Though at 13 feet, 8 inches, Takeaway will tower over
sculpture.
In
viewers, it nonetheless retains an endearing and very human quality.
our highly mediated technological age, we can all relate to the notion
of endless rushing and constant attempts to keep things in balance.
Takeaway expresses all of that at the same time that it suggests an
exuberant freedom and can-do attitude.
While Friedman’s work is represented in museum collections in southern
California, there is no example of his outdoor sculpture to be seen in
Takeaway will integrate perfectly with other outdoor
the area.
sculptures acquired by the City through the Beverly Hills Fine Art
Commission, including works by Jaume Plensa, Roxy Payne, Yayoi Kusama,
Like Friedman, many of these
Carol Bove, and Magdalena Pbakanowicz.
artists conthine seriousness with humor in their work, and all retain
The City of Beverly
specific references or allusions to figuration.
Tom Friedman’s
very
bar
sculpture
high;
public
for
the
Hills has set
Takeaway not only meets those high standards but will be an ideal
I urge the City to make this
addition to the City’s collection.
acquisition.
Sincerely,
c%%1.
Carol S. Eliel
Curator of Modern Art
Adrianne Tarazon
From:
Sent:
To:
Subject:
Attachments:
Michael Smooke
Tuesday, April 05, 2016 12:49 PM
Aida Thau
Fwd: Prices for other stainless steel works
image003.jpg; imageoo6.jpg; imageoo8.jpg
Information regarding pricing of Friedman’s work
Sent from my Phone
Begin forwarded message:
From: Michael Smooke <[email protected]>
Date: April 5, 2016 at 12:47:18 PM PDT
To: “[email protected]” <msmookebeverlyhills.org>
Subject: FW: Prices for other stainless steel works
From: Lauren Wittels [mailto: laurencIuhringauustine.com]
Sent: Wednesday, March 02, 2016 10:23 AM
To: Michael Smooke
Subject: Prices for other stainless steel works
Hello Michael! Nice to speak with you earlier. As promised, here is a range of prices of
stainless steel pieces by Tom that either exist or are in the process of being made. This should be
a good contextualizing tool for works comparable to Takeaway.
1: Untitled (peeing/Igttre), 2012
Tom Friedman
Untitled (peeing figure), 2012
Stainless steel
Edition of 3 and 2 artists proofs
Figure: 96 x 30 x 27 inches (243.84 x 76.2 x 68.58 cm)
Urine stream: 56 x lOx 1/2 inches (142.24 x 25.4 x 1.27 cm)
C24070
$550,000.00
1
There is only one example left of Untitled (peeingfigure). Two other examples were sold during
2012, when the piece was made, for $475,000. The work is 8 feet high, which is substantially
shorter than 13.25 feet, the height of Takeaway.
2: Large Huddle, 2016
Tom Friedman
Huddle, 2016
Stainless steel
Unique
108 x 831/4 x 831/4 inches
(274.3 x 211.5 x 211.5 cm)
C29492
$1500000.00
This is a unique commissioned work that is being installed in June of this year; it was sold for
$1,500,000. While it is unique, and Takeaway is editioned, this is quite a bit shorter than
Takeaway. It also has 7 figures, as opposed to the smaller original H;tddle that featured $
figures:
3: Small Huddle, 2014
Tom Friedman
Huddle, 2013
Stainless steel
Edition of 5 and 2 artists proofs
34 x 35 x 35/inches
(86.36 x 68.9 cm)
C24121
$250000.00
This work is substantially smaller than Takeaway; and, it is in a larger edition (5, as opposed to
3). And yet, the price of $250,000 is more than one third of the Takeaway price.
The 4th example I can give you is an even larger version of Huddle; it has not yet been finalized,
as we are negotiating the exact dimensions of the work just now. But I can tell you that a unique
work with 10 figures and dimensions of 10 x 15 feet (which is shorter but wider than Takeaway)
is priced at $3,500,000.
2
I hope this is helpful to you, and I will look forward to seeing you and Tern tomorrow night!
With best,
Lauren
Lauren Wittels
Senior Director
Luhring Augustine
531 West 24th Street
New YorkNY 10011
212-206-9100
lauren(luhrin gacigustine.coin
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addressee(s) named herein and may contain legally privileged and/or
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hereby notified that any dissemination, distribution or copying of this e
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and any attachments hereto, is strictly prohibited. If you have received this
e—mail in error, please immediately notify me at 310.855.3200 and permanently
delete the original and any copy of any e-mail and any printout thereof.
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herein was not written or intended to be used (and cannot be used) by any
taxpayer for the purpose of avoiding penalties that may be imposed under the
U.S. Internal Revenue Code.
3
LA.
Packing,
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Est. Date: 4/8/2016
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ICEFAT
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City Of Beverly Hills
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Job Scope
When: Late 2016 ***ROUGH ESTIMATE*** NOT COMPREHENSIVE****
Arrange pick up, packing and slat crating of 1 stainless steel Tom Friedman sculpture approx. 159x48x24’ “Take Away’ (see tendering
attached).
Receive, deliver to Beverly Hills and install.
Description of Charge
Qty
Rate
Billing Amount
Pickup crating, transport to CA
1
$17,550.00
$17,550.00
Receiving
1
$110.00
$110.00
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1
$23.00
$23.00
Administration-Coordination
I
$110.00
$110.00
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1
$1,500.00
$1,500.00
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1
$1,000.00
$1,000.00
Subcontract concrete base
1
$6,000.00
$6,000.00
Rigging -3 men 8hrs business hours
8
$315.00
$2,520.00
Equipment stake truck
1
$300.00
$300.00
-
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Items I Art Works
>>
PU/DEL
No.0-0000, Artist: Unknown, Title: Untitled (running figure with books on top of head), Dims:
1
72X36X36, Class: Sculpture
tiated Charges:
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