I enjoy creating and spreading knowledgeable content for everyone around the world and try my best not to leave even the smallest of mistakes go unnoticed.
Monica bonvicini and tom burr at lenbachhaus kunstbau munich
Life
Born in New Haven, CT Burr attended the Educational Center for the Arts high school, a multi-arts program taught in part by Yale University graduate students. It is here that Burr became aware of and developed an interest in Minimal and post-Minimalist artists, including Robert Smithson, Dan Graham, Eva Hesse and Gordon Matta Clark. Burr's senior thesis work reflected these influences, by merging sculptural elements with brief poetic texts. Simultaneously, Burr’s collage based work began at this time. After graduating from high school, Burr attended figure drawing classes at the Art Students League in New York. In the following years, Burr attended the School of Visual Arts and the Whitney Independent Study Program, where he studied with Craig Owens, Benjamin Buchloh, Yvonne Rainer, and Barbara Kruger, and Ull Hohn. During this time Burr immersed himself in the theoretical writings and conceptual practices that would expand his own work and thinking. While at the Whitney Program in 1988 Burr met art dealer Colin de Land and began a friendship that would lead to Burr joining de Land's seminal gallery, American Fine Arts, Co, in the early 90's.
In 1993 Burr was invited to participate in several large scale exhibitions in Europe, including Sonsbeek '93, curated by Valerie Smith, Unite in Firminy, France, curated by Yves Aupetaillot, and Kontext Kunst, curated by Peter Weibel. It was for the Sonsbeek exhibition that Burr created his highly regarded work "An American Garden," a scale recreation of a section of Central Park's Ramble, and a direct extension of Robert Smithson's writings and the culmination of a body of work dealing with public parks, landscape, naturalism, and gay male identity. Later that year a document based extension of An American Garden, (what Burr has referred to as "an informational non-site") was included in art historian James Meyer's influential exhibition "What Happened to the Institutional Critique?," at American Fine Arts, Co, in New York ( including works by Renee Green and other artists) In 1995, also at American Fine Arts, co, Burr created his exhibition "42nd Street Structures," which fused the distant forms of Minimalism with present-day conditions in New York, specifically the war on public sexuality during the Aids crisis. Accompanying the sculptural elements were brief written "moments," as Burr refers to them, which were then later expanded and published in October Journal (Spring 2007, No. 120, Pages 138-139). Later that year, Burr participated in a four-person exhibition at the Kunsthalle Zurich, where he created his second earthwork, Circa '77. Like An American Garden, this work recreated a section of a park, this time the Platzspitz in Zurich, as it may have looked in a previous time, pointing to both the passage of time, and specific social and political moments that define landscape.
In the late 1990s Burr embarked on a body of work that remains ongoing; derived from the language and forms of both Tony Smith's sculptures, on the one hand, and closed architectural spaces such as bars, cages and boxes. These works, often borrowing Smith's matte black palette, evoke spaces of control and containment, as well as the "safe zones" of underground cultures.
Alongside these works, Burr developed his now iconic Bulletin Boards, originally created out of the excessive collecting of images and materials that are part of his working methods. Constructed through plays of juxtaposition, the boards are markers of place, often reflecting the situation of their exhibition.
Education
1987-88 Whitney Independent Study Program, New York
1982-86 School of Visual Arts, New York
Teaching and Residencies
2009-10 Critic in Sculpture, Yale University, New Haven, Connecticut
2010 Artist in Residence, Randolph Cliff, Edinburgh College of Art, Scotland
Selected Solo Exhibitions
2017
Surplus of Myself, Münster, Germany
2013
Art Basel Parcours, Basel, Switzerland
2012
Cloud in Trousers, Citta della Pieve, Umbria, Italy
Verschiebungsersatz, curated by David Rimanelli, Kimmerich, New York
December: Organized by Howie Chen, Mitchell-Innes & Nash, New York
VERSCHIEBUNGSERSATZ, curated by David Rimanelli, Kimmerich, New York
After images, curated by Fionn Meade, Jewish Museum of Belgium, Brussels
Five Easy Pieces, Galleria Franco Noero, Torino
12th Istanbul Biennial, Istanbul, Turkey
Schnitte im Raum, Sculptural Collagen, Museum Morsbroich, Leverkusen, Germany
The Smithson Effect, Utah Museum of Fine Arts, Salt Lake City
SHAPES, Sammlung-Haubrok, Berlin,Germany
2010
Missing Beat, Sommer Gallery, Tel-Aviv, Israel
“…”, Galerie Neu, Berlin
ABOUT US, Johann König, Berlin, Germany
Cumulus, Blum & Poe, Los Angeles, CA
Forced Exposure, Team Gallery, New York, NY
The New Décor, The Hayward Gallery, London, UK
Mixed Use, Manhattan: Photography and Related Practices 1970s to the Present, Nacional Centro de Arte Reina Sofia, Madrid, Spain
The Page, Kimmerich Gallery, New York, NY
Light Breaks Where No Sun Shines, Bortolami Gallery at The Webster, Miami Beach
Wall & Floor, Galerie Almine Rech, Paris, France
Moby Dick, Curated by Jens Hoffman, CCA Wattis Institute for Contemporary Arts, San Francisco, September- December 2009
The World is Yours, Louisiana Museum, Denmark, September- December
2009
Rachel Harrison: Consider the Lobster and other Essays, Center for Curatorial Studies and Hessel Museum of Art at Bard College (CCS Bard), Annandale-on-Hudson, New York, June- December 2009
Saints and Sinners, curated by Laura Hoptman, Rose Art Museum, Brandeis University, Boston
The Station, curated by Shamim Momin & Nate Lowman Miami, Florida
Abstract America: New Painting and Sculpture, Saatchi Gallery, London
Political/Minimal curated by Klaus Biesenbach Kunst-Werke Berlin e.V. - KW Institute for Contemporary Art, Berlin