Gaylen Gerber

Gaylen Gerber, 27 May - 25 June 1988Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 x 96.5 cm (38 x 38 in.)Robbin Lockett Gallery, Chicago

Gaylen Gerber, 27 May - 25 June 1988
Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 × 96.5 cm (38 × 38 in.)
Robbin Lockett Gallery, Chicago

 
Gaylen Gerber, 27 May - 25 June 1989Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 x 96.5 cm (38 x 38 in.)Robbin Lockett Gallery, Chicago

Gaylen Gerber, 27 May - 25 June 1989
Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 × 96.5 cm (38 × 38 in.)
Robbin Lockett Gallery, Chicago

 
Gaylen Gerber, 1990Installation view, each: Gaylen Gerber, Untitled, n.d., graphite on paper, archival board, Plexiglas frame, 69 x 69 cm (27 ⅛ x 27 ⅛ in.)Le Case D'Arte, Milan

Gaylen Gerber, 1990
Installation view, each: Gaylen Gerber, Untitled, n.d., graphite on paper, archival board, Plexiglas frame, 69 × 69 cm (27 ⅛ × 27 ⅛ in.)
Le Case D'Arte, Milan

 
Gaylen Gerber, 1992Installation view: constructed partition, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 x 96.5 cm (38 x 38 in.)The Renaissance Society at the University of Chicago, Chicago

Gaylen Gerber, 1992
Installation view: constructed partition, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 × 96.5 cm (38 × 38 in.)
The Renaissance Society at the University of Chicago, Chicago

Gaylen Gerber, 1992Installation view: constructed partition, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 x 96.5 cm (38 x 38 in.)The Renaissance Society at the University of Chicago, Chicago

Gaylen Gerber, 1992
Installation view: constructed partition, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 × 96.5 cm (38 × 38 in.)
The Renaissance Society at the University of Chicago, Chicago

 
Documennta IX, 1992Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 x 96.5 cm (38 x 38 in.)Aue Pavilions in Karlsaue, Kassel

Documennta IX, 1992
Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 × 96.5 cm (38 × 38 in.)
Aue Pavilions in Karlsaue, Kassel

Documennta IX, 1992Installation viewAue Pavilions in Karlsaue, Kassel

Documennta IX, 1992
Installation view
Aue Pavilions in Karlsaue, Kassel

Photo: Kristien Daem ©

Documennta IX, 1992Installation view: Adrian Schiess, Malerei, 1992, lacquer and aluminium, dimensions vary with installationAue Pavilions in Karlsaue, Kassel

Documennta IX, 1992
Installation view: Adrian Schiess, Malerei, 1992, lacquer and aluminium, dimensions vary with installation
Aue Pavilions in Karlsaue, Kassel

Documennta IX, 1992Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 x 96.5 cm (38 x 38 in.)Aue Pavilions in Karlsaue, Kassel

Documennta IX, 1992
Installation view, each: Gaylen Gerber, Untitled, n.d., oil paint on canvas, 96.5 × 96.5 cm (38 × 38 in.)
Aue Pavilions in Karlsaue, Kassel

Gaylen Gerber / Joe Scanlan, 1994Installation view, exhibition includes: Gaylen Gerber, Backdrop, oil on canvas, dimensions vary with installation; Joe Scanlan, Potting Soil, 1993, coffee grounds, saw dust, Epsom salts, bone meal, onion skins, cigar butts, dimensions variable; Joe Scanlan, Nesting Bookcases, 1994, wood, hardware, and strap, nesting: 50.8 x 101.6 x 24.1 cm (20 x 40 x 9 1/2 in.); Joe Scanlan, Mirror, 1994, aluminum foil, glass, cardboard, wooden frame, 16 x 12 inches; Joe Scanlan, Starter Pot, 1994, cigar ash, saliva, egg white, (3½ x 4 x 4 inches); Joe Scanlan, Spare Boards, 1993, poplar, wood, dowels, glue, overall dimensions vary with installationNicole Klasgsbrun Gallery, New York

Gaylen Gerber / Joe Scanlan, 1994
Installation view, exhibition includes: Gaylen Gerber, Backdrop, oil on canvas, dimensions vary with installation; Joe Scanlan, Potting Soil, 1993, coffee grounds, saw dust, Epsom salts, bone meal, onion skins, cigar butts, dimensions variable; Joe Scanlan, Nesting Bookcases, 1994, wood, hardware, and strap, nesting: 50.8 × 101.6 × 24.1 cm (20 × 40 × 9 1/2 in.); Joe Scanlan, Mirror, 1994, aluminum foil, glass, cardboard, wooden frame, 16 × 12 inches; Joe Scanlan, Starter Pot, 1994, cigar ash, saliva, egg white, (3½ × 4 × 4 inches); Joe Scanlan, Spare Boards, 1993, poplar, wood, dowels, glue, overall dimensions vary with installation
Nicole Klasgsbrun Gallery, New York

 
Gaylen Gerber, 1996Installation view: Gaylen Gerber, Clear Sky/School, 1995, gelatin silver print, graphite, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.), Gaylen Gerber, Clear Sky/School, 1996, gelatin silver print, graphite, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.), Gaylen Gerber, Support, n.d, oil paint on canvas, 96.5 x 96.5 cm (38 x 38 inches), Gaylen Gerber,Clear Sky/School, n.d., gelatin silver print, graphite, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.)Lisson Gallery, London

Gaylen Gerber, 1996
Installation view: Gaylen Gerber, Clear Sky/School, 1995, gelatin silver print, graphite, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.), Gaylen Gerber, Clear Sky/School, 1996, gelatin silver print, graphite, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.), Gaylen Gerber, Support, n.d, oil paint on canvas, 96.5 × 96.5 cm (38 × 38 inches), Gaylen Gerber,Clear Sky/School, n.d., gelatin silver print, graphite, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.)
Lisson Gallery, London

Gaylen Gerber, 1996Installation view: Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin silver print, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Dan Graham, Gift Shop/Coffee Shop, 1989, steel, aluminum and glass, 218 x 635 x 366 cm (85 ¾ x 250 x 144 in.)Lisson Gallery (27 Bell Street), London

Gaylen Gerber, 1996
Installation view: Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin silver print, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Dan Graham, Gift Shop/Coffee Shop, 1989, steel, aluminum and glass, 218 × 635 × 366 cm (85 ¾ × 250 × 144 in.)
Lisson Gallery (27 Bell Street), London

 
Kunst in der Stadt III, 1999Installation view: Gaylen Gerber with Kay Rosen, Backdrop/The Forest for the Trees, acrylic paint and enamel sign paint on canvas, n.d., 1999, 4.23 × 13.4 m (166 × 488 in.)Kunsthaus Bregenz, Bregenz

Kunst in der Stadt III, 1999
Installation view: Gaylen Gerber with Kay Rosen, Backdrop/The Forest for the Trees, acrylic paint and enamel sign paint on canvas, n.d., 1999, 4.23 × 13.4 m (166 × 488 in.)
Kunsthaus Bregenz, Bregenz

 
Northern Fundamentalisms of the New Order, 2002Installation view: Gaylen Gerber with M&Co, Backdrop/Everybody, n.d., 2002, acrylic paint and enamel sign paint on canvas, 5 × 6.3 m (197 × 248 in.), N55, LAND resources: chairs, 2002, wood, overall dimensions vary with installationCharlottenborg Exhibition Hall, Copenhagen

Northern Fundamentalisms of the New Order, 2002
Installation view: Gaylen Gerber with M&Co, Backdrop/Everybody, n.d., 2002, acrylic paint and enamel sign paint on canvas, 5 × 6.3 m (197 × 248 in.), N55, LAND resources: chairs, 2002, wood, overall dimensions vary with installation
Charlottenborg Exhibition Hall, Copenhagen

 
Gaylen Gerber, 2004Installation view: constructed partition, Gaylen Gerber with M&Co., Backdrop/Everybody, n.d., 2002, acrylic and sign enamel on canvas, 5 x 6.3 m (197 x 248 inches), with N55, LAND resources: chairs, 2002; Gaylen Gerber, Support, n.d.,with: Joe Baldwin; Jesse Chapman; M&Co.; N55; Michael Langlois and Robert Davis; Mary Dunning; Michelle Grabner; Jeff McMahon; Irina Melsom; Stephen Prina; Kay Rosen; Sam Salisbury; Adrian Schiess; b. wurtz; materials vary, overall installation vary with installationDonald Young Gallery, Chicago

Gaylen Gerber, 2004
Installation view: constructed partition, Gaylen Gerber with M&Co., Backdrop/Everybody, n.d., 2002, acrylic and sign enamel on canvas, 5 × 6.3 m (197 × 248 inches), with N55, LAND resources: chairs, 2002; Gaylen Gerber, Support, n.d.,with: Joe Baldwin; Jesse Chapman; M&Co.; N55; Michael Langlois and Robert Davis; Mary Dunning; Michelle Grabner; Jeff McMahon; Irina Melsom; Stephen Prina; Kay Rosen; Sam Salisbury; Adrian Schiess; b. wurtz; materials vary, overall installation vary with installation
Donald Young Gallery, Chicago

 
Gaylen Gerber, 2006 Installation view: Backdrop and Support, Gaylen Gerber with: Joe Baldwin; Daniel Buren; Jesse Chapman; Mary Dunning; Michelle Grabner; Charles Irvin; Albert Oehlen; Stephen Prina; Tyson Reeder; Kay Rosen; Sam Salisbury; Joe Scanlan; Adrian Schiess; Julien Schnabel; Didier Vermeirenn; b. wurtz; Rémy Zaugg; Heimo Zobernig; latex and oil on canvas, materials vary, overall dimensions vary with installationMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view: Backdrop and Support, Gaylen Gerber with: Joe Baldwin; Daniel Buren; Jesse Chapman; Mary Dunning; Michelle Grabner; Charles Irvin; Albert Oehlen; Stephen Prina; Tyson Reeder; Kay Rosen; Sam Salisbury; Joe Scanlan; Adrian Schiess; Julien Schnabel; Didier Vermeirenn; b. wurtz; Rémy Zaugg; Heimo Zobernig; latex and oil on canvas, materials vary, overall dimensions vary with installation
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006 Installation viewMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006 Installation viewMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006 Installation viewMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006 Installation viewMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006 Installation viewMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006 Installation viewMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006 Installation viewMusée d’Art Moderne Grand-Duc Jean, Luxembourg

Gaylen Gerber, 2006
Installation view
Musée d’Art Moderne Grand-Duc Jean, Luxembourg

Paradox and Practice: Architecture in the Wake of Conceptualism, 2007Installation view: Gaylen Gerber with Dorit Margreiter, Backdrop/Zentrum, n.d., 2007, latex paint on canvas, 16 mm film projection, overall dimensions vary with installationUniversity Art Gallery, University of California Irvine, Irvine

Paradox and Practice: Architecture in the Wake of Conceptualism, 2007
Installation view: Gaylen Gerber with Dorit Margreiter, Backdrop/Zentrum, n.d., 2007, latex paint on canvas, 16 mm film projection, overall dimensions vary with installation
University Art Gallery, University of California Irvine, Irvine

 
Gaylen Gerber, 2007Installation view: Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm (27.5 x 27.5 in.), Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm (27.5 x 27.5 in.); Gaylen Gerber, Support, n.d. 2006, oil paint on souvenir from Crossing the Colors, Daniel Buren, 2006, 239 x 122 cm (94 x 48 inches); Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm (27.5 x 27.5 in.); Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint, painters tape on canvas, 70 x 70 cm (27.5 x 27.5 in.)Daniel Hug Gallery, Los Angeles

Gaylen Gerber, 2007
Installation view: Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm (27.5 × 27.5 in.), Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm (27.5 × 27.5 in.); Gaylen Gerber, Support, n.d. 2006, oil paint on souvenir from Crossing the Colors, Daniel Buren, 2006, 239 × 122 cm (94 × 48 inches); Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm (27.5 × 27.5 in.); Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint, painters tape on canvas, 70 × 70 cm (27.5 × 27.5 in.)
Daniel Hug Gallery, Los Angeles

Gaylen Gerber with Tyson ReederSupport/Dead Van, n.d., 2006, oil paint, nail polish on canvas, 40.5 x 48.25 cm (16 x 19 in.)

Gaylen Gerber with Tyson Reeder
Support/Dead Van, n.d., 2006, oil paint, nail polish on canvas, 40.5 × 48.25 cm (16 × 19 in.)

Gaylen Gerber with Heimo ZobernigSupport/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm (27.5 x 27.5 in.)

Gaylen Gerber with Heimo Zobernig
Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm (27.5 × 27.5 in.)

Gaylen Gerber with Heimo ZobernigSupport/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm(27.5 x 27.5 in.)

Gaylen Gerber with Heimo Zobernig
Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm
(27.5 × 27.5 in.)

Gaylen Gerber with Heimo ZobernigSupport/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm (27.5 x 27.5 in.)

Gaylen Gerber with Heimo Zobernig
Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm (27.5 × 27.5 in.)

Gaylen Gerber with Heimo Zobernig Support/Untitled, n.d., 2004, oil paint, painters tape on canvas, 70 x 70 cm(27.5 x 27.5 in.)

Gaylen Gerber with Heimo Zobernig
Support/Untitled, n.d., 2004, oil paint, painters tape on canvas, 70 × 70 cm
(27.5 × 27.5 in.)

Gaylen Gerber, 2008Installation view: Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm (27 x 27 in.); Gaylen Gerber, Support, n.d., oil paint on souvenir from Crossing the Colors, Daniel Buren, 2006, 179.5 x 122 cm (70 ¾ x 48 in.); Louise Lawler and Allen McCullom, Fixed interval, 1992, polished brass, dimensions vary with installation Rowley Kennerk Gallery, Chicago

Gaylen Gerber, 2008
Installation view: Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm (27 × 27 in.); Gaylen Gerber, Support, n.d., oil paint on souvenir from Crossing the Colors, Daniel Buren, 2006, 179.5 × 122 cm (70 ¾ × 48 in.); Louise Lawler and Allen McCullom, Fixed interval, 1992, polished brass, dimensions vary with installation
Rowley Kennerk Gallery, Chicago

Gaylen Gerber, 2008Installation viewRowley Kennerk Gallery, Chicago

Gaylen Gerber, 2008
Installation view
Rowley Kennerk Gallery, Chicago

Gaylen GerberSupport, n.d., oil paint on Support/Moon, Gaylen Gerber with Adrian Schiess, n.d., 2003, 50 x 60 cm (20 x 24 in.)

Gaylen Gerber
Support, n.d., oil paint on Support/Moon, Gaylen Gerber with Adrian Schiess, n.d., 2003, 50 × 60 cm (20 × 24 in.)

Exact Imagination, 2008Installation view: Gaylen Gerber, Backdrop/Exact Imagination, n.d., 2008, latex on canvas, materials vary, overall dimensions vary with installation, with Bank, Andrea Fraser, David Ireland, Christian Jankowski, Louise Lawler, N55, David Ording, and Red76Columbus College of Art and Design, Columbus

Exact Imagination, 2008
Installation view: Gaylen Gerber, Backdrop/Exact Imagination, n.d., 2008, latex on canvas, materials vary, overall dimensions vary with installation, with Bank, Andrea Fraser, David Ireland, Christian Jankowski, Louise Lawler, N55, David Ording, and Red76
Columbus College of Art and Design, Columbus

 
Gaylen Gerber Inaugural Exhibition of the Modern Wing, 2009Installation view: Gaylen Gerber, Backdrop/Inaugural Exhibition of the Modern Wing of the Art Institute of Chicago, background paper, aluminum pins, material vary, overall dimensions vary with installation, with Diane Arbus, Lothar Baumgarten, Patty Carroll, Stéphane Couturier, Rineke Dijkstra, Jeanne Dunning, William Eggleston, Mitch Epstein, Steve Fitch, Robert Frank, David Hammons, Barbara Kruger, Cary S. Leibowitz, Zoe Leonard, Irving Penn, Richard Prince, Adrian Schiess, Andreas Serrano, Jeff Wall, Christopher Williams, Heimo ZobernigThe Art Institute of Chicago, Chicago

Gaylen Gerber
Inaugural Exhibition of the Modern Wing
, 2009
Installation view: Gaylen Gerber, Backdrop/Inaugural Exhibition of the Modern Wing of the Art Institute of Chicago, background paper, aluminum pins, material vary, overall dimensions vary with installation, with Diane Arbus, Lothar Baumgarten, Patty Carroll, Stéphane Couturier, Rineke Dijkstra, Jeanne Dunning, William Eggleston, Mitch Epstein, Steve Fitch, Robert Frank, David Hammons, Barbara Kruger, Cary S. Leibowitz, Zoe Leonard, Irving Penn, Richard Prince, Adrian Schiess, Andreas Serrano, Jeff Wall, Christopher Williams, Heimo Zobernig
The Art Institute of Chicago, Chicago

 
Gaylen Gerber / Joe Scanlan, 2009Installation view: Joe Scanlan, Flush 1, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding, 101.6 x 101.6 x 50.8 cm (40 x 40 x 20 in.); Joe Scanlan, Flush 2, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding 101.6 x 101.6 x 50.8 cm (40 x 40 x 20 in.); Gaylen Gerber, Support, n.d., 2006, silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 178 x 122 cm (70 ¾ x 48 in.), latex paint, transparent vinyl film, transparent lighting gelsWallspace, New York

Gaylen Gerber / Joe Scanlan, 2009
Installation view: Joe Scanlan, Flush 1, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding, 101.6 × 101.6 × 50.8 cm (40 × 40 × 20 in.); Joe Scanlan, Flush 2, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding 101.6 × 101.6 × 50.8 cm (40 × 40 × 20 in.); Gaylen Gerber, Support, n.d., 2006, silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 178 × 122 cm (70 ¾ × 48 in.), latex paint, transparent vinyl film,
transparent lighting gels
Wallspace, New York

Gaylen Gerber / Joe Scanlan, 2009Installation view: Joe Scanlan, Flush 1, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding, 101.6 x 101.6 x 50.8 cm (40 x 40 x 20 in.)Wallspace, New York

Gaylen Gerber / Joe Scanlan, 2009
Installation view: Joe Scanlan, Flush 1, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding, 101.6 × 101.6 × 50.8 cm (40 × 40 × 20 in.)
Wallspace, New York

Gaylen Gerber / Joe Scanlan, 2009Installation view: Joe Scanlan, Flush 2, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding 101.6 x 101.6 x 50.8 cm (40 x 40 x 20 in.) Wallspace, New York

Gaylen Gerber / Joe Scanlan, 2009
Installation view: Joe Scanlan, Flush 2, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding 101.6 × 101.6 × 50.8 cm (40 × 40 × 20 in.)
Wallspace, New York

Gaylen Gerber / Joe Scanlan, 2009Installation view: Joe Scanlan, Flush 2, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding, 101.6 x 101.6 x 50.8 cm (40 x 40 x 20 in.)Wallspace, New York

Gaylen Gerber / Joe Scanlan, 2009
Installation view: Joe Scanlan, Flush 2, 2009, MDF pedestal, offset ink and varnish on 300m Algro, Design (cover), offset ink on 90m Royal Print Matte (text), linen and cold-glue binding, 101.6 × 101.6 × 50.8 cm (40 × 40 × 20 in.)
Wallspace, New York

Support Group, 2010In situ: Kathryn Andrews, Gaylen Gerber, 2010, paint on billboards, each 4.42 x 5.83 m (174 x 204 inches)Thomas Solomon Gallery at Cottage Home, Los Angeles

Support Group, 2010
In situ: Kathryn Andrews, Gaylen Gerber, 2010, paint on billboards, each 4.42 × 5.83 m (174 × 204 inches)
Thomas Solomon Gallery at Cottage Home, Los Angeles

Support Group, 2010Installation view: Mateo Tannatt, Monster model: Blue Screen Version, 2010, steel, wood, paint, hardware, DVD, video projector, dimensions vary with installation; Kathryn Andrews, Friends and Lovers, 2010, chain link fence, concrete, paint, 7.31 x 10.5 (288 x 396 x 96 in.); latex paint, transparent lighting gels, overall dimensions vary with installation Thomas Solomon Gallery at Cottage Home, Los Angeles

Support Group, 2010
Installation view: Mateo Tannatt, Monster model: Blue Screen Version, 2010, steel, wood, paint, hardware, DVD, video projector, dimensions vary with installation; Kathryn Andrews, Friends and Lovers, 2010, chain link fence, concrete, paint, 7.31 × 10.5 (288 × 396 × 96 in.); latex paint, transparent lighting gels, overall dimensions vary with installation
Thomas Solomon Gallery at Cottage Home, Los Angeles

Support Group, 2010Installation view: Mateo Tannatt, Monster model: Blue Screen Version, 2010, steel, wood, paint, hardware, DVD, video projector, dimensions vary with installation; Kathryn Andrews, Friends and Lovers, 2010, chain link fence, concrete, paint, 7.31 x 10.5 (288 x 396 x 96 in.); latex paint, transparent lighting gels, overall dimensions vary with installationThomas Solomon Gallery at Cottage Home, Los Angeles

Support Group, 2010
Installation view: Mateo Tannatt, Monster model: Blue Screen Version, 2010, steel, wood, paint, hardware, DVD, video projector, dimensions vary with installation; Kathryn Andrews, Friends and Lovers, 2010, chain link fence, concrete, paint, 7.31 × 10.5 (288 × 396 × 96 in.); latex paint, transparent lighting gels, overall dimensions vary with installation
Thomas Solomon Gallery at Cottage Home, Los Angeles

Drawing Time / Le Temps du Dessin, 2010Installation view: Gaylen Gerber, Backdrop/Drawing time/Le Temps du Dessin, n.d., 2010, background paper, aluminum pins, materials vary, overall dimensions vary with installation, with Fayçal Baghriche, Katinka Bock, Iñaki Bonillas, Angela Bulloch, Hugo Canoilas, Isabelle Cornaro, Detanico/Lain, Edith Dekyndt, Gintaras Didziapetris, Amy Granat, Anthony McCall, Nicolas Muller, Nadia Myre, Jean-Christophe Norman, Evariste Richer, Lotty Rosenfeld, Ignacio Uriarte, Adam VackarGalleries Poirel, Nancy

Drawing Time / Le Temps du Dessin, 2010
Installation view: Gaylen Gerber, Backdrop/Drawing time/Le Temps du Dessin, n.d., 2010, background paper, aluminum pins, materials vary, overall dimensions vary with installation, with Fayçal Baghriche, Katinka Bock, Iñaki Bonillas, Angela Bulloch, Hugo Canoilas, Isabelle Cornaro, Detanico/Lain, Edith Dekyndt, Gintaras Didziapetris, Amy Granat, Anthony McCall, Nicolas Muller, Nadia Myre, Jean-Christophe Norman, Evariste Richer, Lotty Rosenfeld, Ignacio Uriarte, Adam Vackar
Galleries Poirel, Nancy

Drawing Time / Le Temps du Dessin, 2010Installation view: Gaylen Gerber, Backdrop/Drawing time/Le Temps du Dessin, n.d., 2010, background paper, aluminum pins, materials vary, overall dimensions vary with installation, with Fayçal Baghriche, Katinka Bock, Iñaki Bonillas, Angela Bulloch, Hugo Canoilas, Isabelle Cornaro, Detanico/Lain, Edith Dekyndt, Gintaras Didziapetris, Amy Granat, Anthony McCall, Nicolas Muller, Nadia Myre, Jean-Christophe Norman, Evariste Richer, Lotty Rosenfeld, Ignacio Uriarte, Adam VackarGalleries Poirel, Nancy

Drawing Time / Le Temps du Dessin, 2010
Installation view: Gaylen Gerber, Backdrop/Drawing time/Le Temps du Dessin, n.d., 2010, background paper, aluminum pins, materials vary, overall dimensions vary with installation, with Fayçal Baghriche, Katinka Bock, Iñaki Bonillas, Angela Bulloch, Hugo Canoilas, Isabelle Cornaro, Detanico/Lain, Edith Dekyndt, Gintaras Didziapetris, Amy Granat, Anthony McCall, Nicolas Muller, Nadia Myre, Jean-Christophe Norman, Evariste Richer, Lotty Rosenfeld, Ignacio Uriarte, Adam Vackar
Galleries Poirel, Nancy

 
Gaylen Gerber, 2010Installation view: Gaylen Gerber, Support, n.d., silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 239 x 122 cm (94 x 48 in.), latex paint, transparent vinyl film, transparent lighting gelsKunstverein Ruhr, Essen

Gaylen Gerber, 2010
Installation view: Gaylen Gerber, Support, n.d., silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 239 × 122 cm (94 × 48 in.), latex paint, transparent vinyl film, transparent lighting gels
Kunstverein Ruhr, Essen

Gaylen Gerber, 2010Installation viewKunstverein Ruhr, Essen

Gaylen Gerber, 2010
Installation view
Kunstverein Ruhr, Essen

Gaylen Gerber, 2010Installation viewKunstverein Ruhr, Essen

Gaylen Gerber, 2010
Installation view
Kunstverein Ruhr, Essen

Gaylen Gerber, 2010Installation viewKunstverein Ruhr, Essen

Gaylen Gerber, 2010
Installation view
Kunstverein Ruhr, Essen

Gaylen Gerber, 2010Installation viewKunstverein Ruhr, Essen

Gaylen Gerber, 2010
Installation view
Kunstverein Ruhr, Essen

Gaylen Gerber, 2012Installation viewWallspace, New York

Gaylen Gerber, 2012
Installation view
Wallspace, New York

Gaylen Gerber, 2012Installation view: Gaylen Gerber, Support, n.d., oil paint, Siège (three legged figural stool), Lobi, Burkina Faso, 20thcentury, bronze, 25.5 x 51 x 20 cm (10 x 20 x 8 inches); Gaylen Gerber, Support, n.d., oil paint on Optimal, Model 121 by Joe Colombo, 1969, produced by Butz Choquin, Saint-Claude, France, 1970 14 x 3.8 x 3.8 cm (5.5 x 1.5 x 1.5 inches), Gaylen Gerber, Support, n.d., oil paint on Cowrie Shell Basket (Currency Basket), Yoruba, Nigeria, 20th century, vegetable fiber, cowrie shells and leather, 25.4 x 25.4 x 28 cm (10 x 10 x 11 inches), Gaylen Gerber, Support, n.d., oil onLipico helmet mask, Makonde, Mozambique and Tanzania, 20th century, wood, pigment and human hair, 24 x 30.5 x 23 cm (9.5 x 12 x 9 inches) Wallspace, New York

Gaylen Gerber, 2012
Installation view: Gaylen Gerber, Support, n.d., oil paint, Siège (three legged figural stool), Lobi, Burkina Faso, 20thcentury, bronze, 25.5 × 51 × 20 cm (10 × 20 × 8 inches); Gaylen Gerber, Support, n.d., oil paint on Optimal, Model 121 by Joe Colombo, 1969, produced by Butz Choquin, Saint-Claude, France, 1970 14 × 3.8 × 3.8 cm (5.5 × 1.5 × 1.5 inches), Gaylen Gerber, Support, n.d., oil paint on Cowrie Shell Basket (Currency Basket), Yoruba, Nigeria, 20th century, vegetable fiber, cowrie shells and leather, 25.4 × 25.4 × 28 cm (10 × 10 × 11 inches), Gaylen Gerber, Support, n.d., oil onLipico helmet mask, Makonde, Mozambique and Tanzania, 20th century, wood, pigment and human hair, 24 × 30.5 × 23 cm (9.5 × 12 × 9 inches)
Wallspace, New York

Gaylen Gerber, 2012Installation view: Gaylen Gerber, Backdrop, 1999, background paper, aluminum push pins, overall dimensions vary with installationWallspace, New York

Gaylen Gerber, 2012
Installation view: Gaylen Gerber, Backdrop, 1999, background paper, aluminum push pins, overall dimensions vary with installation
Wallspace, New York

Gaylen Gerber, 2012Installation view: Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 x 70 cm (27.5 x 27.5 inches); Gaylen Gerber, Support, n.d., oil paint on Concetto Spaziale Cratere by Lucio Fontana, 1968, cast and hand-punctured porcelain 38 x 29 x 7.5 cm (15 x 11.5 x 3 inches)Wallspace, New York

Gaylen Gerber, 2012
Installation view: Gaylen Gerber with Heimo Zobernig, Support/Untitled, n.d., 2004, oil paint on canvas, 70 × 70 cm (27.5 × 27.5 inches); Gaylen Gerber, Support, n.d., oil paint on Concetto Spaziale Cratere by Lucio Fontana, 1968, cast and hand-punctured porcelain 38 × 29 × 7.5 cm (15 × 11.5 × 3 inches)
Wallspace, New York

Gaylen Gerber, 2012Installation view: Liz Deschenes, Untitled (Gaylen Gerber #1 - 4), silver gelatin prints mounted on aluminum, 2002,each: 17.7 x 12.7 cm (7 x 5 inches)Wallspace, New York

Gaylen Gerber, 2012
Installation view: Liz Deschenes, Untitled (Gaylen Gerber #1 - 4), silver gelatin prints mounted on aluminum, 2002,each: 17.7 × 12.7 cm (7 × 5 inches)
Wallspace, New York

Gaylen Gerber, 2013Installation view: Gaylen Gerber Support, n.d., silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 179.5 x 122 cm (70 ¾ x 48 in.); Das Institut (Adele Röder and Kerstin Brätsch) and Allison Katz, Scattered A, Scattered K, 2012, cake fondant, donut, food coloring, on cardboard, 245.7 x 121.6 cm (95 ¾ x 48 inches); Cady Noland, Chainsaw Cut Cowboy Head, 1990, silkscreen on aluminum with rope, roll of tape, and cigarette box, 152.4 x 152.4 x 49 cm, (60 x 60 x 19 1/4 inches); H.C. Westermann, W.W.I General, W.W.II General, W.W.III General, 1962, pine, plywood, and fluorescent alkyd enamel 50.2 × 87.6 × 33 cm (19 ¾ × 34 ½ × 13 inches); latex paint, transparent lighting gelsMuseum of Contemporary Art, Chicago

Gaylen Gerber, 2013
Installation view: Gaylen Gerber Support, n.d., silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 179.5 × 122 cm (70 ¾ × 48 in.); Das Institut (Adele Röder and Kerstin Brätsch) and Allison Katz, Scattered A, Scattered K, 2012, cake fondant, donut, food coloring, on cardboard, 245.7 × 121.6 cm (95 ¾ × 48 inches); Cady Noland, Chainsaw Cut Cowboy Head, 1990, silkscreen on aluminum with rope, roll of tape, and cigarette box, 152.4 × 152.4 × 49 cm, (60 × 60 × 19 1/4 inches); H.C. Westermann, W.W.I General, W.W.II General, W.W.III General, 1962, pine, plywood, and fluorescent alkyd enamel 50.2 × 87.6 × 33 cm (19 ¾ × 34 ½ × 13 inches); latex paint, transparent lighting gels
Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013Installation view: Cady Noland, Chainsaw Cut Cowboy Head, 1990, silkscreen on aluminum with rope, roll of tape, and cigarette box, 152.4 x 152.4 x 49 cm, (60 x 60 x 19 1/4 inches)Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013
Installation view: Cady Noland, Chainsaw Cut Cowboy Head, 1990, silkscreen on aluminum with rope, roll of tape, and cigarette box, 152.4 × 152.4 × 49 cm, (60 × 60 × 19 1/4 inches)
Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013Installation view: H.C. Westermann, W.W.I General, W.W.II General, W.W.III General, 1962, pine, plywood, and fluorescent alkyd enamel 50.2 × 87.6 × 33 cm (19 ¾ × 34 ½ × 13 in.); Das Institut (Adele Röder and Kerstin Brätsch) and Allison Katz, Scattered A, Scattered K, 2012, cake fondant, donut, food coloring, on cardboard, 245.7 x 121.6 cm (95 ¾ x 48 in.); Jim Nutt, Summer Salt, 1970, acrylic on vinyl and enamel on wood panel, 155.6 x 91.4 x 8.9 cm (61 1/4 x 36 x 3 1/2 in.);latex paint, transparent lighting gelsMuseum of Contemporary Art, Chicago

Gaylen Gerber, 2013
Installation view: H.C. Westermann, W.W.I General, W.W.II General, W.W.III General, 1962, pine, plywood, and fluorescent alkyd enamel 50.2 × 87.6 × 33 cm (19 ¾ × 34 ½ × 13 in.); Das Institut (Adele Röder and Kerstin Brätsch) and Allison Katz, Scattered A, Scattered K, 2012, cake fondant, donut, food coloring, on cardboard, 245.7 × 121.6 cm (95 ¾ × 48 in.); Jim Nutt, Summer Salt, 1970, acrylic on vinyl and enamel on wood panel, 155.6 × 91.4 × 8.9 cm (61 1/4 × 36 × 3 1/2 in.);latex paint, transparent lighting gels
Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013Installation view: Das Institut (Adele Röder and Kerstin Brätsch) and Allison Katz, Scattered A, Scattered K, 2012, cake fondant, donut, food coloring, on cardboard, 245.7 x 121.6 cm (95 ¾ x 48 in.) Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013
Installation view: Das Institut (Adele Röder and Kerstin Brätsch) and Allison Katz, Scattered A, Scattered K, 2012, cake fondant, donut, food coloring, on cardboard, 245.7 × 121.6 cm (95 ¾ × 48 in.)
Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013Installation view: Gaylen Gerber, Support, n.d., silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 179.5 x 122 cm (70 ¾ x 48 in.), Richard Artschwager, Mirror, 1998, Formica and wood, 89.7 x 61.8 cm (35 5/16 x 24 5/16 in.); latex paint, transparent lighting gelsMuseum of Contemporary Art, Chicago

Gaylen Gerber, 2013
Installation view: Gaylen Gerber, Support, n.d., silver leaf, varnish on souvenir from Crossing Through the Colors, a work in situ, Daniel Buren, 2006, 179.5 × 122 cm (70 ¾ × 48 in.), Richard Artschwager, Mirror, 1998, Formica and wood, 89.7 × 61.8 cm (35 5/16 × 24 5/16 in.); latex paint, transparent lighting gels
Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013Installation view: Gaylen Gerber, Backdrop/panel from the façade of the Museum of Contemporary Art, n.d., latex paint on aluminum, overall dimensions vary with installationMuseum of Contemporary Art, Chicago

Gaylen Gerber, 2013
Installation view: Gaylen Gerber, Backdrop/panel from the façade of the Museum of Contemporary Art, n.d., latex paint on aluminum, overall dimensions vary with installation
Museum of Contemporary Art, Chicago

Gaylen Gerber, 2013 Installation view: Backdrop/panel from the façade of the Museum of Contemporary Art, n.d., latex paint on aluminum, overall dimensions vary with installationMuseum of Contemporary Art, Chicago

Gaylen Gerber, 2013
Installation view: Backdrop/panel from the façade of the Museum of Contemporary Art, n.d., latex paint on aluminum, overall dimensions vary with installation
Museum of Contemporary Art, Chicago

Back Grounds: Impressions Photographiques (2), 2014Installation view: Liz Deschenes, Martin d’Orgeval, Gaylen Gerber, Chargesheimer, Sherrie Levine, Baron Adolphe Humbert de Molard, Alfred Stieglitz, and James WellingAndrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014
Installation view: Liz Deschenes, Martin d’Orgeval, Gaylen Gerber, Chargesheimer, Sherrie Levine, Baron Adolphe Humbert de Molard, Alfred Stieglitz, and James Welling
Andrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014Installation view: Gaylen Gerber, Backdrop, 1999, background paper, aluminum push pins, overall dimensions vary with installation; Martin d’Orgeval, Linea Alba II, 2014, gelatin silver print with artist frame, 68.4 x 43.5 x 4.9 cm (27 x 17 x 2 in.); Martin d’Orgeval, Linea Alba IX, 2014, gelatin silver print with artist frame 65.1 x 43.5 x 4.9 cm (25 1/2 x 17 x 2 in.); d’Orgeval Linea Alba I, 2014, gelatin silver print with artist frame, 81.9 x 47 x 4.9 cm (32 ¼ x 18 ½ x 2 in.); Liz Deschenes, bracket (new york) 1, 2014. unique silver- toned, black and white photogram in artist’s frame, 213.4 x 14 cm (84 x ½ in.); Liz Deschenes, bracket (new york) 3, bracket (new york) 4, 2014, unique silver- toned, black and white photograms in artist’s frame, overall dimensions vary with installationAndrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014
Installation view: Gaylen Gerber, Backdrop, 1999, background paper, aluminum push pins, overall dimensions vary with installation; Martin d’Orgeval, Linea Alba II, 2014, gelatin silver print with artist frame, 68.4 × 43.5 × 4.9 cm (27 × 17 × 2 in.); Martin d’Orgeval, Linea Alba IX, 2014, gelatin silver print with artist frame 65.1 × 43.5 × 4.9 cm (25 1/2 × 17 × 2 in.); d’Orgeval Linea Alba I, 2014, gelatin silver print with artist frame, 81.9 × 47 × 4.9 cm (32 ¼ × 18 ½ × 2 in.); Liz Deschenes, bracket (new york) 1, 2014. unique silver- toned, black and white photogram in artist’s frame, 213.4 × 14 cm (84 × ½ in.); Liz Deschenes, bracket (new york) 3, bracket (new york) 4, 2014, unique silver- toned, black and white photograms in artist’s frame, overall dimensions vary with installation
Andrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014Installation view: Alfred Stieglitz, Equivalent (Songs of the Sky P2), 1923, vintage gelatin silver print mounted to board and mounted to larger board, image, paper and mount: 11.7 x 9.2 cm (4 5/8 x 3 5/8 in.), board: 34.3 x 27 cm (13 1/2 x 10 5/8 in.); Alfred Stieglitz, Songs of the Sky, 1924, gelatin silver print, 9.2 x 11.6 cm (3 5/8 x 4 9/16 in.), Alfred Stieglitz, Equivalent - ES2, Late 1920s, gelatin silver print, sheet: 11.4 x 9 cm (4 1/2 x 3 9/16 in.), mount:  31.6 x 24.6 cm (12 7/16 x 9 11/16 in.), Alfred Stieglitz, Equivalent, 1925, gelatin silver print, 11.8 x 9.2 cm (4.65 x 3.62 in.), Alfred Stieglitz, Equivalent, 1925, gelatin silver print, 9.3 x 11.9 cm 3.66 x 4.69 in.), Alfred Stieglitz, Equivalent, 1929, gelatin silver print mounted to board, 12.1 x 9.2 cm (4 3/4 x 3 5/8 in.), Alfred Stieglitz, Equivalents, 1927, gelatin silver print, 9.4 x 11.7 cm (3 11/16 x 4 5/8 in.), Alfred Stieglitz, Equivalent, 1925 / 1927, vintage gelatin silver print mounted to board and mounted to larger board, image, paper and mount: 11.7 x 9.2 cm (4 5/8 x 3 5/8 in.), board: 35.2 x 27.3 cm (13 7/8 x 10 3/4 in.), Alfred Stieglitz, Equivalent HH₁ 1929. gelatin silver print, image and sheet: 12.1 × 9.5 cm (4 3/4 × 3 3/4 in.), mount: 34.3 x 26 cm (13 1/2 x 10 1/4 in.), Alfred Stieglitz, Equivalent, 1929, gelatin silver print 11.8 x 9.3 cm (4.65 x 3.66 in.), Equivalent, 1929, gelatin silver print, 30 x 23.4 cm (11.8 x 9.2 in.), Alfred Stieglitz, Equivalent, 1930, gelatin silver print, 11.9 x 9.2 cm (4.69 x 3.62 in.), Alfred Stieglitz, Equivalent, 1930, gelatin silver print, 9.2 x 11.6 cm (3 5/8 x 4 9/16 in.), Alfred Stieglitz, Equivalent, 1931, gelatin silver print, image and sheet: 9.2 × 11.6 cm (3 5/8 × 4 9/16 in.), mount: 34.6 × 27.9 cm (13 5/8 × 11 in.), Alfred Stieglitz, Equivalent, 1931, gelatin silver print, 11.9 x 9.3 cm (4.69 x 3.66 in.), Alfred Stieglitz, Equivalent, Series XX No. 9, 1929 (negative); 1932 (print), gelatin silver print, image and sheet: 11.7 x 9.2 cm (4 5/8 x 3 5/8 in.), mount: 34.8 x 27.6 cm (13 11/16 x 10 7/8 in.), Alfred Stieglitz, Equivalent, 1934, gelatin silver print, image and sheet: 11.7 x 9.2 cm (4 5/8 x 3 5/8 in.), Alfred Stieglitz, Equivalent, Set C₂ No.4, 1929 (negative); 1935 (print), gelatin silver print, image and sheet: 11.7 × 9.2 cm 4 5/8 × 3 5/8 in.), Sherrie Levine, Equivalents: After Stieglitz 1–18, 2006, Epson inkjet prints, 18 images, each: 48.3 x 33 cm (19 x 13 inches) framed: 52.7 x 37.5 x 3.2 cm (20 ¾ x 14 ¾ x 1¼ in.) Edition of 12, 3 APAndrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014
Installation view: Alfred Stieglitz, Equivalent (Songs of the Sky P2), 1923, vintage gelatin silver print mounted to board and mounted to larger board, image, paper and mount: 11.7 × 9.2 cm (4 5/8 × 3 5/8 in.), board: 34.3 × 27 cm (13 1/2 × 10 5/8 in.); Alfred Stieglitz, Songs of the Sky, 1924, gelatin silver print, 9.2 × 11.6 cm (3 5/8 × 4 9/16 in.), Alfred Stieglitz, Equivalent - ES2, Late 1920s, gelatin silver print, sheet: 11.4 × 9 cm (4 1/2 × 3 9/16 in.), mount:  31.6 × 24.6 cm (12 7/16 × 9 11/16 in.), Alfred Stieglitz, Equivalent, 1925, gelatin silver print, 11.8 × 9.2 cm (4.65 × 3.62 in.), Alfred Stieglitz, Equivalent, 1925, gelatin silver print, 9.3 × 11.9 cm 3.66 × 4.69 in.), Alfred Stieglitz, Equivalent, 1929, gelatin silver print mounted to board, 12.1 × 9.2 cm (4 3/4 × 3 5/8 in.), Alfred Stieglitz, Equivalents, 1927, gelatin silver print, 9.4 × 11.7 cm (3 11/16 × 4 5/8 in.), Alfred Stieglitz, Equivalent, 1925 / 1927, vintage gelatin silver print mounted to board and mounted to larger board, image, paper and mount: 11.7 × 9.2 cm (4 5/8 × 3 5/8 in.), board: 35.2 × 27.3 cm (13 7/8 × 10 3/4 in.), Alfred Stieglitz, Equivalent HH₁ 1929. gelatin silver print, image and sheet: 12.1 × 9.5 cm (4 3/4 × 3 3/4 in.), mount: 34.3 × 26 cm (13 1/2 × 10 1/4 in.), Alfred Stieglitz, Equivalent, 1929, gelatin silver print 11.8 × 9.3 cm (4.65 × 3.66 in.), Equivalent, 1929, gelatin silver print, 30 × 23.4 cm (11.8 × 9.2 in.), Alfred Stieglitz, Equivalent, 1930, gelatin silver print, 11.9 × 9.2 cm (4.69 × 3.62 in.), Alfred Stieglitz, Equivalent, 1930, gelatin silver print, 9.2 × 11.6 cm (3 5/8 × 4 9/16 in.), Alfred Stieglitz, Equivalent, 1931, gelatin silver print, image and sheet: 9.2 × 11.6 cm (3 5/8 × 4 9/16 in.), mount: 34.6 × 27.9 cm (13 5/8 × 11 in.), Alfred Stieglitz, Equivalent, 1931, gelatin silver print, 11.9 × 9.3 cm (4.69 × 3.66 in.), Alfred Stieglitz, Equivalent, Series XX No. 9, 1929 (negative); 1932 (print), gelatin silver print, image and sheet: 11.7 × 9.2 cm (4 5/8 × 3 5/8 in.), mount: 34.8 × 27.6 cm (13 11/16 × 10 7/8 in.), Alfred Stieglitz, Equivalent, 1934, gelatin silver print, image and sheet: 11.7 × 9.2 cm (4 5/8 × 3 5/8 in.), Alfred Stieglitz, Equivalent, Set C₂ No.4, 1929 (negative); 1935 (print), gelatin silver print, image and sheet: 11.7 × 9.2 cm 4 5/8 × 3 5/8 in.), Sherrie Levine, Equivalents: After Stieglitz 1–18, 2006, Epson inkjet prints, 18 images, each: 48.3 × 33 cm (19 × 13 inches) framed: 52.7 × 37.5 × 3.2 cm (20 ¾ × 14 ¾ × 1¼ in.) Edition of 12, 3 AP
Andrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014Installation view: James Welling, Chemical, 2013, unique chemigram with ink, 14 x 11 inches (35.6 x 27.9 cm), Framed: 20 1/2 x 16 1/2 x 1 1/8 inches (52.1 x 41.9 x 2.9 cm); James Welling, Granite Outcrop, Harriman, WY, 1992, toned gelatin silver print, framed: 23 5/8 x 19 1/2 x 3/4 inches (60 x 49.5 x 1.9 cm) Paper: 11 x 13 7/8 inches (27.9 x 35.2 cm)Image: 9 3/4 x 11 1/2 inches (24.8 x 29.2 cm); James Welling, Chemical, 2013, unique chemigram, 14 x 11 inches (35.6 x 27.9 cm); James Welling. Chemical, 2014, unique chemigram with acrylic, 14 x 11 inches (35.6 x 27.9 cm); Gaylen Gerber, Backdrop, 1999, background paper, aluminum push pins, overall dimensions vary with installation; Gaylen Gerber, Untitled (Clear Sky), 1991, gelatin silver print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.)Andrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014
Installation view: James Welling, Chemical, 2013, unique chemigram with ink, 14 × 11 inches (35.6 × 27.9 cm), Framed: 20 1/2 × 16 1/2 × 1 1/8 inches (52.1 × 41.9 × 2.9 cm); James Welling, Granite Outcrop, Harriman, WY, 1992, toned gelatin silver print, framed: 23 5/8 × 19 1/2 × 3/4 inches (60 × 49.5 × 1.9 cm) Paper: 11 × 13 7/8 inches (27.9 × 35.2 cm)
Image: 9 3/4 × 11 1/2 inches (24.8 × 29.2 cm); James Welling, Chemical, 2013, unique chemigram, 14 × 11 inches (35.6 × 27.9 cm); James Welling. Chemical, 2014, unique chemigram with acrylic, 14 × 11 inches (35.6 × 27.9 cm); Gaylen Gerber, Backdrop, 1999, background paper, aluminum push pins, overall dimensions vary with installation; Gaylen Gerber, Untitled (Clear Sky), 1991, gelatin silver print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.)
Andrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014Installation view: Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin silver print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Gaylen Gerber, Clear Sky/Green Area, 1998, Ilfachrome print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Gaylen Gerber, Clear Sky/Garden Addition, 1997, Ilfachrome print, charcoal, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin silver print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin Silver print, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Gaylen Gerber, Clear Sky/House, 1995-1996, gelatin silver print, charcoal, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Gaylen Gerber, Clear Sky/Flower, 1997, Ilfachrome print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.); Gaylen Gerber, Clear Sky/Flower, 1997, Ilfachrome print, charcoal, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.)Andrea Rosen Gallery, New York

Back Grounds: Impressions Photographiques (2), 2014
Installation view: Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin silver print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Gaylen Gerber, Clear Sky/Green Area, 1998, Ilfachrome print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Gaylen Gerber, Clear Sky/Garden Addition, 1997, Ilfachrome print, charcoal, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin silver print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Gaylen Gerber, Untitled (Clear Sky), n.d., gelatin Silver print, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Gaylen Gerber, Clear Sky/House, 1995-1996, gelatin silver print, charcoal, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Gaylen Gerber, Clear Sky/Flower, 1997, Ilfachrome print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.); Gaylen Gerber, Clear Sky/Flower, 1997, Ilfachrome print, charcoal, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.)
Andrea Rosen Gallery, New York

Gaylen GerberUntitled (Clear Sky), n.d., gelatin Silver print, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.)

Gaylen Gerber
Untitled (Clear Sky), n.d., gelatin Silver print, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.)

Gaylen GerberClear Sky/Garden Addition, 1997, Ilfachrome print, charcoal, Plexiglas frame, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.)

Gaylen Gerber
Clear Sky/Garden Addition, 1997, Ilfachrome print, charcoal, Plexiglas frame, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.)

Gaylen GerberClear Sky/Flower, 1997, Ilfachrome print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 x 79.5 cm (31 ¼ x 31 ¼ in.)

Gaylen Gerber
Clear Sky/Flower, 1997, Ilfachrome print, Plexiglas frame fabricated from a souvenir from Daniel Buren’s Crossing Through the Colors, a work in situ, 2006, 79.5 × 79.5 cm (31 ¼ × 31 ¼ in.)

Whitney Biennial, 2014Gaylen Gerber with David Hammons, Sherrie Levine, Trevor ShimizuInstallation view: Gaylen Gerber with Trevor Shimizu, Backdrop/Untitled (servant 1), Untitled (POV woman on top), n.d., undated, undated, latex paint on canvas, oil paint on Belgian linen, oil paint on canvas, 5.28 x 13.41 m (17 x 44 ft.)Whitney Museum of American Art, New York

Whitney Biennial, 2014
Gaylen Gerber with David Hammons, Sherrie Levine, Trevor Shimizu
Installation view: Gaylen Gerber with Trevor Shimizu, Backdrop/Untitled (servant 1), Untitled (POV woman on top), n.d., undated, undated, latex paint on canvas, oil paint on Belgian linen, oil paint on canvas, 5.28 × 13.41 m (17 × 44 ft.)
Whitney Museum of American Art, New York

Whitney Biennial, 2014Gaylen Gerber with David Hammons, Sherrie Levine, Trevor ShimizuInstallation view: Gaylen Gerber with David Hammons and Sherrie LevineBackdrop/Untitled, Broad Stripe #2, n.d., 2010, 1985, latex paint on canvas, mixed media, casein and wax on mahogany, 5.28 x 13.41 m (17 x 44 ft.)Whitney Museum of American Art, New York

Whitney Biennial, 2014
Gaylen Gerber with David Hammons, Sherrie Levine, Trevor Shimizu
Installation view: Gaylen Gerber with David Hammons and Sherrie Levine
Backdrop/Untitled, Broad Stripe #2, n.d., 2010, 1985, latex paint on canvas, mixed media, casein and wax on mahogany, 5.28 × 13.41 m (17 × 44 ft.)
Whitney Museum of American Art, New York

 
Gaylen Gerber, Park McArthur, Jim Nutt, 2015Installation view: Gaylen Gerber, Backdrop/Park McArthur, Jim Nutt, n.d, 2015, background paper, aluminum pins, polyurethane foam, pencil on paper, overall dimensions vary with installationGallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015
Installation view: Gaylen Gerber, Backdrop/Park McArthur, Jim Nutt, n.d, 2015, background paper, aluminum pins, polyurethane foam, pencil on paper, overall dimensions vary with installation
Gallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015Installation view: Park McArthur, Polyurethane Foam, 2015, Polyurethane Foam, 215.9 × 137.16 × 109.22 cm (85 × 54 × 43 in.)Gallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015
Installation view: Park McArthur, Polyurethane Foam, 2015, Polyurethane Foam, 215.9 × 137.16 × 109.22 cm
(85 × 54 × 43 in.)
Gallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015Installation view: Gaylen Gerber, Backdrop/Park McArthur, Jim Nutt, n.d, 2015, background paper, aluminum pins, polyurethane foam, pencil on paper, overall dimensions vary with installationGallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015
Installation view: Gaylen Gerber, Backdrop/Park McArthur, Jim Nutt, n.d, 2015, background paper, aluminum pins, polyurethane foam, pencil on paper, overall dimensions vary with installation
Gallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015Installation view: Jim Nutt, Untitled, 2009, pencil on paper, 60.3 x 57.8 cm (23 ¾ x 22 ¾ in.)Gallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015
Installation view: Jim Nutt, Untitled, 2009, pencil on paper, 60.3 × 57.8 cm (23 ¾ × 22 ¾ in.)
Gallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015Installation view: Jim Nutt, Untitled, 2009, pencil on paper, 60.6 x 60.3 cm (23 7/8 x 23 ¾ in.)Gallery Emanuel Layr, Vienna

Gaylen Gerber, Park McArthur, Jim Nutt, 2015
Installation view: Jim Nutt, Untitled, 2009, pencil on paper, 60.6 × 60.3 cm (23 7/8 × 23 ¾ in.)
Gallery Emanuel Layr, Vienna

Gaylen Gerber and Studio for Propositional Cinema, 2016Installation view: Gaylen Gerber with Rémy Zaugg, Backdrop/LÀ, n.d., 1992/2016, paint on ohne Titel by Heimo Zobernig, 2015, Eisengerüst, 3-Schichtholzplatten, schwarz bemalt, Karl-Tizian-Platz, Theaterfassade, 2015, June 22,KUB Projects Exhibition, overall dimensions vary with installationKunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016
Installation view: Gaylen Gerber with Rémy Zaugg, Backdrop/LÀ, n.d., 1992/2016, paint on ohne Titel by Heimo Zobernig, 2015, Eisengerüst, 3-Schichtholzplatten, schwarz bemalt, Karl-Tizian-Platz, Theaterfassade, 2015, June 22,KUB Projects Exhibition, overall dimensions vary with installation
Kunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016Installation view: Keren Cytter & Studio for Propositional Cinema, Scenes at an Inauguration, 2016, performance June 23, KUB Projects Exhibition; Gaylen Gerber with Rémy Zaugg, Backdrop/LÀ, n.d., 1992I2016, paint on ohne Titel by Heimo Zobernig, 2015, Eisengerüst, 3-Schichtholzplatten, schwarz bemalt, Karl-Tizian-Platz, Theaterfassade, 2015, Overall dimensions vary with installationKunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016
Installation view: Keren Cytter & Studio for Propositional Cinema, Scenes at an Inauguration, 2016, performance June 23, KUB Projects Exhibition; Gaylen Gerber with Rémy Zaugg, Backdrop/LÀ, n.d., 1992I2016, paint on ohne Titel by Heimo Zobernig, 2015, Eisengerüst, 3-Schichtholzplatten, schwarz bemalt, Karl-Tizian-Platz, Theaterfassade, 2015, Overall dimensions vary with installation
Kunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016Installation view: Daniel Buren, Voile/Toile – Toile/Voile, (Sail/Canvas–Canvas/Sail), 1975/2016, regatta, Yacht Club Bregenz, June 24, KUB Projects Exhibition, Bregenz, 2016, photo: Uli Holz. Courtesy the artist, Collection Suzanne and Selman Selvi, GenevaKunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016
Installation view: Daniel Buren, Voile/Toile – Toile/Voile, (Sail/Canvas–Canvas/Sail), 1975/2016, regatta, Yacht Club Bregenz, June 24, KUB Projects Exhibition, Bregenz, 2016, photo: Uli Holz. Courtesy the artist, Collection Suzanne and Selman Selvi, Geneva
Kunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016Installation view: Daniel Buren, Voile/Toile – Toile/Voile (Sail/Canvas–Canvas/Sail), 1975/2016, regatta, Yacht Club Bregenz, June 24, KUB Projects Exhibition, Bregenz, 2016, photo: Uli Holz. Courtesy the artist, Collection Suzanne and Selman Selvi, GenevaKunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016
Installation view: Daniel Buren, Voile/Toile – Toile/Voile (Sail/Canvas–Canvas/Sail), 1975/2016, regatta, Yacht Club Bregenz, June 24, KUB Projects Exhibition, Bregenz, 2016, photo: Uli Holz. Courtesy the artist, Collection Suzanne and Selman Selvi, Geneva
Kunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016Exhibition view: Dirty Mirrors (John Miller, Aura Rosenberg), concert: Yacht Club Bregenz, June 24, KUB Projects Exhibition, overall dimensions vary with installationKunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016
Exhibition view: Dirty Mirrors (John Miller, Aura Rosenberg), concert: Yacht Club Bregenz, June 24, KUB Projects Exhibition, overall dimensions vary with installation
Kunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016Installation view: John Kelsey & Christopher Williams, Radio Daniele – Tribute to Tony Conrad, 2016, performance Gasthof Pfänderspitze June 25, KUB Projects Exhibition, overall dimensions vary with installationKunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016
Installation view: John Kelsey & Christopher Williams, Radio Daniele – Tribute to Tony Conrad, 2016, performance Gasthof Pfänderspitze June 25, KUB Projects Exhibition, overall dimensions vary with installation
Kunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016Installation view: John Kelsey & Christopher Williams, Radio Daniele – Tribute to Tony Conrad, 2016, performance Gasthof Pfänderspitze June 25, KUB Projects Exhibition, overall dimensions vary with installationKunstahaus Bregenz, Bregenz

Gaylen Gerber and Studio for Propositional Cinema, 2016
Installation view: John Kelsey & Christopher Williams, Radio Daniele – Tribute to Tony Conrad, 2016, performance Gasthof Pfänderspitze June 25, KUB Projects Exhibition, overall dimensions vary with installation
Kunstahaus Bregenz, Bregenz

Gaylen Gerber, 2016Installation viewGalerie Emanuel Layr, Vienna

Gaylen Gerber, 2016
Installation view
Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016Installation viewGalerie Emanuel Layr, Vienna

Gaylen Gerber, 2016
Installation view
Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016Installation viewGalerie Emanuel Layr, Vienna

Gaylen Gerber, 2016
Installation view
Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016Installation view: Gaylen Gerber, Support, n.d., oil paint on mirror, United States, mirrored glass, gilt frame, 20th century, 58.5 x 47.5 x 4 cm (23 x 18¾ x 1½ in.)Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016
Installation view: Gaylen Gerber, Support, n.d., oil paint on mirror, United States, mirrored glass, gilt frame, 20th century, 58.5 × 47.5 × 4 cm (23 × 18¾ × 1½ in.)
Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016Installation viewGalerie Emanuel Layr, Vienna

Gaylen Gerber, 2016
Installation view
Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016Installation view: Gaylen Gerber, Support, n. d., oil paint on Lipico (helmet mask), Makonde people, Tansania, wood, pigment, 20th century, 21.5 x 25.5 x 17.5 cm (8 ½ x 10 x 7 in.)Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016
Installation view: Gaylen Gerber, Support, n. d., oil paint on Lipico (helmet mask), Makonde people, Tansania, wood, pigment, 20th century, 21.5 × 25.5 × 17.5 cm (8 ½ × 10 × 7 in.)
Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016Installation view: Gaylen Gerber, Support, n.d., oil paint on Cultural Revolution teapot with portrait of Mao Zedong, China, Yixing ware, 1960’s, 15.8 x 17.7 x 12.7 cm (6.5 x 7 x 5 in.) Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2016
Installation view: Gaylen Gerber, Support, n.d., oil paint on Cultural Revolution teapot with portrait of Mao Zedong, China, Yixing ware, 1960’s, 15.8 × 17.7 × 12.7 cm (6.5 × 7 × 5 in.)
Galerie Emanuel Layr, Vienna

Gaylen Gerber, 2018Installation viewArts Club of Chicago, Chicago

Gaylen Gerber, 2018
Installation view
Arts Club of Chicago, Chicago

Gaylen Gerber, 2018Installation viewArts Club of Chicago, Chicago

Gaylen Gerber, 2018
Installation view
Arts Club of Chicago, Chicago

Gaylen Gerber, 2018Installation view - three nearest pedestals: Gaylen Gerber, Support, n.d., oil paint on Bactrian gray stone idol, northern Afghanistan, ca. late 3rd–early 2nd century BCE, on base, 102.2 x 17.8 x 17.8 cm (40 ¼ x 7 x 7 in.); Gaylen Gerber, Support, n.d., oil paint on Sueki earthenware, Japan, Heian era, 794–1185 CE, 12.1 x 8.2 x 8.2 cm (4 ¾ x 3 ¼ x 3 ¼ in.);Gaylen Gerber, Support, n.d., oil paint on stucco female head, Gandharan, North-West Frontier Province, Pakistan, 4th–5th century CE, on base, 30.5 x16.5 x 16.5 cm (12 x 6 ½ x 6 ½ in.); Gaylen Gerber, Support, n.d., oil paint on bronze commemorative head of an Oba, Edo or Benin peoples, Nigeria, early 20th century, on base, 17 x 6 ¾ x 8 ½ in. (43.2 x 17.1 x 21.6 cm); Gaylen Gerber, Support, n.d., oil paint on painted wooden Buddhist figure of Bato Kannon (Hayagriva), Japan, Edo period, 18th–19th century, 62.9 x 28.6 x 19 cm (24 ¾ x 11 ¼ x 7 ½ in.)The Arts Club of Chicago, Chicago

Gaylen Gerber, 2018
Installation view - three nearest pedestals: Gaylen Gerber, Support, n.d., oil paint on Bactrian gray stone idol, northern Afghanistan, ca. late 3rd–early 2nd century BCE, on base, 102.2 × 17.8 × 17.8 cm (40 ¼ × 7 × 7 in.); Gaylen Gerber, Support, n.d., oil paint on Sueki earthenware, Japan, Heian era, 794–1185 CE, 12.1 × 8.2 × 8.2 cm (4 ¾ × 3 ¼ × 3 ¼ in.);Gaylen Gerber, Support, n.d., oil paint on stucco female head, Gandharan, North-West Frontier Province, Pakistan, 4th–5th century CE, on base, 30.5 x16.5 × 16.5 cm (12 × 6 ½ × 6 ½ in.); Gaylen Gerber, Support, n.d., oil paint on bronze commemorative head of an Oba, Edo or Benin peoples, Nigeria, early 20th century, on base, 17 × 6 ¾ × 8 ½ in. (43.2 × 17.1 × 21.6 cm); Gaylen Gerber, Support, n.d., oil paint on painted wooden Buddhist figure of Bato Kannon (Hayagriva), Japan, Edo period, 18th–19th century, 62.9 × 28.6 × 19 cm (24 ¾ × 11 ¼ × 7 ½ in.)
The Arts Club of Chicago, Chicago

Gaylen Gerber, 2018Installation viewArts Club of Chicago, Chicago

Gaylen Gerber, 2018
Installation view
Arts Club of Chicago, Chicago

Gaylen Gerber, 2018Installation view: Gaylen Gerber, Support, n.d., oil paint on fiber and pitch water basket, Native American (Paiute or Washoe), Great Basin Area, United States, 19th century, 39.4 x 34.3 x 30.5 cm (15 ½ x 13 ½ x 12 in.); Gaylen Gerber, Support, n.d., oil paint on rubber chicken (latex with pigment), United States, 20th century, 7.6 x 44.5 x 10.2 cm (3 x 17 ½ x 4 in.); Gaylen Gerber, Support, n.d., oil paint on bronze stand for oil lamp in form of a tree, Rome, Imperial Period, 1st–4th century CE, 32.5 x 10.8 cm (12 ¾ x 5 ½ x 4 ⅛ in.); Gaylen Gerber, Support, n.d., oil paint on mirror with face, glass, and gypsum, Syro-Hittite (Luwian-, Aramaic-, and Phoenician- speaking political entities), northern Syria and southern Anatolia, 2nd century BCE, on base, 11.4 x 11.9 x 5.8 cm (5 ¾ x 4 ½ x 2 ⅜ in.); Gaylen Gerber, Support, n.d., oil paint on 12 fl. oz. printed aluminum can (Anheuser-Busch), United States, 21st century, 13 x 7.6 x 6.3 cm (5 ⅛ x 3 x 2 ½ in.), Gaylen Gerber, Support, n.d., oil paint on cinematic prop of severed ear from the Hughes Brothers’ Dead Presidents, 1995, 2 x 6 x 4 cm (¾ x 2 ⅜ x 1 ½ inches); Gaylen Gerber, Support, n.d., oil paint on female figure (bone) Egypt, Roman period, ca. 2nd–3rd century CE, on base, 15.2 x 5.4 x 3.2 cm (6 x 2 ⅛ x 1 ¼ in.)The Arts Club of Chicago, Chicago

Gaylen Gerber, 2018
Installation view: Gaylen Gerber, Support, n.d., oil paint on fiber and pitch water basket, Native American (Paiute or Washoe), Great Basin Area, United States, 19th century, 39.4 × 34.3 × 30.5 cm (15 ½ × 13 ½ × 12 in.); Gaylen Gerber, Support, n.d., oil paint on rubber chicken (latex with pigment), United States, 20th century, 7.6 × 44.5 × 10.2 cm (3 × 17 ½ × 4 in.); Gaylen Gerber, Support, n.d., oil paint on bronze stand for oil lamp in form of a tree, Rome, Imperial Period, 1st–4th century CE, 32.5 × 10.8 cm (12 ¾ × 5 ½ × 4 ⅛ in.); Gaylen Gerber, Support, n.d., oil paint on mirror with face, glass, and gypsum, Syro-Hittite (Luwian-, Aramaic-, and Phoenician- speaking political entities), northern Syria and southern Anatolia, 2nd century BCE, on base, 11.4 × 11.9 × 5.8 cm (5 ¾ × 4 ½ × 2 ⅜ in.); Gaylen Gerber, Support, n.d., oil paint on 12 fl. oz. printed aluminum can (Anheuser-Busch), United States, 21st century, 13 × 7.6 × 6.3 cm (5 ⅛ × 3 × 2 ½ in.), Gaylen Gerber, Support, n.d., oil paint on cinematic prop of severed ear from the Hughes Brothers’ Dead Presidents, 1995, 2 × 6 × 4 cm (¾ × 2 ⅜ × 1 ½ inches); Gaylen Gerber, Support, n.d., oil paint on female figure (bone) Egypt, Roman period, ca. 2nd–3rd century CE, on base, 15.2 × 5.4 × 3.2 cm (6 × 2 ⅛ × 1 ¼ in.)
The Arts Club of Chicago, Chicago

Gaylen Gerber, 2019In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary Oslobiennalen, Oslo

Gaylen Gerber, 2019
In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary
Oslobiennalen, Oslo

Gaylen Gerber, 2019In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary Oslobiennalen, Oslo

Gaylen Gerber, 2019
In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary
Oslobiennalen, Oslo

Gaylen Gerber, 2019In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary Oslobiennalen, Oslo

Gaylen Gerber, 2019
In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary
Oslobiennalen, Oslo

Gaylen Gerber, 2019In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary Oslobiennalen, Oslo

Gaylen Gerber, 2019
In situ: Gaylen Gerber, Support, n.d., acrylic paint on barracks, German, Oslo, Norway, 1940–1945, overall dimensions vary
Oslobiennalen, Oslo

Gaylen Gerber, 2019Installation view: Gaylen Gerber, Support, n.d., oil paint on mirror with gilt frame from the Kennedy Winter White House, Palm Beach, Florida, mid-20th century, 86.4 x 76.2 x 2.5 cm (34 ½ x 30 x 1 in.); Gaylen Gerber, Support, n.d., oil paint on canvas (originally Support/Loehr Slide Show, n.d., 2003) 127 x 127 cm (50 x 50 in.)Edvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

Gaylen Gerber, 2019
Installation view: Gaylen Gerber, Support, n.d., oil paint on mirror with gilt frame from the Kennedy Winter White House, Palm Beach, Florida, mid-20th century, 86.4 × 76.2 × 2.5 cm (34 ½ × 30 × 1 in.); Gaylen Gerber, Support, n.d., oil paint on canvas (originally Support/Loehr Slide Show, n.d., 2003) 127 × 127 cm (50 × 50 in.)
Edvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

Gaylen Gerber, 2019Installation viewEdvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

Gaylen Gerber, 2019
Installation view
Edvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

Gaylen Gerber, 2019Installation view: nearest pedestal: Gaylen Gerber, Support, n.d., oil paint on concrete fragment found in Grant Park, Chicago, on November 4, 2008, on base, 7.6 x 11.4 x 8.9 cm (3 x 4 ½ x 3 ½ in.); Gaylen Gerber, Support, n.d., oil paint on earthenware ewer with floral medallions, Persia and the eastern Mediterranean area, Abbasid period, 750–1258 CE, ca. 9th century CE, on base 20.3 x 16.2 x 15.9 cm (8 x 6 ⅜ x 6 ¼ in.); Gaylen Gerber, Support, n.d., oil paint on seated female figure (ceramic, pigment), Nayarit, Mexico, Chinesco Type D, Proto-Classic Lagunillas Style, ca. 100 BCE–250 CE, 30.5 x 17.8 x 16.5 cm (12 x 7 x 6 ¾ in.); Gaylen Gerber, Support, n.d., oil paint on dancing Vishnu figure (human bone), Tibet, ca. 19th century, on base 18 x 5.3 x 5 cm (7 ⅛ x 2 ½ x 2 in.)Edvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

Gaylen Gerber, 2019
Installation view: nearest pedestal: Gaylen Gerber, Support, n.d., oil paint on concrete fragment found in Grant Park, Chicago, on November 4, 2008, on base, 7.6 × 11.4 × 8.9 cm (3 × 4 ½ × 3 ½ in.); Gaylen Gerber, Support, n.d., oil paint on earthenware ewer with floral medallions, Persia and the eastern Mediterranean area, Abbasid period, 750–1258 CE, ca. 9th century CE, on base 20.3 × 16.2 × 15.9 cm (8 × 6 ⅜ × 6 ¼ in.); Gaylen Gerber, Support, n.d., oil paint on seated female figure (ceramic, pigment), Nayarit, Mexico, Chinesco Type D, Proto-Classic Lagunillas Style, ca. 100 BCE–250 CE, 30.5 × 17.8 × 16.5 cm (12 × 7 × 6 ¾ in.); Gaylen Gerber, Support, n.d., oil paint on dancing Vishnu figure (human bone), Tibet, ca. 19th century, on base 18 × 5.3 × 5 cm (7 ⅛ × 2 ½ × 2 in.)
Edvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

Gaylen Gerber, 2019Installation view: nearest pedestal: Gaylen Gerber, Support, n.d., oil paint on burial figure of an attendant (glazed terra-cotta), China, Ming Dynasty, 1368–1644 CE, 19.7 x 7.4 x 5.4 cm (7 ¾ x 2 ⅞ x 2 ⅛ in.); Gaylen Gerber, Support, n.d., oil paint on fiber and pitch water basket, Native American (Paiute or Washoe), Great Basin Area, United States, 19th century, 39.4 x 34.3 x 30.5 cm (15 ½ x 13 ½ x 12 in.); vitrine: Gaylen Gerber, Support, n.d., oil paint on earthenware vessel (elephant; (Sawankhalok ware), Lopburi Province, Thailand,14th – 16th century, 13.3 x 14.6 x 6.3 cm (5 ¼ x 5 ¾ x 2 ½ in.Edvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

Gaylen Gerber, 2019
Installation view: nearest pedestal: Gaylen Gerber, Support, n.d., oil paint on burial figure of an attendant (glazed terra-cotta), China, Ming Dynasty, 1368–1644 CE, 19.7 × 7.4 × 5.4 cm (7 ¾ × 2 ⅞ × 2 ⅛ in.); Gaylen Gerber, Support, n.d., oil paint on fiber and pitch water basket, Native American (Paiute or Washoe), Great Basin Area, United States, 19th century, 39.4 × 34.3 × 30.5 cm (15 ½ × 13 ½ × 12 in.); vitrine: Gaylen Gerber, Support, n.d., oil paint on earthenware vessel (elephant; (Sawankhalok ware), Lopburi Province, Thailand,14th – 16th century, 13.3 × 14.6 × 6.3 cm (5 ¼ × 5 ¾ × 2 ½ in.
Edvard Munch studio, Ekely, Oslo, Oslobiennalen, Oslo

The Making of Husbands: Christina Ramberg in Dialogue, 2020Installation view: Gaylen Gerber, Backdrop/The Making of Husbands: Christina Rambery in Dialogue, n.d., 2020, background paper, aluminum pins, materials vary, overall dimensions vary with installation, with Alexandra Bircken, Sara Deraedt, Frieda Toranzo Jaeger, Konrad Klapheck, Ghislaine Leung, Senga Nengudi, Ana Pellicer, Howardena Pindell, Christina Ramberg, Richard Rezac, Diane Simpson, Kathleen WhiteBaltic Center for Contemporary Art, Gateshead

The Making of Husbands: Christina Ramberg in Dialogue, 2020
Installation view: Gaylen Gerber, Backdrop/The Making of Husbands: Christina Rambery in Dialogue, n.d., 2020, background paper, aluminum pins, materials vary, overall dimensions vary with installation, with Alexandra Bircken, Sara Deraedt, Frieda Toranzo Jaeger, Konrad Klapheck, Ghislaine Leung, Senga Nengudi, Ana Pellicer, Howardena Pindell, Christina Ramberg, Richard Rezac, Diane Simpson, Kathleen White
Baltic Center for Contemporary Art, Gateshead

Photo: Rob Harris © 2020 BALTIC

The Making of Husbands: Christina Ramberg in Dialogue, 2020Installation viewBaltic Center for Contemporary Art, Gateshead

The Making of Husbands: Christina Ramberg in Dialogue, 2020
Installation view
Baltic Center for Contemporary Art, Gateshead

Photo: Rob Harris © 2020 BALTIC

The Making of Husbands: Christina Ramberg in Dialogue, 2020Installation viewBaltic Center for Contemporary Art, Gateshead

The Making of Husbands: Christina Ramberg in Dialogue, 2020
Installation view
Baltic Center for Contemporary Art, Gateshead

Photo: Rob Harris © 2020 BALTIC

The Making of Husbands: Christina Ramberg in Dialogue, 2020Installation viewBaltic Center for Contemporary Art, Gateshead

The Making of Husbands: Christina Ramberg in Dialogue, 2020
Installation view
Baltic Center for Contemporary Art, Gateshead

Photo: Rob Harris © 2020 BALTIC

The Making of Husbands: Christina Ramberg in Dialogue, 2020Installation viewBaltic Center for Contemporary Art, Gateshead

The Making of Husbands: Christina Ramberg in Dialogue, 2020
Installation view
Baltic Center for Contemporary Art, Gateshead

Photo: Rob Harris © 2020 BALTIC

Gaylen Gerber, 2020Installation viewLayr, Vienna

Gaylen Gerber, 2020
Installation view
Layr, Vienna

Gaylen Gerber, 2020Installation view: Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 x 96.5 cm (38 x 38 in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Francois-Raoul Larche (1860 - 1912), French, 52.7 x 36 x 19 cm (20 ¾ x 14 x 7 ½ in.), Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 x 26.6 x 26.6 cm (15 ½ x 10 ½ x 10 ½ in.)Layr, Vienna

Gaylen Gerber, 2020
Installation view: Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 × 96.5 cm (38 × 38 in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Francois-Raoul Larche (1860 - 1912), French, 52.7 × 36 × 19 cm (20 ¾ × 14 × 7 ½ in.), Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 × 26.6 × 26.6 cm (15 ½ × 10 ½ × 10 ½ in.)
Layr, Vienna

Gaylen Gerber, 2020Installation view: Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 x 96.5 cm (38 x 38 in.); Gaylen Gerber, Support, n.d., oil paint on taxidermy coyote, United States, 20th century, 96.5 x 82 x 29.7 cm (38 ¼ x 32 ¼ x 11 ¼ in.); Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 x 96.5 cm (38 x 38 in.); Support, n.d., oil paint on bronze bust of Henry Gerber, Michele Guballo, Nardò, Italy, 1945, 43.2 x 20.2 x 25.4 cm (17 x 8 x 10 in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Francois-Raoul Larche (1860 - 1912), French, 52.7 x 36 x 19 cm (20 ¾ x 14 x 7 ½ in.), Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 x 26.6 x 26.6 cm (15 ½ x 10 ½ x 10 ½ in.); Support, n.d., oil paint on iron with gilt rooster, stamped mark, Italy, 20th century, 43.2 x 37.5 x 17 cm (17 x 14 ¾ x 6 ¾ in.); Gaylen Gerber, Support, n.d., oil paint on still life with flowers, oil on canvas by follower of Jan van Huysum with gilt frame, 19th Century, 71 x 58.5 x 6.3 cm (28 x 23 x 2 ½ in.) Layr, Vienna

Gaylen Gerber, 2020
Installation view: Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 × 96.5 cm (38 × 38 in.); Gaylen Gerber, Support, n.d., oil paint on taxidermy coyote, United States, 20th century, 96.5 × 82 × 29.7 cm (38 ¼ × 32 ¼ × 11 ¼ in.); Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 × 96.5 cm (38 × 38 in.); Support, n.d., oil paint on bronze bust of Henry Gerber, Michele Guballo, Nardò, Italy, 1945, 43.2 × 20.2 × 25.4 cm (17 × 8 × 10 in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Francois-Raoul Larche (1860 - 1912), French, 52.7 × 36 × 19 cm (20 ¾ × 14 × 7 ½ in.), Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 × 26.6 × 26.6 cm (15 ½ × 10 ½ × 10 ½ in.); Support, n.d., oil paint on iron with gilt rooster, stamped mark, Italy, 20th century, 43.2 × 37.5 × 17 cm (17 × 14 ¾ × 6 ¾ in.); Gaylen Gerber, Support, n.d., oil paint on still life with flowers, oil on canvas by follower of Jan van Huysum with gilt frame, 19th Century, 71 × 58.5 × 6.3 cm (28 × 23 × 2 ½ in.)
Layr, Vienna

Gaylen Gerber, 2020Installation view: Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Adolpho Cipriani (active 1880-1930), Italy, 66 x 34.2 x 34.2 cm (26 x 13 ½ x 13 ½ in.); Gaylen Gerber, Support, n.d., oil paint on iron with gilt rooster, stamped mark, Italy, 20th century, 43.2 x 37.5 x 17 cm (17 x 14 ¾ x 6 ¾ in.); Installation view: Gaylen Gerber, Untitled,n.d., oil on canvas, 96.5 x 96.5 cm (38 x 38 inches); Gaylen Gerber, Support, n.d., oil paint on bronze bust of Henry Gerber, Michele Guballo, Nardò, Italy, 1945, 43.2 x 20.2 x 25.4 cm (17 x 8 x 10 in.)Layr, Vienna

Gaylen Gerber, 2020
Installation view: Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Adolpho Cipriani (active 1880-1930), Italy, 66 × 34.2 × 34.2 cm (26 × 13 ½ × 13 ½ in.); Gaylen Gerber, Support, n.d., oil paint on iron with gilt rooster, stamped mark, Italy, 20th century, 43.2 × 37.5 × 17 cm (17 × 14 ¾ × 6 ¾ in.); Installation view: Gaylen Gerber, Untitled,n.d., oil on canvas, 96.5 × 96.5 cm (38 × 38 inches); Gaylen Gerber, Support, n.d., oil paint on bronze bust of Henry Gerber, Michele Guballo, Nardò, Italy, 1945, 43.2 × 20.2 × 25.4 cm (17 × 8 × 10 in.)
Layr, Vienna

Gaylen Gerber, 2020Installation view: Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 x 96.5 cm (38 x 38 in.); Gaylen Gerber, Support, n.d., oil paint on taxidermy coyote, United States, 20th century, 96.5 x 82 x 29.7 cm (38 ¼ x 32 ¼ x 11 ¼ in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 x 26.6 x 26.6 cm (15 ½ x 10 ½ x 10 ½ in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Francois-Raoul Larche (1860 - 1912), French, 52.7 x 36 x 19 cm (20 ¾ x 14 x 7 ½ in.)Layr, Vienna

Gaylen Gerber, 2020
Installation view: Gaylen Gerber, Untitled, n.d., oil on canvas, 96.5 × 96.5 cm (38 × 38 in.); Gaylen Gerber, Support, n.d., oil paint on taxidermy coyote, United States, 20th century, 96.5 × 82 × 29.7 cm (38 ¼ × 32 ¼ × 11 ¼ in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 × 26.6 × 26.6 cm (15 ½ × 10 ½ × 10 ½ in.); Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Francois-Raoul Larche (1860 - 1912), French, 52.7 × 36 × 19 cm (20 ¾ × 14 × 7 ½ in.)
Layr, Vienna

Gaylen Gerber, 2020Installation view: Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Adolpho Cipriani (active 1880-1930), Italy, 66 x 34.2 x 34.2 cm (26 x 13 ½ x 13 ½ in.)Layr, Vienna

Gaylen Gerber, 2020
Installation view: Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, Adolpho Cipriani (active 1880-1930), Italy, 66 × 34.2 × 34.2 cm (26 × 13 ½ × 13 ½ in.)
Layr, Vienna

Gaylen Gerber, 2020Installation view: Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 x 26.6 x 26.6 cm (15 ½ x 10 ½ x 10 ½ in.)Layr, Vienna

Gaylen Gerber, 2020
Installation view: Gaylen Gerber, Support, n.d., oil paint on marble bust of a woman, William Reid Dick (1879–1961), Britain, 39.4 × 26.6 × 26.6 cm (15 ½ × 10 ½ × 10 ½ in.)
Layr, Vienna

A Staged Exhibition (Une exposition mise en scène), 2021Installation view: Gaylen Gerber, Backdrop/A staged Exhibition (Une exposition mise en scène), n.d., 2021, paint on theatrical props from La Ferme du Buisson, materials vary, overall dimensions vary, performer: Jennifer Lacey,composition and music: Laetitia Sadier (assisted by Hannes Plattmeier), with Art & Language, Fiona Banner (aka The Vanity Press), Robert Barry, Luis Camnitzer, Braco Dimitrijević, Coco Fusco, Giovanna, Joseph Grigely, Swetlana Heger, Florence Jung, Ghislaine Leung, David Medalla, and Michael PortnoyLa Ferme du Buisson, Noisiel

A Staged Exhibition (Une exposition mise en scène), 2021
Installation view: Gaylen Gerber, Backdrop/A staged Exhibition (Une exposition mise en scène), n.d., 2021, paint on theatrical props from La Ferme du Buisson, materials vary, overall dimensions vary, performer: Jennifer Lacey,composition and music: Laetitia Sadier (assisted by Hannes Plattmeier), with Art & Language, Fiona Banner (aka The Vanity Press), Robert Barry, Luis Camnitzer, Braco Dimitrijević, Coco Fusco, Giovanna, Joseph Grigely, Swetlana Heger, Florence Jung, Ghislaine Leung, David Medalla, and Michael Portnoy
La Ferme du Buisson, Noisiel

Photo: Émile Ouroumov


Gaylen Gerber

*1955 in McAllen, Texas
lives and works in Chicago, Illinois

Education

  • 1980

    MFA, The School of the Art Institute of Chicago, Chicago, IL

  • 1977

    BS. State University of New York, Brockport, NY

Selected Solo Exhibitions and Cooperative Projects

  • 2021

    Gaylen Gerber, Erde Cologne, Düsseldorf, Germany

  • 2020

    Gaylen Gerber, Galerie LAYR, Vienna, Austria

  • 2018

    Gaylen Gerber, The Arts Club of Chicago, USA

  • 2017

    Gaylen Gerber, Galerie Emanuel Layr, Rome, Italy

  • 2016

    Gaylen Gerber, Galerie Emanuel Layr, Vienna, Austria
    Gaylen Gerber & Studio for Propositional Cinema: Exhibition, KUB Projects, Kunsthaus Bregenz, Bregenz, Austria (with Kerstin Brätsch, Daniel Buren, Keren Cytter, John Miller, Papier und Gelb, Radio Danièl, Aura Rosenberg, Lena Willikens & Sarah Szczesny Remy Zaugg, Heimo Zobernig)

  • 2015

    Kerstin Brätsch, Pele’s Curse, The Arts Club of Chicago, Chicago, Illinois (with Kerstin Brätsch and Mariechen Danz) (US)
    Galyen Gerber, Studio for Propositional Cinema, Dusseldorf (DE)
    The Arts Club of Chicago, Kerstin Brätsch, curatorial involvment, Chicago, IL
    Galyen Gerber, Park McArthur, Jim Nutt, Galerie Emanuel Layr, Vienna

  • 2014

    Gaylen Gerber, The Green Gallery, Milwaukee, WI

  • 2013

    Gaylen Gerber,Museum of Contemporary Art, Chicago, IL
    Artschwager, DAS INSTITUT (Kerstin Brätsch and Adele Röder), with Allison Katz, Cady Noland, Jim Nutt, H. C. Westerman
    Gaylen Gerber/Tyson Reeder, Paradise Garage, Venice, CA

  • 2012

    Wallspace, with Liz Deschenes, Adrian Schiess and Heimo Zobernig, New York, NY
    Golden, with Richard Artschwager and John Henderson, New York, NY
    Family Business, with John Henderson and DAS INSTITUT with Allison Katz, New York, NY

  • 2011

    RenwickGallery, with Kathryn Andrews, Nicholas Cueva, Kay Rosen and Jeni Spota, New York, NY

  • 2010

    Will Benedict, Neue Alte Brücke, Frankfurt, Germany (with Will Benedict)
    Gaylen Gerber, Wallspace, New York, New York (with Stephen Prina)
    Gaylen Gerber, Rhona Hoffman Gallery, Chicago, Illinois (with Kehinde Wiley)
    Gaylen Gerber, Kunstverein Ruhr, Essen, Germany
    Gaylen Gerber, Galerie Susanna Kulli, Zürich, Switzerland
    Gaylen Gerber, The Green Gallery, Milwaukee, Wisconsin

  • 2009

    Wallspace, with Joe Scanlan, New York, NY
    Rowley Kennerk Gallery, with Scott Reeder, and Remy Zaugg, Chicago, IL
    White Flag Projects, St. Louis, MI

  • 2008

    Rowley Kennerk Gallery, with Louise Lawler and Allan McCullom, Adrian Schiess, unidentified artist and 201Heimo Zobernig, Chicago, IL
    Alogon, Alogon Gallery, with Nancy Ford, Charles Irvin, José Lerma, Autumn Ramsey, Scott Reeder and Tyson Reeder, Chicago, IL
    Rotations (one work): Gaylen Gerber, Rowley Kennerk Gallery, Chicago, IL
    The Green Gallery, Milwaukee, WI

  • 2007

    Daniel Hug Gallery, with Tyson Reeder and Heimo Zobernig, Los Angeles, CA

  • 2006

    Foundation Musee d‘Art Moderne Grand-Duc Jean, with Joe Baldwin, Daniel Buren, Jesse Chapman, Mary Dunning, Michelle Grabner, Charles Irvin, Albert Oehlen, Stephen Prina, Tyson Reeder, Kay Rosen, Sam Salisbury, Joe Scanlan, Adrian Schiess, Julien Schnabel, Didier Vermeiren, B. Wurtz, Rémy Zaugg, Heimo Zobernig, Luxembourg, LU

  • 2005

    Daniel Hug Gallery, with Adrian Schiess, B. Wurtzand Remy Zaugg, Los Angeles, CA
    Galerie Susanna Kulli, with Adrian Schiess and Heimo Zobernig, Zurich, CH

  • 2004

    Donald Young Gallery, with Joe Baldwin, Jesse Chapman, M&Co, N55, Michael Langlois and Robert Davis, Mary Dunning, Michelle Grabner, Jeff McMahon, Irina Melsom, Stephen Prina, Kay Rosen, Sam Salisbury, Adrian Schiess, B.Wurtz, Chicago, IL
    General Store, with Heimo Zobernig, Milwaukee, WI

  • 2002

    The Art Institute of Chicago, with Stephen Prina,Chicago,IL
    Galerie Michael Hall, with Helen Mirra, Vienna, AT
    The Suburban, with Joe Baldwin, Jesse Chapman, Mary Dunning, Irina Melsom, Oak Park, IL

  • 2000

    Neues Museum Weserburg Bremen, with Joseph Beuys; continued with Lynda Benglis, Rachael Lackowicz, Jonathan Monk, Kirsten Stoltmann, Johannes Wohnseifer; continued with Pierre Alechinsky; continued with Klauke, Bremen, DE

  • 1999

    Chicago Project Room,Chicago,IL The Suburban—with David Robbins; continued with Software ‘99 organized by David Muller and Three Day Weekend,
    Oak Park, IL
    Hermetic Gallery, with Adrian Schiess; continued with Painty: David Kaiser, Lisa Shafir, Scott Spec, Neil Whitacre; continued with Pretend TV, Milwaukee, WI

  • 1998

    Monash University Galleries, Melbourne, AU
    High Museum of Art, Atlanta, GA
    Chicago Project Room, Chicago, IL

  • 1997

    Galerie Susanna Kulli, with Gerwald Rockenschaub, St.Gallen, CH
    Chicago Project Room, Amy Wheeler and Mari Eastman with Gaylen Gerber; continued with Charlie Cho; continued with Helen Mirra, Chicago, IL

  • 1996

    Lisson Gallery, London, UK

  • 1995

    American Fine Arts, Co. with Roy Arden, New York, NY

  • 1994

    Nicole Klagsbrun Gallery, with Joe Scanlan, New York, NY

  • 1992

    Michael Kohn Gallery, Santa Monica, CA
    Wooster Gardens, New York, NY
    The Renaissance Society at the University of Chicago, Chicago, IL

  • 1991

    Founding of the Anonymous Museum,Chicago,IL
    Robbin Lockett Gallery, Chicago, IL

  • 1990

    Le Case d‘Arte, Milan, IT
    Wolff Gallery, New York, NY
    Shedhalle, Zurich, CH

  • 1989

    Galerie Nachst St.Stephan/ Rosemarie Schwarzwalder, Vienna, AT
    Robbin Lockett Gallery, Chicago, IL

  • 1988

    Wolff Gallery, New York, NY
    Robbin Lockett Gallery, Chicago, IL

  • 1987

    Grey Art Gallery and Study Center at New York University, New York, NY

Selected Group Exhibitons and Cooperative Projects

  • 2022

    Not Expecting Much, UA26, Vienna (AT)

  • 2021

    Une Exposition mise en Scène (une exposition de Mathieu Copeland), La Ferme du Boisson, Noisiel (FR)

  • 2020

    The Making of Husbands: Christina Ramberg in Dialogue, BALTIC Centre for Contemporary Art, Gateshead (UK)
    The Making of Husbands: Christina Ramberg in Dialogue, FRAC Lorraine, Metz (FR)

  • 2019

    The Making of Husbands: Christina Ramberg in Dialogue, KW Institute for Contemporary Art, Berlin (DE)
    Oslo Biennalen, First Edition, Oslo (NO)

  • 2018

    CAC Vilnius, Lithuania

  • 2017

    Kerstin Brätsch. Innovation, Museum Brandhorst, Munich, Germany
    Studio for Propositional Cinema/in relation to a Spectator, Studio for Propositional Cinema, Kestnergesellschaft, Hannover, Germany

  • 2016

    The Lasting Concept, Portand Institute of Contemporary Art, Portland, Oregon (with Richard Aldrich, Elizabeth Bishop, Louise Bourgeois, Jayne Cortez, Robert Creeley, Jimmie Durham, Melvin Edwards, Robert Grenier, Rob Halverson, Bill Hayden & Sam Pulitzer, Gareth James, Yuki Kimura, Nevine Mahmoud, Christoph Meier, Jean-Luc Moulène, George Oppen, Nathaniel T Price, Sara Greenberger Rafferty, Anne Sexton, Jack Spicer, Sue Tompkins, Dinah Young, Stefan Tcherepnin)

  • 2015

    Gaylen Gerber, Park McArthur, Jim Nutt, Galerie Emanuel Layr, Vienna, Austria (with Park McArthur and Jim Nutt), Essex Street, New York, NY

  • 2014

    Soft Matter, curated by Justin Beal, Wallspace, New York, NY
    Nuclear War: What’s in it for you?, curated by Will Benedict, Vilma Gold, London, UK
    Back Grounds: Impressions Photographiques (2), organized with Olivier Renaud-Cleement, Andrea Rosen Gallery, New York, NY
    Whitney Biennial, with David Hammons, Sherrie Levine, and Trevor Shimizu, Whitney Museum of American Art, New York, NY
    Paramount Ranch, with Jane Euler, Michaela Richwalkd, Henning Bohl, and Wolfgang Breuer, Pro Choice, Los Angeles, CA
    Night Club, with Lucie Fontaine, Brendan Fowler, and Autumn Ramsey, Chicago, IL

  • 2013

    Ten Years, Wallspace, New York, NY

  • 2012

    The Charm of Quasi-Parallel Lines, with Ray Akdogen, Gego, Gaylen Gerber, Fermanda Gomes, Guillaume Leblon, Sol LeWitt, Robert Overby, Karthik Pandian, Robert Ryman, Fred Sandback, Rhona Hoffman Gallery, Chicago, IL
    Gaylen Gerber, Museum of Contemporary Art, Chicago, IL
    Gaylen Gerber/Tyson Reeder, Paradise Garage, Venice, CA
    The Big Toe—with Adrian Schiess, Wallspace, New York, NY
    Les Destours de l‘abstraction, with B. Wurtz and Michelle Grabner, Foundation
    Musée d‘Art Moderne Grand-Duc Jean, Luxembourg, LU
    Shiver in The Shift, with Kajsa Dahlberg, Karl Larsson and Lisa Tan, Parra & Romero Gallery, Madrid, ES
    Spectral Landscape with Viewing Stations/Color and Contemporary Art, with Polly Apfelbaum, Ali Bailey, John Baldessari, Madison Brookshire, Zach Buchner, Jacob Dahlgren, Jose Davila, Gary Hill, Rashid Johnson, Anna Kunz, Judy Ledgerwood, Iñigo Manglano-Ovalle, and Richard Mosse, Gallery 400, Chicago, IL

  • 2010

    Will Benedict, with Will Benedict, Neue Alte Brücke, Frankfurt, DE
    Drawing Time/le temps du dessin, organized by Baghriche, Katinka Bock, Iñaki Bonillas,Angela Bulloch, Isabelle Hugo, Canoilas, Coronaro, Edith Dekyndt, Detanico/Lain, Gintaras Didzapetris, Amy Granat, Anthony McCall, Nicolas Müller, Nadia Myre, Jean-Christophe Norman, Évariste Richer, Lotty Rosenfeld, Ignacio Uriarte and Adam Vackar, Galerie Poirel, Nancy, FR
    Landscape, Portrait, Still Life, with Jesse Chapman, Hungry Man Gallery, Chicago, IL
    Support Group, with Mateo Tannatt and Kathryn Andrews, Cottage Home, Los Angeles, CA

  • 2009

    Point Verge, with Matthias Dornfeld, Gotscha Gosalishvili, Molly Zuckerman-Hartung, David Lieske, Florian Morlat and Jordan Wolfson, Rowley Kennerk Gallery, Chicago, IL
    Inaugural Exhibition of the Modern Wing, with Richard Prince, Irving Penn, Christopher Williams, Liz Deschenes, Patty Carol and Lothar Baumgarten, The Art Institute of Chicago, Chicago, IL
    The eventual, with Francis Alys, Johanna Billing, Matthew McCaslin, Adrian Piper, Jonas Dahlberg, Dora Garcia, Henrik Hakansson, Guillaume Leblon, Mark Manders, Gert Robijns, Galerie Futura - Centrum pro Soucasne Umeni, Prague, CZ

  • 2008

    Exact Imagination, with BANK, Andrea Fraser, David Ireland, Christian Jankowski, Louise Lawler, N55, David Ording and Red76, Columbus College of Art and Design, Columbus, OH
    Dark Fair, with Autumn Ramsey, Swiss Institute/Contemporary Art, New York, NY
    Quien esta? he said, but no one spoke back. There was someone there and they had been there. There was no one there. There was someone there and they had been there and they had not left but there was no one there. with B. Wurtz, Rowley Kennerk Gallery, Chicago, IL

  • 2007

    Paradox and Practice: Architecture in the Wake of Conceptualism, with Dorit Margreiter, University Art Gallery, University of California Irvine, Irvine, CA
    Conditions of Display, with Remy Zaugg, The Moore Space, Miami, FL
    Don‘t Torture the Rotten Ducklings, Institute of Visual Arts, University of Wisconsin Milwaukee, Milwaukee, WI
    Michelle Grabner’s Never Quite Happy Home: Michelle Grabner featuring The Suburban with Gaylen Gerber, Jessica Hutchins and Autumn Ramsey, Southfirst, Brooklyn, NY

  • 2006

    Figures in the Field: Figurative Sculpture and Abstract Painting from Chicago Collections, with Sherrie Levine, The Museum of Contemporary Art, Chicago, IL
    On Platforming, with Paul Drueke, Nicholas Frank, General Store and John Russell, Locust Projects, Miami, FL

  • 2005

    Le Genie du Lieu, with 15th century Swiss primitive painting, Musee des Beaux-Arts, Dijon, FR
    States of Art Criticism, with Ariella Budick, Lynne Cooke, James Elkins, Dave Hickey, Stephen Melville, Michael Newman and James Panero, The Art Institute of Chicago, Chicago, IL
    The Early Show, White Columns, New York, NY
    Off-Key, with Stephen Prina, Kunsthalle Bern, Bern, CH
    Asenseur pour Rio, with Cecile Bart, Pedro Cabrita Reis, Dominique Ghesquire, Federico Guzman, MP & MP Rosado, Allen Ruppersberg, FRAC Bourgogne, Dijon, FR

  • 2004

    Nothing Compared to This (ambient, incidental, and minimal tendencies in recent art), with Heimo Zobernig, The Contemporary Arts Center, Cincinnati, OH
    Voice of Site: Tokyo-Chicago-New York, Tokyo Gaijutsu Daigaku Chrinretsu-kan Exhibition Hall, Tokyo, JP
    The Center is Anywhere, The Museum of Contemporary Art, Chicago, IL
    Drunk vs. Stoned, with Adrian Schiess, Gavin Brown’s Enterprise at Passerby, New York, NY

  • 2003

    Tom Friedman, Gaylen Gerber, Joe Scanlan, Daniel Hug Gallery, Los Angeles, CA
    Subject Index, cooperative project with Cindy Loehr, The Pond, Chicago, IL

  • 2002

    Northern Fundamentalisms of the New Order, with M&Co., Charlottenborg Exhibition Hall, Copenhagen, DK
    Ideal Avalanche, with M&Co., The Pond, Chicago, IL
    A Szin Onallo Elete/Color: A Life of Its Own, Mucsarnok, Kunsthalle Budapest, Budapest, HU
    Pressing, with Kris Fierens, Objectif, Antwerp, BE
    Plat & Form: The Portable Hermetic Gallery, with Paul Drueke, Nicholas Frank, Milhaus, Haas Art Center, Eau Claire, WI

  • 2001

    Sound Video Images Objects, with Mary Dunning, Donald Young Gallery, Chicago, IL
    To The Trade, with John White Cerasulo, DiverseWorks, Houston, TX
    People See Painting, Museum of Contemporary Art, Chicago, IL

  • 2000

    La Biennale de Montreal 2000, Montreal, CA
    Subject Picture, with Jesse Chapman, The Optimistic, Chicago, IL
    Words-Objects-Acts, with Chris Smith and Sarah Price, Museum of the City of Skopje, Skopje, MK
    Selected Works by, with John Armleder, Galerie Susanna Kulli, St. Gallen, CH
    To Infinity and Beyond: Editions for the Year 2000, Brooke Alexander Gallery, New York, NY

  • 1999

    Kunst in der Stadt III, with Kay Rosen, Kunsthaus, Bregenz, AT
    Selected Works: Armleder, Fleury, Gerber, Hirschhorn, Mosset, Rockenschaub, Schiess, Galerie Susanna Kulli, St. Gallen, CH
    Locked Groove, with David Robbins, Doozer Collaborative, Chicago, IL

  • 1998

    Herbert Brandl, Gaylen Gerber, Olav Christopher Jenssen, Mariella Simoni, Rudolf Stingel, Adrian Schiess, with Adrian Schiess, Galerie Evelyne Canus, La-Colle-sur-Loup, FR
    Les objects contiennent l’infini, Ecole Superieure des Beaux-Arts de Tours, Tours, FR

  • 1997

    Gaylen Gerber/James Casebere, Site Gallery, Sheffield, UK
    About Painting, Robert Miller Gallery, New York, NY
    Heaven, P.S.1 Contemporary Art Center, New York, NY
    New Works, Feigen Gallery, Chicago, IL
    100 Photographs, American Fine Arts, Co., New York, NY

  • 1996

    DEADPAN, Kunstverein Munich, Munich, DE
    SCREEN, Friedrich Petzel Gallery, New York, NY
    Plane Speak-Contemporary Abstraction, Chicago Cultural Center, Chicago, IL
    Art in Chicago: 1945-1995, Museum of Contemporary Art, Chicago, IL

  • 1995

    Pictura/Immedia, Malerieinder 90er Jahren, Neue Galerie am Landesmuseum Joanneum, Graz, AT, traveled to Kunsthalle Budapest, Budapest, Hungary
    25 AMERICANS, Painting in the 90‘s, with John Currin, Milwaukee Art Museum, Milwaukee, WI
    Being There, with Alfred Stieglitz, Paolo Balducci Gallery, New York, NY
    Painting, Domaine De Kerguéhennec Center D‘Art Contemporain, Locmine/Bignan, FR
    Ideal Standard Summertime, Lisson Gallery, London, UK
    Group Exhibition, Rhona Hoffman Gallery, Chicago, IL
    Die Moderne Oder Die Uverwindung Eines Begriffs, Institute fur Museologie, Vienna, AT

  • 1994

    After and Before, The Renaissance Society at the University of Chicago, Chicago, IL
    Gaylen Gerber, James Welling, Angela Grauerholz, Galerie Nächst St.Stephan/Rosemarie Schwarzwalder, Vienna, AT
    PRAXIS, Domaine de Kerguéhennec, Centre d‘Art Contemporain, Locmine/Bignan, FR
    Painting, Rhona Hoffman Gallery, Chicago, IL

  • 1993

    New Conceptual Work, Feigen Gallery, Chicago, IL
    Drawings: Abstrakte Malerie Zwischen Analyse und Synthese, Galerie Nächst St. Stephan/Rosemarie Schwarzwalder, Vienna, AT
    Works on Paper, Curt Marcus Gallery, New York, NY
    De la Main a la Tete, l‘Object Theorique, Domaine de Kerguehennec, Centre D’Art Contemporain, Locmine/Bignan, FR
    Range of Colors, White Columns, New York, NY

  • 1992

    Documenta IX, Kassel, DE
    Abstrakte Malerie Zwischen Analyse und Synthese, Galerie Nächst St.Stephan/Rosemarie Schwarzwalder, Vienna, AT
    From America’s Studio: Drawing New Conclusions, Betty Rymer Gallery, Chicago, IL

  • 1991

    David Cabrera/Gaylen Gerber/Mitchell Kane, Trans Avante-Garde Gallery, San Francisco, CA
    Improvements on the Ordinary, Randolph Street Gallery, Chicago, IL
    Group exhibition, Galerie Anselmo Alvarez, Madrid, ES

  • 1990

    Mentalitaten und Konstructionen in Arbeiten auf Paper, Galerie Nächst St.Stephan/Rosemarie Schwarzwalder, Vienna, Austria
    Strategies for the Last Painting, Wolff Gallery, New York, NY, traveled to Feigen Gallery, Chicago, IL
    Drawings, Nathalie Karg Gallery, New York, NY
    Drawings, Paula Allen Gallery, New York, NY

  • 1989

    Group exhibition, Robbin Lockett Gallery, Chicago, IL
    Problems with Reading Rereading, Rhona Hoffman Gallery, Chicago, IL
    Material Matters, Art Center Gallery, College of DuPage, Glen Ellyn, IL
    Chicago Works: Art from the Windy City, Bruce Gallery, Edinboro University of Pennsylvania; Erie Art Museum, Erie, PA
    Mediated Knot, co-curator, Robbin Lockett Gallery, Chicago, IL
    Prima Vision, Milano Internationale d’Arte Contemporanea, Milan, IT

  • 1988

    Drawings, Robbin Lockett Gallery, Chicago, IL
    Looking Out, Rockford Art Museum, Rockford, IL
    Tim Ebner/Gaylen Gerber/Allen McCollum, Ricky Renier Gallery, Chicago, IL

  • 1987

    New Chicago: Quiet and Deliberate, Tangeman Fine Arts Gallery, University of Cincinnati, Cincinnati, OH
    Nourishment, Beacon Street Gallery, Chicago, IL
    Group exhibition, Center for Contemporary Art, Chicago, IL
    Wet Paint, Robbin Lockett Gallery, Chicago, IL
    July, Wolff Gallery, New York, NY
    Invitational, Damon Brandt Gallery, New York, NY
    The Non-Spiritual in Art/Abstract Painting 1985, 341 West Superior Street, Chicago, IL

Lectures / Symposiums

  • 2017

    Florence Derieux and Gaylen Gerber, The Arts Club of Chicago, Chicago, Illinois

  • 2016

    Artist Lecture Series, Vienna, Austria, Gaylen Gerber with Eva Badura-Triska, Conversations

  • 2015

    Arts Club of Chicago, Chicago, Illinois, conversation with Kerstin Brätsch and Janine Mileaf Kunsthøgskolen Oslo - Academy of Fine Art, Oslo, Norway
    Kunstakademie Düsseldorf, Düsseldorf, Germany

  • 2014

    The Art Institute of Chicago, Chicago, Illinois, Photography is: Liz Deschenes‘ Horizontal Vertical Photograph #1, and Enrico Donati‘s and Marcel Duchamp‘s Please Touch.

  • 2013

    Conversation with Kristin Korolowicz, Museum of Contemporary Art, Chicago, IL
    Conversation with Janine Mileaf Arts Club of Chicago, Chicago, IL

  • 2009

    Conversation with Liz Deschenes and Matthew S. Witkovsky, The Art Institute of Chicago, Chicago, IL

  • 2008

    Lecture, University of Chicago, Chicago, IL
    Northwestern University, Evanston, IL

  • 2006

    Lecture, Foundation Musee d‘Art Moderne Grand-Duc Jean, Luxembourg, LU
    Lecture & Visiting Artist, Burren College of Art, Ballyvaughan, UK

  • 2005

    Lecture,CaliforniaInstituteoftheArts,Valencia, CA
    Lecture, University of Southern California, Los Angeles, CA
    Lecture, Yale University, New Haven, CT
    Symposium, States of Art Criticism, The Art Institute of Chicago, Chicago, IL

  • 2004

    Lecture, University of Tokyo, Tokyo, JP
    Lecture, University of Illinois, Chicago, IL
    Visiting Artist, Northwestern University, Evanston, IL
    Lecture & Visiting Artist, University of Chicago, Chicago, IL
    Symposium, Painting as Social Practice, Milwaukee Art Museum, Milwaukee, WI

  • 2002

    Lecture, with Stephen Prina, The Art Institute of Chicago, Chicago, IL
    Conversation, with Stephen Prina, The Arts Club of Chicago, Chicago, IL
    Conversation, with Joshua Decter, The Art Institute of Chicago, Chicago, IL
    Visiting Artist, Northwestern University, Evanston, IL

  • 2001

    Visiting Artist, University of Texas at Houston, Houston, TX

  • 2000

    Lecture, Museum of the City of Skopje, Skopje, MK

  • 1999

    Lecture & Visiting Artist, University of California at Los Angeles, Los Angeles, CA
    Lecture, Northwestern University, Chicago, IL
    Lecture & Visiting Artist, Glassel School of Art, Museum of Fine Arts, Houston, TX
    Lecture, The Art Institute of Chicago, Chicago, IL

  • 1998

    Lecture, Monash University, Melbourne, AU
    Lecture, Victoria College of Art, Melbourne, AU
    Conversation with Jan Avgikos, High Museum of Art, Atlanta, GA

  • 1996

    Lecture, Kunstverein Munich, Munich, DE

  • 1995

    Lecture, Society of Contemporary Art, New York, NY
    Lecture, The School of Visual Arts, New York, NY

  • 1994

    Lecture, Academy of Fine Arts: Institute of Contemporary Art, Vienna, AT
    Lecture, Academy of Applied Arts: Institute of Museology, Vienna, AT
    Lecture, University of Illinois at Chicago, Chicago, IL
    Lecture & Visiting Artist, Domaine de Kerguehennec: Centre d‘Art Contemporain, Locmine/Bignan, FR

  • 1992

    Lecture, The Renaissance Society at the University of Chicago, IL

  • 1989

    Lecture, Galerie Nacht St.Stephan/Rosemarie Schwarzwalder, Vienna, AT

Selected Bibliography

  • 2017

    Gaylen Gerber in conversation with Eva Badura-Triska, Artist Lecture Series
    Vienna,THE SEEN, issue 05 September 2017, pages 100 – 119
    Benzer, Christa. US Künstler Gaylen Gerber: Alles zurück auf Grau, Bildende Kunst - der Standard Austria - Kultur, 17 Dezember, 2016

  • 2014

    Rutland, Beau. Soft Touch: Beau Rutland on the art of Gaylen Gerber, Artforum, pages 236 -243
    Whitney Biennial 2014 Part III, Contemporary Art Daily, May 7, 2014
    Gerber, Gaylen. Dunning, Jeanne. Gaylen Gerber speaks with Jeanne Dunning, Whitney Biennial 2014 (exhibition catalog), pages 341 -343
    Grabner, Michelle. MG’s WB, Whitney Biennial 2014 (exhibition catalog), pages 260-263, page 280
    Schumacher, Mary Louise. Michelle Grabner‘s Whitney Biennial is a grand‚ curriculum‘, Art City, Journal Sentenel
    Norr, David. Michelle Grabner Works from Home, Michelle Grabner, I works ^ from Home MoCA Cleveland, Mousse Publishing, 2013, pages 22, 23, 83, 84, 183
    Andrews, Kathryn. Gerber, Gaylen. Klein, Alex. Conversation, First among Equals` (exhibition catalog),
    Institute of Contemporary Art, 2013, (photo)
    Will Benedict at Bergen Kunsthall, Contemporary Art Daily, December 12

  • 2013

    Smith, Roberta, Gaylen Gerber, The New York Times, January 25, 2013, page C25
    Fiske, Courtney, Gaylen Gerber, Artforum, (photo)
    Morris, Matthew, Gaylen Gerber, New City, Art, August 13, 2013 (photo)

  • 2012

    Gerber, Gaylen, Backdrop/The World Stage: India - Sri Lanka, Annual Magazine, Issue 5, 2012, page 24, (photo)

  • 2011

    Montreuil, Gregory, Gaylen Gerber, Flash Art, Issue 281, November-December 2011 (photo)
    Holte, Michael Ned, Slight of Hand, Kaleidoscope, Issue 10, Spring 2010, pages 58-65
    Friese, Peter, Gaylen Gerber, Kunstverein Ruhr, Essen, DE (photo)

  • 2010

    Carfello, Anthony, Support Group: Kathryn Andrews, Gaylen Gerber, Mateo Tannatt/Pauline, Cottage Home Gallery, Los Angeles, CA,
    X-tra Contemporary Art Quarterly, volume 13, number 2, Winter 2011, pages 53- 60 (photo)
    Can I Come Over To Your House: The First Ten Years of The Suburban, pages 35-47 (photo)
    Moshayedi, Aram, Support Group, Artforum.com, June 17, 2010
    Griffin, Jonathan, Support Group, Frieze, July 30, (photo)
    Wagley, Catherine, Support Group, art:21 blog, June 10, 2010 (photo)

  • 2009

    Gaylen Gerber at White Flag Projects, Contemporary Art Daily, March 8, 2009 (photo)
    Maine, Stephen, Gaylen Gerber and Joe Scanlan, Art In America, September, 2009 (photo)
    Cooper, Ivy, Gaylen Gerber, Artforum, May 2009, page 244 (photo)
    David Bonetti, Gaylen Gerber, St Louis Post Dispatch, March 29, 2009

  • 2008

    Voorhies, James, Exact Imagination, exhibition catalog, pages 12-17, (photo)
    Gaylen Gerber at Rowley Kennerk Gallery, greylines.wordpress.com, February 13, 2008

  • 2007

    Holte, Michael Ned, Gaylen Gerber, Artforum, Summer 2007, pages 505-506 (photo)
    Taft, Catherine, Gaylen Gerber, Modern Painters, June 2007, page 113
    Knight, Christopher, “Gaylen Gerber: When Mere Gray is More Than Gray,“ Los Angeles Times, Tuesday April 20, 2007
    MacKenzie, Duncan, Eprisode 93: Gaylen Gerber/Michelle Grabner, Bad at Sports Podcast, June 10, 2007

  • 2006

    Seil, Gabrielle, Be the Mudam‘s Guest, Art Revue, October 10, 2006, pages 64-68 (photo)
    Richard-Reisen, Sophie, (Re)decouverte de la Collection, Le Jeue, October 10, 2006 (photo)
    Kampianne, Harry, Mudam Premiere! Eldorado, Art Actual, Sept/Oct 2006, page 69 (photo)
    Kochelkorn, Rene, Kunstidentifikation, Diskursebene und Macht, Telblatt, August 8, 2006 (photo)
    Mosar, Christian, La Salete au Musee, D‘letzebuerger/land, July 14, 2006.
    Trembley, Nicolas, Court Appearance, Artforum,com Diary, July 5, 2006 (photo)
    Carre, Gaston, Le Sacred au Mudam, D‘land, July 3, 2006, pages 13-16 (photo)
    Ardenne, Paul, Ouvefture du Mudam, Art Press 326, Sept 2006, pages 14-18 (photo)
    Rolland, Marie-Laure, Exposition Gaylen Gerber au Musee d‘Art Moderne, d‘Wort, October 6, 2006, page 17 (photo)
    Botzler, Uli, Zu Gast in Kunstbau, Telcran, no, 28, 2006 (photo) Jen, Ein Offenes Haus der Gegenwart, Tageblatt, 513/2006, July 3, 2006 (photo)
    Hansen, Josee, Can‘t Wait, D’Land, July 23, 2006, pages 6-7 (photo)
    Rondeau, James, Gaylen Gerber, Foundation Musee d‘Art Moderne Grand-Duc Jean, Luxembourg, exhibition catalog (photo)
    Grabner, Michelle, States of Art Criticism: Art Papers drops in as Chicago Sizes up, Art Papers, January-February 2006, pages 17-18 (photo)

  • 2005

    Pirotte, Philipe, Rondeau, James, Off-Key, exhibition catalog (photo)
    Yood, James, Gaylen Gerber, Artforum, January 2005, page 187 (photo)
    Henkes, Alice, Welche Sprache spricht Kunst, Der Bund, June 3, 2005, page 15 (photo)
    Tobler, Konrad, Immer am Rand der Sprache, Berner Zeitung BZ, June 6, 2005, pages 125-126 (photo)
    Goldstein, Ann, Best of 2005, Artforum, December 2005, XLIV, no,4, pages 246-247 (photo)

  • 2004

    Massera, Jean-Charles, A discussion then an e-interview, Fundamentalisms of the New Order, pages 40-41, 110, 296, 300, 329 (photo)
    Deemarias, Charles, Nothing Compared to This (ambient, incidental and new minimal tendencies in recent art), exhibition brochure
    Weiss, Rachael, From Place to Place, A History of the Renaissance Society 1990-2001, pages 18-19 (photo)
    Hixson, Kathryn, Site Specific, A History of the Renaissance Society 1990-2001, pages 58-59, 80, 263 (photo)
    Artner, Alan G, Gaylen Gerber, Chicago Tribune, Friday, October 8, 2004, section 7, page 27
    Frank, Nicholas, The Suburban: the Next Five Years, The Suburban-The Early Years, pages 15, 22-25 (photo)

  • 2002

    Rondeau, James, Gaylen Gerber with Stephen Prina, Focusbrochure: The Art Institute of Chicago
    Artner, Alan, Gaylen Gerber dulls art‘s cutting edge, Chicago Tribune, Thursday, February 4, 2002 (photo)
    Grabner, Michelle, Gaylen Gerber with Stephen Prina at the Art Institute of Chicago, Art/Text, Summer 2002, pages 88-89 (photo)
    Finch, Leah, Gaylen Gerber and Stephen Prina, New Art Examiner, May-June 2002, page 92 (photo)

  • 2000

    Thompson, Nato, Out in the Cold with Gaylen Gerber, New Art Examiner, November 2000, vol, 28 no, 3, pages 17-21, 69 (photo)
    McLaughlin, Bryne, The Montreal Biennale, Canadian Art, Fall 2000, vol, 17, no. 3, pages 38-44 (photo)
    Milevska, Suzane, Words, Objects, Acts, and the Correlation Between Them, exhibition catalog, pages 6, 16, 23 (photo)
    Gale, Peggy, Every Time, La Biennale de Montreal 2000, exhibition catalog, pages 62-65, 147, 152 (photo)

  • 1999

    Kob, Edelbert, Sagmeister, Rudolf, Sans, Jerome, Schrock, Petra, Naturally Art- KUNST IN DER STAT III, exhibition catalog, pages 36-39, 186 (photo)

  • 1998

    Bitterli, Konrad, Interview with Gaylen Gerber, Monash University Galleries, exhibition catalog (photo)
    Grabner, Michelle, Gaylen Gerber: Chicago Project Room, Frieze, issue 40, 1998, page 91 (photo)
    Artist Pages, Gaylen Gerber and Helen Mirra, White Walls, issue 40, Spring 1998, pages 110-127 (photo)
    Bryan, Edgar, Gaylen Gerber, Chicago Project Room, Cakewalk, Winter 1999, page 59 (photo)
    Przybilla, Carrie, Gaylen Gerber, High Museum of Art, exhibition brochure
    Artist Pages, Gaylen Gerber, Z International Art, no, 4, 1998, Sydney, Australia (photo)
    Zacharopolous, Denys, Les Objects contiennent l‘infiniti, exhibition catalog (photo)
    Flash Reviews, Gaylen Gerber, Chicago Project Room
    Zdonovics, Olga, Gaylen Gerber: Chicago Project Room, The New Art Examiner, May 1998, pages 47-48 (photo)
    Epperlein, Beate, Monochrome Malerei: zur Unterschiedlichkeit des Vermeinlich Ahnlichen, Verlag fur Moderne Kunst Nurberg, 1997, pages 96, 205, 235 (photo)
    Cullum, Jerry, Artificially achieved perfection, The Atlanta Journal Constitution, Weekend Preview, Friday April 10, 1998, page Q7 (photo)
    Artner, Alan G, Obfuscation an issue in the work of Gaylen Gerber, Chicago Tribune, Friday, February 27, 1998, section 7, page 7 (photo)
    Camper, Fred, Look Back in Irony, Chicago Reader, February 27, 1998, section 1, page 30-31 (photo)

  • 1997

    Frank, Nicholas, BYOB/Mari Eastman and Amy Wheeler are at Chicago Project Room, Art Papers, Nov,/Dec, 1997, vol, 21, issue 6, page 44 (photo)
    Macoci, Roxana, Murphy, Diana, Sinaiko, Eve, New Art, Harry N, Abrams, Inc, pages 54-54 (photo)
    Grabner, Michelle, Chicago Project Room, Chicago March 22-April 13, 1997, Art/Text 58, pages 86 – 87 (photo)
    Aletti, Michael, About Painting, The Village Voice, July 22, 1997, Voice Choices, page 3
    Halle, Howard, About Painting, Part, Time Out New York, Issue 97, July 31- August 7, 1997, page 41

  • 1996

    Niklas, Claudia, Ein Bild ist mehr als ein flaches Ding, Suddeutsche Zeitung, Volume 12, July, 1996
    Dattenberger, Simone, Gegen die Blumenwand rennen, Munchener Merkur, number 25, 12, June, 1996
    Sonna, Birgit, Kunst-Tips, Suddeutsche Zeitung, volume 10, July, 1996
    Gerald, Fitz, Lash, Mike, Walker, Hamza, Superconcentrated, exhibition catalog (photo)
    Schjeldahl, Peter, Screen, The Village Voice, February 13, 1996, page 77

  • 1995

    Weibel, Peter, Painting in the 90’s: Between mediated visuality and visual context, exhibition catalog: Pictura Immedia, Jahren Neue Galerie am Landesmuseum Joanneum, Graz, AT (photo)
    Dreher, Thomas, Antiquiertheit der Malerei?, exhibition catalog: Pictura Immedia, Neue Galerie am Landesmuseum Joanneum, Graz, AT (photo)
    Zacharopoulos, Denys, Praxis, Une exposition de peinture, Domaine de Kerguehennec, exhibition catalog (photo)
    Sobel, Dean, What’s wrong with this picture?, Milwaukee Art Museum, Milwaukee, WI, exhibition catalog: 25 AMERICANS; Painting in the 90’s (photo)
    Green, Alison, Towards the Real: New Abstraction in America, Vytvarne Umeni, special issue no, 1&2, pages 165-67 (photo)
    Auer, James, Seductive and Sensational, Milwaukee Journal/Sentinel, September 10, 1995

  • 1994

    Levin, Kim, Choices: Gaylen Gerber/Joe Scanlan, The Village Voice, December 27, 1994, page 8
    Smith, Roberta, Art in Review: Gaylen Gerber/Joe Scanlan, The New York Times, December 16,1994, page C 36
    Borchhardt-Birbaumer, Brigitte, Gerissen Gefugetes und Graues, Weiner Zeitung, April, 1994
    Kruntorad, Paul, Wildschwein, Schinkenrolle, Abstraktion, Der Standard, May 6,1994
    Zacharopoulos, Denys, de la Main a la Tete, l’Object Theorique, exhibition catalog, (photo)
    Galerie Nachst St, Stephan, Die Press, Vienna, April 7, 1994
    Gaylen Gerber, Angela Grauerholz und James Welling, Vernissage, Vienna, AT, April, 1994
    Artner, Alan, Two Decades in time is enough for Renaissance Society show, Chicago Tribune, April 6, 1994, page 9
    Glatt, Kara, Renaissance Society finds its place in time, Hyde Park Herald, April 6, 1994, page 9

  • 1993

    Artner, Alan, Sharp conceptual show dares to be different, Chicago Tribune, January 22, 1993, section 7, page 56
    Bouloutzas, Antonis, Domaine de Kerguehennec—the unknown magnitude, Arti, November/December, 1993, vol, 17, pages 67-95
    From the hand to the head, the theoretical object, Arti, November/December, 1993, vol,17, page 96
    A conversation with Denys Zacharopoulos and Antonis Bouloutzas, Arti, November/December, vol, 17, pages 97-113
    Arning, William, Range of Colors, exhibition catalog (photo)

  • 1992

    Hoet, Jan, Zacharopoulos, Denys, Tazzi, Pier Luigi, Documenta IX, exhibition catalog, volume 1,2, pages 149, 196-197
    Avgikos, Jan, I know but when you ask me I don‘t, The Renaissance Society at the University of Chicago, exhibition catalog
    Kirshner, Judith Russi, Gaylen Gerber, Artforum, Summer, vol, XXX, no 11, page 114
    Snodgrass, Susan, Gaylen Gerber at the Renaissance Society, Art in America, July, 1992, page 114
    Hixson, Kathryn, Gaylen Gerber, Arts Magazine, May, 1992, not circulated
    Wilk, Debra, Gaylen Gerber: The Renaissance Society, New Art Examiner, May, 1992, vol, 19, no, 9
    Myers, Terry R, Route 66 to Kassel, Fortt/Myers Publication, no, 1, June, 1992
    Adcock, Craig, Gaylen Gerber, Tema Celeste, May/June 1992
    Glatt, Cara, Painting demands patience from viewers, Hyde Park Herald, February 19, 1992, page 19
    Hanson, Henry, Art works, Chicago Magazine, April 1992, volume 41, no, 4, page 22
    Schonborn, Philipp, Abstrakte malerei Zwischen Analyse und Synthese, exhibition catalog, page 16 (photo)
    Artner, Alan, Gerber paintings bring opposites to light, Chicago Tribune, February 7, 1992, section 7, page 67
    Scanlan, Joe, Focus on Painting, Newsletter: The Renaissance Society at the University of Chicago, winter 1992, pages 1-2

  • 1991

    Scarle, Adrian, Art: Preview, Time Out London, November 20-21, 1991, page 41
    Sonitsch, Lonnette, Curiouser and Curiouser, Exeter, summer 1991, vol. 1, no, 3, pages 12-21
    Peterman, Dan, Improvements? on the ordinary, Randolph Street Gallery, exhibition brochure (photo)
    Artner, Alan, Group show ponders purpose for painting, Chicago Tribune, January 18, 1991, section 7, page 65
    Palmer, Laurie, Gaylen Gerber, Artforum, March 1991, number 6, page 135
    Hixson, Kathryn, Gaylen Gerber in Neutral, Flash Art, June 18, 1991, no, 159, pages 116-117
    Hixson, Kathryn, The Subject is the Object: The Legacies of Minimalism, New Art Examiner, May 1991, pages 29-33

  • 1990

    Ostrow, Saul, Repetition and Replication: Strategies for the Last Painting, exhibition essay
    Hixson, Kathryn, Gaylen Gerber, exhibition essay (photo)
    McCracken, David, Gallery Scene, Chicago Tribune, December 28, 1990, page 58
    Kalina, Richard, Gaylen Gerber at Jamie Wolff Gallery, Teme Celeste, July/October, no, 26, page 65
    Decter, Joshua, Gaylen Gerber, Arts Magazine, September, 1990, vol. 65, no 1, page 94
    Muhr, Peter, Gaylen Gerber, Flash Art, March/April, 1990, no, 151, page 156
    Gaylen Gerber at Galerie Nachst St, Stephan, Wien, Artis, February, 1990, page 50

  • 1989

    Hixson, Kathryn, Gaylen Gerber, Arts Magazine, November, 1989, vol, 64, no 3, page 111
    Barckert, Lynda, Gaylen Gerber, New Art Examiner, October 1989
    Scanlan, Joe, Problems with Reading Rereading, Artforum, September 1989, vol, 28, no 1, page 151
    Artner, Alan, Gaylen Gerber and his Grays: The Ultimate Neutrality, Chicago Tribune, June 8, 1989, section 5, page 9
    McCracken, David, Monochrome Paintings Provoke Question, Chicago Tribune, June 16, 1989, section 7, page 60
    McCracken, David, Artists Share Thoughts on Warhol Exhibit, Chicago
    Art from the Windy City, Bruce Gallery, Edinboro University of Pennsylvania, Erie Art Museum, exhibition essay
    Hixson, Kathryn, Gaylen Gerber, Arts Magazine, October, 1989, vol, 62, no, 2

  • 1988

    Hixson, Kathryn, Cool, Conceptual, Controversial, New Art Examiner, May, 1988, vol, 15, no 9, pages 30-33
    Artnet, Alan, Gaylen Gerber, Chicago Tribune, June 2, 1988, section 5, page 11B
    Brown, Daniel, New Chicago: Quiet and Deliberate, Dialogue, July/August, 1988, vol, 11, no, 4, pages 39-40
    McCracken, David, Still Lifes Show They Can Move the Viewer, Chicago Tribune, June 24, 1988, section 7, page 58

  • 1987

    Bonesteel, Michael, Medium Cool: New Chicago Abstraction, Art in America, December, 1987, vol, 75, no, 12 Westerbeck, Colin, Pendant’s Progress, Chicago Reader, July 10, 1987, section 1, pages 38 - 43

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