Biography
| ANDREA ROBBINS Born: 1963, Boston, MA Education: 1989 Hunter College School of Art, New York, NY (1987-1989) 1986 Cooper Union School of Art, New York, NY, BFAMAX BECHER Born: 1964, Dusseldorf, Germany Education: 1990 Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ, MFA 1986 Cooper Union School of Art, New York, NY, BFA |
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| SOLO EXHIBITIONS | |
| 2011 | “Venice, Las Vegas,” Sonnabend Gallery; Feb 17 – Mar |
| 2010 | LA MARIEE MISE A NU PAR LES CELIBATAIRES,Galerie Jérôme de Noirmont, Paris; 20 September – 30 October |
| 2008 | Anh Duong, Tony Shafrazi Gallery, New York; 29 June – 16 September |
| 2007 | AUTOPORTRAITS, Galerie Jérôme de Noirmont, Paris; 2 April – 29 May |
| 2006 | Anh Duong, P.M.M.K Ostende; 22 November – 7 January 1998 |
| 2005 | Duong, Akarenga Cultural Center, Fukuoka City, Japan |
| 2004 | Anh Duong, Sperone Westwater, New York |
| 2008 | “Black Cowboys,” Sonnabend Gallery; Sept 16 – Oct 23 |
| 2007 | “Portraits,” Center for Art Design and Visual Culture, University of Maryland Baltimore County, Jan 31 – Mar 15 |
| 2006 | “Brooklyn Abroad”, Sonnabend Gallery, NY |
| 2005 | “The Transportation of Place,” Photographische Sammlung, Cologne, Germany “Brooklyn Abroad,” Museum Kunstpalast, Düsseldorf, Germany “Global Village,” Galerie Senda, Barcelona, Spain “St. Pierre and Miquelon – The Video,” LOOP, Barcelona, Spain |
| 2004 | Sonnabend Gallery, New York, NY “German Indians, “ Bernard Toale Gallery, Boston, MA Sun Valley Center for the Arts, Sun Valley, Idaho “Loop ’00 Video Festival,” Barcelona |
| 2003 | “Andrea Robbins and Max Becher,” Museum of Contemporary Photography, Chicago, IL |
| 2002 | “Figures …,” Sonnabend Gallery, New York, NY “German Legacies,” Harn Museum, Gainesville, FL “Old Tucson and Almeria,” Galerie Senda, Barcelona, Spain |
| 2001 | “A Survey 1991-2000,” Sonnabend Gallery, New York, NY “Recent Works,” Leslie Tonkonow Gallery, New York, NY |
| 2000 | “Andrea Robbins and Max Becher,” Yerba Buena Center for the Arts, San Francisco, CA |
| 1999 | “German Indians,” Leslie Tonkonow Artworks & Projects, New York, NY “Bavarian by Law” and “German Indians,” Gallerie Windows, Brussels, Belgium “Remotely Viewed,” American Fine Arts, New York, NY |
| 1998 | “Bavarian by Law” and “German Indians,” Robert B. Menschel Photography Gallery, Syracuse, NY “Dachau” and “German Indians,” Vaknin Schwartz, Atlanta, GA |
| 1997 | “Dachau,” Michael Solway Gallery, Cincinnati, OH “Dachau,” Basilico Fine Arts, New York, NY |
| 1996 | “Shrinking People, Exiled Cigars, and Galloping Dinosaurs,” Basilico Fine Arts, New York, NY |
| 1995 | “Holland,” Basilico Fine Arts, New York, NY |
| 1994 | “Holland/colonial remains,” Kunstverein, Hamburg, Germany “Holland/colonial remains,” de Vleeshal, Middelburg, The Netherlands “Wall Streeet in Cuba/colonial Remanis,” Kanaal Art Foundation, Kortrijk, Belgium “Old Tucson/Wall Street in Cuba,” Basilico Fine Arts, New York, NY |
| 1992 | “colonial remains,” Berland Hall Gallery, New York, NY |
| 1989 | (MB) “Travel Exhibit,” Zimmerli Art Museum, New Brunswick, NJ (AR) “Still-Life Maintenance,” Hunter Gallery, Thomas Hunter Hall, New York, NY |
| 1986 | “A Portrait of Felix Buchloh,” Arthur A. Houghton Gallery, New York, NY |
| GROUP EXHIBITIONS | |
| 2011 | “Project Europa: Imagining the (Im)possible.”, Harn Museum of Art, University of Florida, Gainsville, FL, February 6 to May 9, 2010. Miriam and Ira D. Wallach gallery, Columbia University, January 25 to March 19, 2011. Samuel Harn Museum, FL, February 12 – August 7 2011. |
| 2010 | “Kid Kulture”, Westport Arts Center, Westport, CT, December 10, 2010 – February 20, 2011. “Dreamlands”, Centre Georges Pompidou, Paris, France, April 28 – August 2 “Trying Them On – Curated by Jon Feinstein.”, Humble Arts Foundation and Hendershot Gallery, January 21 – February 27 |
| 2009 | “Universal Archive. The Condition of the Document and the Modern Photographic Utopia”, MACBA, Barcelona, Spain, October 23th – January 6th, 2009; Museu Berardo De Lisboa, Lisbon, Portugual, March 9th – May 3rd, 2009 “Striking Resemblance”, Norton Museum of Art, November 22nd 2008 February, 15th, 2009 |
| 2008 | Provisions Learning Project,Washington, DC “Outsider: Tourism, Migration and Exile”, Santa Fe Art Institute, Sante Fe, NM, October 4th – October 31st |
| 2007 | “Don’t Know Much About History,” ArtSpace gallery, New Haven, CT French Institute Alliance Francaise “Special show: the Photography Collection/SK Cultural Foundation, Cologne: A Look at the collection/contemporary portrait photography,” Art Cologne, Cologne “German Indians,” Savannah College of Art and Design, Savannah, Georgia “Location/Dislocation,” Alliance Francaise, New York, NY Galleri Brandstrup, Oslo, Norway |
| 2006 | “What is an icon?,” Krannert Art Museum, University of Illinois, Champaign, IL The 6th Photo Festival, Gana Art Center, Seoul, South Korea, June “Recent Aquisitions,” Museum of Contemporary Photography, Chicago, IL “The Last Show,” Cooper Union, May “American Matrix: Contemporary Directions for the Harn Museum Collection Part 1 and 2, Fall 05 to Summer 06 |
| 2005 | “The City: Contemporary Views of the Built Environment,” Lehmann College Art Gallery, NY “The Jewish Identity Project: New American Photography,” The Jewish Museum, New York; The Contemporary Jewish Museum, San Franciso, CA The Harn Museum of Art, Gainesville, FL “Universal Experience: Art, Life, and the Tourist’s Eye,” Museum of Contemporary Art, Chicago; Hayward Gallery, London |
| 2004 | “Visions of America: Contemporary Art from the Essl Collection and the Sonnabend Collection, New York”; Sammlung Essl, Klosterneuberg/Vienna; October 2004 – March 2005 “White: Whiteness and Race in Contemporary Art,” International Center of Photography, New York |
| 2003 | “Selections from the Lewitt Collection,” New Britain Museum of American Art, Lexington, CT “Printemps de Septembre de Toulouse,” Toulouse, France “Only Skin Deep Online”, International Center of Photography, New York, NY “How Human: Life in the Post-Genome Era,” International Center of Photography, New York, NY The American Effect,” Whitney Museum of American Art, New York, NY |
| 2002 | “What’s New: Recent Acquisitions in Photography”, Whitney Museum of American Art, New York, NY “New Visions of the West-Contemporary Gallery”, Nassau County Museum of Art, Roslyn Harbor, NY “Beyond Barbizon”, Dan Elias Fine Art, Boston, MA “From Pop to Now”, The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY |
| 2001 | “Documentary Fortnight”, Museum of Modern Art, New York “Documentary Processes”, Museum of Contemporary Art, Barcelona, Spain “Ritual and Religion,” Robert B Menschel Photography Gallery, Syracuse University, New York |
| 2000 | “Biennale de Lyon d’Art Contemporain”, Halle Tony Garnier, Lyon, France “Above and Beyond”, Yerba Buena Center for the Arts, San Francisco, CA “Miami Arts Project”, Miami, FL “On Sight: Contemporary Photographers of Place”, The Center for Curatorial S Studies Museum, Bard College, Annandale-on-Hudson, NY “Contemporary Art From the Collection of The Jewish Museum”, Samuel P. Harn Museum of Art, U. of Florida, Gainesville, FL; Sheldon Memorial Art Gallery, U. of Nebraska, Sheldon, NE; Parrish Art Museum, Southampton, NY |
| 1999 | “Photography: An Expanded View”, Solomon R. Guggenheim Museum, Bilbao, Spain “Architecture?”, Vaknin Schwartz, Atlanta, GA “Persuasion”, Lombard-Freid Fine Arts, New York, NY “Artists in Residence”, Altos de Chavon Gallery, La Romana, Dominican Republic “Full Exposure: Contemporary Photography”, New Jersey Center for Visual Arts, Summit, NJ (AR) “Conceptual Art as Neurobiological Praxis”, Thread Waxing Space, New York, NY “Photography: An Expanded View”, Solomon R. Guggenheim Museum, New York, NY “The Cultured Tourist”, Carol Eilers Gallery, Ltd., Chicago, IL |
| 1998 | “The Cultured Tourist”, Leslie Tonkonow Artworks & Projects, New York, NY “Selections/Contemporary Photography”, The Jewish Museum, New York, NY “The Cottingley Fairies and other Apparitions”, Memphis Brooks Museum of Art, Memphis, TN “The Cottingley Fairies and other Apparitions”, Lesli Tonkonow Artworks & Projects, New York, NY |
| 1997 | “Critical Images: Conceptual Works from the 1960’s to the Present”, Leslie Tonkonow Artworks & Projects, New York, NY |
| 1996 | “100 Photographs”, American Fine Arts, Co., New York, NY “Culture and Continuity: The Jewish Journey”, The Jewish Museum, New York, NY “Western Views: A Photographic History of Land Use in the West”, San Francisco Museum of Modern Art, San Francisco, CA |
| 1995 | “The Cultured Tourist”, curated by Leslie Tonkonow, Center for Photography at Woodstock, Woodstock, NY “Summer Fling”, Basilico Fine Arts, New York, NY |
| 1994 | “In the Field: Landscape in Recent Photography”, Margo Leavin Gallery, Los Angeles, CA “Artists Select”, Artists Space, New York, NY |
| 1993 | “Trade Routes”, curated by Laura Trippi, The New Museum of Contemporary Art, New York, NY |
| 1992 | (MB) “Green Acres: Neocolonialism in the U.S.”, curated by Martha Rosler, Washington University Gallery of Art, St. Louis, MO |
| 1989 | (MB) “If You Lived Here…: Housing, Homelessness,City”, curated by Martha Rosler, DIA Art Foundation, New York, NY 2003Harry N. Abrams Publishing Co.: “Landmarks of New York” |
| 1986 | “Jardin Secret”, Arca Centre d’art Contemporain, Marseilles, France |
| BIBLIOGRAPHY Books authored 2006: |
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| “The Transportation of Place: the Work Of Andrea Robbins and Max Becher,” Aperture Press, April (with essays by Lucy Lippard and Maurice Berger) “Brooklyn Abroad,” with essays by Nora Alter and Rupert Pfab, May |
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| 2006 | “Show Gives Art History New Meaning,” by Ben Genocchio, New York Times, December 31 “The Portable Legacy: Why Is an Unremarkable Brooklyn Building Being Replicated Worldwide?”, by Gabriel Sanders, Fri. Dec 29, 2006, p. b1 and cover “Fokus auf Andrea Robbins und Max Becher: Dirndl in Washington,” Frankfurter Rundschau Magazin, Dec. 9, p.8 “Global Village,” Adbusters, September/October, pgs. 2-3, 7, 38 “Controlled Scarcity: The Making of a Mass-Produced Collectible,” essay by Andrea Robbins, photos by Robbins/Becher Full Vinyl, edited by Ivan Vartanian, pgs. 198-205 “Illustrating That Looks Aren’t Everything,” Blake Gopnik, Washington Post, October 17 “Cloned Home,” Sleek Magazine, Autumn, pgs. 150-159 “Shape Shifters,” Alexander McSpadden, Damn Magazine, p.94-98 “New York over there,” Howard Halle, Time Out New York, September 28-October 4, p. 7 “The Hasidic Life,” Angela Ashman, The Village Voice, September 27-October 3, p. 46 “My Place or Yours?,” Elyssa Da Cruz, City Magazine, May/June, p. 34 “Global Dislocation,” Diane Smyth, The British Journal of Photography, April 26 “Auch Max Becher probt den Paarlauf”, Johanna Di Blasi, Kunstzeitung 115, March, p. 25 “The Skirball to Host the Jewish Identity Project,” The Jewish Observer, Feb 13-19 “Arte e vita”, Uni News, February 11 “Universal Experience. Lo sguardo del turista”, Francisco Bonami, Mart Communication, February 10 “Places out of Place”, Gainesville Magazine, February, pgs. 30-37 |
| 2005 | “Einmal Indianerhäuptling sein”, Catrin Lorch, Frankfurter Allgemeine Zeitung, p. 39 “Bayern per Gesetz verordnet,” Thomas Linden, Welt Magazin, p. 20, October 21 “Max Becher: “Bin nicht Schüler meiner Eltern”, Helga Meister, WZ Newsline, October 20 “Around the world in eighty ways “, London Times Online, September 24 “The art of travel”, Simon Calder, The Independent News (online), October 8 Visual Art: Universal Experience: Tim Teeman at the Hayward Gallery”, The London Times Online, October 6 “American Jewishness in All Its Infinite Variety”, Grace Glueck The New York Times, October 5 “‘Jewish Identity’ show is a real eye-opener” Celia McGee, New York Daily News, October 3 “Il 770 di Milano nella Galleria di Andrea Robbins e Max Becher”, Chabad (Italia), October 24 “Cameras Expose Hidden Diaspora”, Mitchell Seidel, The Star Ledger, Jan2 “Andrea Robbins / Max Becher”, Kunstaspekte, October 19 “Photography Review; A Global View lets Us See Differences Among Jews”, Ariella Budick, Newsday Inc., October 14 “The Jewish Identity Project: New American Photography”, Grace Glueck, The New York Times, BMCC News, October 11th Holidays in Hell, The Guardian, October 11 “Transportation of Place”, Pro Photo Online (newsletter),October 10 “Holidays in hell at the Hayward’s Universal Experience exhibition”, Scenta, November 29 “Brooklyn Abroad,” Fenja, Terz, Nov. 29, 05 “Transportation of Place – Brooklyn Abroad”, Julia Scho, Kritische Ausgabe, November 19 “O’Keeffe Museum Research Center hosts online symposium on 1980s art, politics”, The New Mexican, November 1 “Director’s Notes,” Karen Irvine, Uber+Punctum Newsletters, Museum of Contemporary Photography, May 31 “Andrea Robbins, Max Becher ;Verlagerte Identitaten;” Art 49, May “Transportation of Place”, Michael Pfister, Field Report, March 12 “Künstlerpaar Andrea Robbins und Max Becher in Köln und Düsseldorf”, Priska Hoflich, Galerien Virtuell, August 29 “Andrea Robbins and Max Becher: German Indians at Bernard Toale Gallery”, Francine Koslow Miller, Art on Paper, p. 81, January/February “Taking on Skin Color, Art and Politics in ‘White’,”Cheryl DeVall, NPR, January 28 “Playing on Black and White: Racial Messages Through a Camera Lens,” Margo Jefferson, The New York Times, January 10 “Universal Experience: Art, Life, and the Tourist’s Eye,” Glow Lab News, February 11 “Universal Experience: Art, Life, and the Touris Eye,” Electronic Flux Corporation, February 10 “Imagined communities’; Matthew J. Reisz joins the debate on Jewish identity at the Jewish Museum in New York, Matthew Reisz, Jewish Quarterly, Autumn issue – Number 199 “Deutung von Wirklichkeit,” Kathe Brandt, Die Tageszeitung, August 11 “Universal Experience – Art, Life, and the Tourist’s Eye” Art Facts “Events: Universal Experience: Art, Life and the Tourist’s Eye,” Dichotomy Media “Universal Experience: Art, Life, and the Tourist’s Eye”, Non Starving News Letter “Universal Experience: Art, Life and the Tourist’s Eye,” Travel Channel” “The Jewish Identity Project: New American Photography: New American Photography,” World Jewish News Agency “The Jewish Identity Project ,” New American Photography, Yale University Press |
| 2004 | “White: Whiteness and Race in Contemporary Art” [Catalogue] Maurice Berger, pages 33, 47-48 Ken Johnson, The New York Times, “Andrea Robbins and Max Becher,” p. B31, March 12 Eva Diaz, Art in America, “Andrea Robbins and Max Becher at Sonnabend, p153, October Realidad y representacion celccionar paisaje hoy, p.104-105 New York Magazine, “Andrea Robbins and Max Becher at Sonnabend Gallery,” February |
| 2003 | “How Do We Look,” June 21, 2003 OP-ED page, The New York Times The American Effect [Whitney Museum exhibition catalogue], pgs. 22-23, 112-15, 133-35, 197, 206 2Wice Magazine, “Light Sabre” Gestes [Printemps de Septembre catalogue], “Robbins, Andrea & Becher, Max,” p.98 |
| 2002 | October Magazine 100th issue, “London Bridge Arizona, by Andrea Robbins and Max Becher” Spring, p.23 Andy Grundberg, Art on Paper, “Global Breach: The Photos of Andrea Robbins and Max Becher”, May/June, p.57 Rachel Singer, The Cooper Pioneer,”Andrea Robbins and Max Becher” “Americans in Samana:Photographs by Andrea Robbins and Max Becher,” Doubletake Magazine, Spring, p. 64 Jorge R. Pombo, La Vanguardia, “Andrea Robbins y Max Becher documentan en sus fotographias el falso Far West,” January 26 Artnews Digital No. 428, “Andrea Robbins y Max Becher en Espai 292” |
| 2001 | Roberta Smith, The New York Times, “Andrea Robbins and Max Becher,” p.E31, October 5 New York Magazine, “Andrea Robbins and Max Becher,” October Martha Schwendener, Artforum.com, “Critic’s Picks: Andrea Robbins and Max Becher” September David Bonetti, San Francisco Chronicle, “Things People Do Behind Masks,” March |
| 2000 | Die Zeit,”Auf Nach Radebeul,” July 6, p.46 Alan Riding,”’Exotic’? Perhaps, Yet Neither Primitive Nor Pure,” The New York Times/International Herald Tribune, July 5 Newhall, Edith, “Andrea Robbins and Max Becher”, New York Magazine, Jan. 3, p.10 |
| 1999 | Glueck, Grace, “Andrea Robbins and Max Becher”, The New York Times, Dec.31 Schmerler, Sarah, “Andrea Robbins and Max Becher, ‘German Indians’”, Time Out New York, Dec. Mendelshohn, Meredith, “German Indians”, artnet.com, Dec.17 Lippard, Lucy, On the Beaten Track: Tourism, Art, and Place, p. 46-47, 89, 120-122 “Robbins/Becher at Gallerie Windows”, The Bulletin, p.21 D’Hoogue, Alain, “Dans un monde déboussolé”, p.17 (AR) Spaid, Sue, “Conceptual Art as Neurobiological Praxis”, The Village Voice, April 27 (AR) Scott, Andrea K., “Conceptual Art as Nerobioological Praxis”, Time Out New York, April 22-29 Seidel, Mitchell, “Art Form Still in the Process of Exposing Itself”, The Sunday Star Ledger, May 16, p.7 |
| 1998 | Boxer, Sarah, “The Guggenheim Sounds the Alarm: It Ain’t Necessarily So”, The New York Times, Friday, March 19, p.E37 Harper’s Magazine, Feb., p.29 Goldberg, Vicki, “Eliminating the Distance Between Two Points”, The New York Times, Friday, Nov.17, p.E46 Camhi, Leslie, “The Cultured Tourist”, The Village Voice, Nov.24, p.135 Cullum, Jerry, “Stereotype This”, Artpapers, Nov./Dec., p.16 Cullum, Jerry, “Andrea Robbins and Max Becher at Vaknin Schwartz”, Art in America, July, p.101-102 Dimling Cochran, Rebecca, “Andrea Robbins and Max aBecher at Vaknin Schwartz Gallery, Atlanta”, Frieze, June/July/August, p.95 Yablonsky, Linda, “The Cottingley Fairies and Other Apparitions”, Time Out New York, Feb.5-12, p.44 Goldberg, Vicki, “Of Fairies, Free Spirits and Outright Frauds”, The New York Times, Feb.1, p.48-49 |
| 1997 | Lippard, Lucy, The Lure of the Local: Senses of Place in a Multicentered Society, p.240 (MB) Documents Magazine, Spring 1997, p.11 Marcoci, Roxana; Murphy, Dinana; Sinaiko, Eve, New, p.109 Baker, George, “Andrea Robbins and Max Becher”, Artforum, Sep., p.126 |
| 1996 | Van de Wall, Mark, “Andrea Robbins and Max Becher”, Artforum, May, p.104 The Print Collector’s Newsletter, “Andrea Robbins and Max Becher”, Vol.27 #1, March-April, p.30 Tonkonow, Leslie, “The Cultured Tourist”, Photography Quarterly, p.4-8 Schaffner, Ingrid, “Every Traveler a Tourist”, Photography Quarterly, p.9-12 Citizen K, “The Exile Brands”, Numero 8, Hiver 95/96, p.44 Karmel, Pepe, “Andrea Robbins and Max Becher: ‘Shrinking People, Exiled Cigars and Galloping Dinosaurs”, The New York Times, Feb.2, 1996 |
| 1995 | Van Winkel, Camiel, “Vestiges of Utopia, The Dusseldorf School”, Archis, Oct. 1995, p.65-80 Mariño, Melanie, “Andrea Robbins and Max Becher at Basilico Fine Arts”, Art in America, Nov.1995, p.112 Robbins, A. & Becher, M., “The Oregon Vortex”, Blindspot, Issue 6, p.12-17 Robbins, A. & Becher, M., “The Exile Brands”, Documents, Spring/Summer 1995, p.66-69 Kutner, Jane, “Chelsea and Soho offer a mix of Art”, The Dallas Morning News, May 28, 1995, p.5C, 7C |
| 1994 | Kandel, Susa, “Land Ahoy”, Los Angeles Times, Nov.17, p.F13 Dogramaci, Burcu, “Der Wilde als entmundigtes Wesen”, Welt am Sonntag, Sept.25 Velder, Katrin, “Andrea Robbins and Max Becher: ‘Old Tucson/Wall Street in Cuba”, Augenblick, Vol.2, No.4, April, p.2 |
PUBLIC COLLECTIONS
Soloman R. Guggenheim Mueum, New York, NY
The Jewish Museum, New York, NY
The New School for Social Research, New York, NY
Whitney Museum of American Art, New York, NY
Fried Frank Collection, New York
San Francisco Museum of Modern Art, San Francisco, CA
Los Angeles County Museum of Art, Los Angeles, CA
Progressive Corp, Cleveland, OH
St. Louis Museum of Art, OH
Center for Creative Photography, Tucson, AZ
Museum of Contemporary Photography, Chicago, IL