Alexandra Kleiman
Adding live animals to the directory of Duchampian “ready-mades,” artist Darren Bader pulls together disparate objects (and creatures) in a gesture ultimately questioning where the producer, consumer, and intermediary lie. By assembling collections of dissimilar items—goats (for sale), a photograph of a classical male sculpture, couscous, grapefruits, an architectural model, and references to NFL player Chad Ochocinco in one instance—Bader creates a dialectical experience that leaves room for just about any interpretation. This practice of selecting works is one usually left to curators, but is now increasingly incorporated into the structure of artworks.
Bader’s work reaches outside the traditional territory of artistic creation not only through his curatorial impulse, but also through the conceptual activation of institutional space, including the gallery works list. Among the materials for one sculpture, Bader listed “the potential to make the proposal a reality.”
The artist has a show opening at MoMA PS1 this Sunday, January 29. The museum’s initial description serves as an apt symbol for the practical and conceptual range of Bader’s work: “This is a show of sculptures. It also hopes to create new homes for animals in shelters. And to raise funds to help protect wild animal species. Salad will be served on Sundays starting at 2 PM.” Duchamp pushed the umbrella of art to include everyday objects, and now Bader assembles everyday objects and living beings to push art further into life. Where does the sculpture end and the animal activism begin?
Darren Bader, Cat (installation view), 2004. Courtesy Rivington Arms.
Darren Bader, Cat (installation view), 2004. Courtesy Rivington Arms.
Darren Bader, as = poaching the poachers, 2007. Courtesy Rivington Arms.
Darren Bader, as = poaching the poachers (installation view), 2007. Courtesy Rivington Arms.
Darren Bader, as = poaching the poachers (installation view), 2007. Courtesy Rivington Arms.
