Sculpture Art Made of Matches That Are Lit on Fire

American artist

Chris Brunt
Born	(1946-04-11)Apr 11, 1946 Boston, Massachusetts, US
Died	May 10, 2015(2015-05-10) (aged 69) Topanga Coulee, California, US
Pedagogy	Pomona College University of California, Irvine
Known for	Operation fine art, installation art, sculpture
Spouse(s)	Barbara Burden[1] Nancy Rubins[2]

Christopher Lee Burden (April 11, 1946 – May 10, 2015) was an American artist working in performance, sculpture and installation fine art. Burden became known in the 1970s for his operation art works, including Shoot (1971), where he bundled for a friend to shoot him in the arm with a small-caliber rifle. A prolific artist, Burden created many well-known installations, public artworks and sculptures before his decease in 2015.

Early life and career [edit]

Burden was born in Boston in 1946 to Robert Brunt, an engineer, and Rhoda Burden, a biologist.^{[3] [4]} He grew up in Cambridge, Massachusetts, France and Italy.^[five]

At the age of 12, Burden had emergency surgery, performed without anesthesia, on his left pes after he was severely injured in a motor-scooter crash on Elba. During the long convalescence that followed, he became deeply interested in visual fine art, particularly photography.^[3]

He studied for his B.A. in visual arts, physics and compages at Pomona College and received his MFA at the University of California, Irvine—where his teachers included Robert Irwin^[five]—from 1969 to 1971.^[6]

Work [edit]

Early performance art [edit]

Brunt began to piece of work in performance art in the early 1970s. He made a serial of controversial performances in which the thought of personal danger equally artistic expression was central. His showtime significant performance work, Five Twenty-four hour period Locker Piece (1971), was created for his master's thesis at the Academy of California, Irvine,^[iii] and involved his being locked in a locker for v days.^[7]

His 1973 piece of work 747 involved the artist firing several pistol shots directly at a Boeing 747 passenger jet aeroplane while it took off from Los Angeles International Airport. The piece had a unmarried witness, photographer Terry McDonnell, who filmed the act.^{[ citation needed ]}

His best-known work from that time is perhaps the 1971 performance piece Shoot, in which he was shot in his left arm by an assistant from a distance of about sixteen anxiety (5 m) with a .22 rifle.^{[6] [8]} Other performances from the 1970s included Deadman (1972), in which Burden lay on the ground covered with a canvas sheet and a ready of route flares until bystanders assumed he was expressionless and called emergency services (leading to his abort);^[9] Match Piece (1972) (too known as Friction match),^[9] in which Burden launched lit matches at a naked woman lying between him and a set up of ii televisions in a room covered with butcher newspaper (1972);^[x] B.C. Mexico (1973), in which he kayaked to a desolate beach in Baja Mexico where he lived for eleven days with no food and but water;^[eleven] Fire Ringlet (1973), in which he gear up a pair of pants on burn and and then rolled on them to extinguish them;^{[12] [13]} Honest Labor (1979), in which he dug a large ditch;^[seven] Velvet Water (1974), in which he spent five minutes attempting to breathe water equally a alive audience watched;^[fourteen] Practise Yous Believe in Goggle box (1976), in which he sent an audience to the third floor of a building — where television receiver monitors showed them the ground flooring — and then lit a fire on the ground floor (sources differ as to whether the monitors showed the fire, forcing the audience to realize that the screens represented reality,^[14] or showed an intact footing flooring, forcing them to realize that the screens did not correspond reality);^[xv] and TV Hijack (1972) wherein, during a live television interview to which he had brought his own camera crew, he held interviewer Phyllis Lutjeans at knifepoint and threatened to kill her if the station stopped live transmission (when asked near the incident in 2015, Lutjeans stated that Burden was a 'gentle soul', that she knew it was an art slice, and that the incident did not impairment their pre-existing friendship);^[16] to conclude the slice, he demanded to be given the station'due south recording of the incident, which he then destroyed.^[17]

Still from Idiot box Hijack, February 9, 1972, Channel 3 Cablevision, Irvine, California

One of Burden's nigh reproduced and cited pieces, Trans-Fixed took place on April 23, 1974, at Speedway Avenue in Venice, California.^[18] For this performance, Burden lay face up on a Volkswagen Beetle and had nails hammered into both of his easily, equally if he were being crucified on the automobile. The motorcar was pushed out of the garage and the engine revved for two minutes before existence pushed back into the garage.^[xix]

Subsequently that year, Burden performed his piece White Light/White Rut at the Ronald Feldman Gallery in New York City. For this piece of work of experiment performance and self-inflicting danger, Burden spent twenty-two days lying on a triangular platform in the corner of the gallery. He was out of sight from all viewers and he could non see them either. According to Burden, he did non eat, talk, or come downwards the entire time.^[20]

Several of Brunt's other performance pieces were considered controversial at the time: another "danger piece" was Doomed (1975), in which Burden lay motionless in a gallery at the Museum of Contemporary Art, Chicago nether a v ft × viii ft (1.5 m × 2.four m) slanted canvass of glass nearly a running wall clock.^{[21] [22]} Burden planned to remain in that position until a museum employee prioritized his well-being over the creative integrity of the slice. Later on 40 hours, the museum staff consulted physicians. five hours and 10 minutes after that, museum employee Dennis O'Shea placed a pitcher of water inside Brunt'south attain, at which signal Burden rose, smashed the glass, and took a hammer to the clock, thus ending the piece.^[23]

By the end of the 1970s, Burden turned instead to vast engineered sculptural installations.^[3] In 1975, he created the fully operational B-Car, a lightweight four-wheeled vehicle that he described as being "able to travel 100 miles per hour and achieve 100 miles per gallon" (160 km/h and 43 km/fifty).^[24] Some of his other works from that flow are DIECIMILA (1977), a facsimile of an Italian 10,000 Lira notation, possibly the offset fine art print that (like paper coin) is printed on both sides of the paper; The Speed of Calorie-free Motorcar (1983), in which he reconstructed a scientific experiment with which to "see" the speed of calorie-free; and the installation C.B.T.V. (1977), a reconstruction of the start ever made Mechanical television.

In 1978, he became a professor at University of California, Los Angeles, a position from which he resigned in 2005 due to a controversy over the university's alleged mishandling of a student's classroom performance piece that echoed one of Burden's own performance pieces.^[8] Burden cited the operation in his letter of resignation, saying that the educatee should take been suspended during the investigation into whether schoolhouse safety rules had been violated.^[25] The performance allegedly involved a loaded gun, merely government were unable to substantiate this.^[26]

In 1979, Burden first exhibited his notable Large Bicycle exhibition at Rosamund Felsen Gallery.^[27] It was later exhibited in 2009 at the Museum of Gimmicky Art, Los Angeles.^[28]

In 1980, he produced The Diminutive Alphabet – a behemothic, poster-sized mitt-colored lithograph – and performed the text dressed in leather and punctuating each letter with an angry stomp.^[29] 20 editions of the work were produced and are largely in the possession of museums, including SFMOMA^[xxx] and the Whitney Museum of American Art.^[31]

1988'southward Samson was a 100-ton hydraulic jack which was connected to a turnstile such that, with each guest who entered the Newport Harbor Art Museum, timbers were rammed into the museum'due south supporting walls,^[32] meaning that "if plenty people entered the museum, it would collapse". The exhibit was forcibly disassembled by the local fire department after a complaint that information technology was blocking a fire exit.^[33] In 2008, Burden reported having subsequently sold Samson to "a collector in Brazil."^[34]

Later work [edit]

Urban Light (2008) by Chris Burden

City Ii (2011) kinetic art project past Chris Burden. At LACMA filmed March 16, 2013.

Many of Chris Brunt's later sculptures are intricate installations and structures consisting of many pocket-size parts.^[four] A Tale of Ii Cities (1981) was inspired by the artist's fascination with war toys, bullets, model buildings, antique soldiers, and a fantasy about the twenty-fifth century – a time when he imagines the earth will have returned to a system of feudal states. The room-filling miniature reconstruction of ii such city-states, poised for war, incorporates five,000 war toys from the Usa, Japan, and Europe – on a 1,100-foursquare-human foot (100 chiliad^two), 20-brusk-ton (eighteen t)^[4] sand base surrounded by a "jungle" made of houseplants.^[35] The gallery-sized installation All the Submarines of the Us (1987) consists of 625 identical, pocket-size, handmade, painted-cardboard models that represent the entire United States submarine fleet dating from the late 1890s, when submarines entered the navy'south arsenal, to the late 1980s.^[36] He suspended the cardboard models on monofilaments from the ceiling, placing them at various heights so that as a grouping they appear to be a school of fish swimming through the ocean of the gallery infinite.^[4] In 1992, he exhibited his Fist of Light during the Whitney Biennial exhibition in New York. It consisted of a sealed kitchen-sized metal box with hundreds of metal halide lamps burning within. It required an industrial air conditioner to cool the room.

Hell Gate (1998), is a 28-foot-long (8.5 m) scale model, in Erector and Meccano pieces and wood, of the dramatic steel-and-concrete railroad bridge that crosses the Hell Gate segment of the East River, between Queens and Wards Island.^[v] In 1999, Burden's sculpture When Robots Rule: The Two Infinitesimal Aeroplane Factory was shown at the Tate Gallery in London. It was a "factory-like associates line which manufactures rubber-band-powered model aeroplanes from tissue newspaper, plastic and balsa wood". Each plane had a propeller powered by a rubber band, and when each was completed, at a rate of 1 every 2 minutes,^[37] the automobile launched information technology to fly up and circle around the gallery.^[38] Unfortunately, the car was non-functional for at to the lowest degree 2 months of the installation, leading World Sculpture News to question the intent of the piece and remark that "the work illustrated that robots, in fact, don't rule everything, and for the time beingness, are still subjected to individual and groups shortcomings".^{[39] [xl]}

First presented at the Istanbul Biennial in 2001, Nomadic Folly (2001) consists of a large wooden deck made of Turkish cypress and iv huge umbrellas. Visitors can relax and linger in this tent-like structure, replete with opulent handmade carpets, braided ropes, hanging glass and metal lamps, and wedding fabrics embroidered with sparkling threads and traditional patterns.^[41]

In 2005, Burden released Ghost Send, his crewless, self-navigating yacht which docked at Newcastle-upon-Tyne on 28 July later a 330-mile (530 km) 5-mean solar day trip from Fair Isle, near Shetland. The project was commissioned by the company Locus+ at a cost of £150,000, and was funded with a significant grant from Arts Council England,^[42] being designed and synthetic with the help of the Marine Engineering Department of the University of Southampton.^[43] It is said to be controlled via onboard computers and a GPS organization; nevertheless, in case of emergency the ship is 'shadowed' past an accompanying support boat.

In 2008, Brunt created Urban Light, a sculptural work consisting of 202 constitute antique street lights that had once stood around Los Angeles. He bought the lights from the contractor who installed Urban Light, Anna Justice.^[44] The work is on view outside of the Los Angeles County Museum of Art, and the solar-powered lights are illuminated at dusk.^[44]

In the summer of 2011, Burden finished his kinetic sculpture, Urban center Ii,^{[45] [46]} which took four years to build. It was installed at LACMA in Fall 2011.^{[47] [48]} "Chris Burden's Metropolis Ii is an intense kinetic sculpture, modeled afterwards a fast paced, frenetic modern city."^[49]

Suspended from reverse ends of a telescoping residual axle of velvety rusted steel are a restored bright yellow 1974 Porsche sports motorcar and a minor meteorite. Porsche With Meteorite (2013) balances perfectly, with the heavier auto much closer to the vertical back up.^[4]

Light of Reason was commissioned past Brandeis Academy in 2014 and stands outside the Rose Art Museum on campus.^[50] The sculpture consists of three rows of 24 Victorian lamp posts which point away from the museum's entrance.^[50] The sculpture serves equally a gateway and outdoor result space, and has become a campus landmark.^{[51] [fifty]}

Burden's final completed project – a working dirigible that flies in perfect circles called Ode to Santos Dumont after the pioneering Brazilian aviator – was unveiled at a individual Gagosian Gallery event exterior of Los Angeles shortly before his expiry^[52] and subsequently installed as a tribute at LACMA.^[53] Too, the New Museum decided to have Twin Quasi-Legal Skyscrapers (2013), two 36-human foot-tall towers created for the museum'southward retrospective on Burden, remain on the establishment's roof for several months in tribute.^[53] At the time of his death, Brunt was also working on a watermill next to Frank Gehry's not so yet completed aluminum tower at LUMA Arles, which was finished in 2021. Burden's work remained unfinished at the time of his passing as well.^[54]

Exhibitions [edit]

In 2013, the New Museum presented "Chris Burden: Extreme Measures", an expansive presentation of Burden's work that marked the beginning New York survey of the artist and his first major exhibition in the United States in over 20-v years. Brunt has besides had major retrospectives at the Newport Harbor Fine art Museum, Newport Beach, California (1988), and the Museum of Applied Arts, Vienna (1996).^[55] Other solo exhibitions include "14 Magnolia Doubles" at the South London Gallery, London (2006); "Chris Burden" at the Baltic Center of Gimmicky Fine art, Gateshead (2002); and "Tower of Power" at the Museum Moderner Kunst Stiftung Ludwig, Vienna (2002).^[41] In 1999 Brunt exhibited at the 48th Venice Biennale and the Tate Gallery in London. In the summertime of 2008, Burden'southward 65-foot-tall (20 m) skyscraper made of one million erector set parts, titled What My Dad Gave Me, stood in front of Rockefeller Center, New York City.^[55]

Collections [edit]

Brunt'southward work is featured in prominent museum collections such as the LACMA and the Museum of Gimmicky Art, Los Angeles; the Whitney Museum of American Art and the Museum of Modernistic Art, New York; the Tate Gallery, London; the Middelheimmuseum, Antwerp, Kingdom of belgium; the Inhotim Centro de Arte Contemporanea, Brazil; the 21st Century Museum of Gimmicky Fine art, Kanazawa, Nippon; and the Museum of Gimmicky Art, Chicago, amongst others.^[41]

Art market [edit]

Burden was represented by Gagosian Gallery from 1991 until his decease.^[55] In 2009, a deal that Gagosian Gallery had struck to buy $iii one thousand thousand in golden bricks for Burden'southward work One Ton, One Kilo ^[56] was frozen when it turned out that the bricks had been acquired from a Houston-based company owned past financier Allen Stanford, who was later on charged by the U.South. Securities and Commutation Commission^[57] and sentenced to 110 years^[58] in prison house for cheating investors out of more than $7 billion over xx years in one of the largest Ponzi schemes in American history.^{[59] [sixty]} Every bit of 2013, the gallery'due south gold has been frozen while the SEC investigates Stanford and One Ton I Kilo cannot be mounted until the gold bullion is released.^[61]

In popular culture [edit]

David Bowie's 1977 vocal "Joe the Lion" was inspired past Burden'due south 1974 Trans-Fixed, where Burden crucified himself on the roof of a Volkswagen Protrude.^[62] Laurie Anderson titled her 1977 song "It's Not the Bullet that Kills Y'all – Information technology's the Hole (for Chris Brunt)". Brunt was also mentioned in the Jeff Lindsay book Dexter by Blueprint, and in Norman Mailer's book The Faith of Graffiti. The verse form "Doomed (1975)" by David Hernandez in his 2011 collection Hoodwinked ^[63] describes the Burden installation of the same name in Chicago. In poet Jason Schneiderman's 2020 collection Hold Me Tight ^[64] there is a sequence about Burden.

Personal life [edit]

Burden was married to multi-media artist Nancy Rubins.^[8] He lived and worked in Los Angeles, California. His studio was located in Topanga Canyon.^[47] From 1967 to 1976, Burden was married to Barbara Burden, who documented and participated in several of his early artworks.^[1]

Burden died on May 10, 2015, 18 months afterwards having been diagnosed with melanoma.^[65] He was 69.

References [edit]

1. ^ ^{a b} McKenna, Kristine (29 September 1992). "Unmasking Chris Brunt". Los Angeles Times . Retrieved 21 October 2019.
2. ^ Kennedy, Randy. "The Balance of a Career". The New York Times.
3. ^ ^{a b c d} Margalit Trick (May 11, 2015), Chris Burden, a Conceptualist With Scars, Dies at 69 The New York Times
4. ^ ^{a b c d due east} Roberta Smith (October 3, 2013), The Stuff of Building and Destroying: 'Chris Brunt: Farthermost Measures,' at the New Museum The New York Times
5. ^ ^{a b c} Peter Schjeldahl (May 14, 2007), Performance: Chris Brunt and the limits of art The New Yorker.
6. ^ ^{a b} Gagosian Gallery website. http://www.gagosian.com/artists/chris-brunt/. Retrieved 25 May 2010.
7. ^ ^{a b} Work Ethic, by Helen Anne Molesworth, M. Darsie Alexander, Julia Bryan-Wilson, Baltimore Museum of Art, Des Moines Art Eye, Wexner Center for the Arts; published 2003 by Penn State Printing
8. ^ ^{a b c} Kastner, Jeffrey (January 1, 2005). "Gun Shy". Artforum . Retrieved 2007-02-17 .
9. ^ ^{a b} Art in California, in The New York Times, published September two, 1973; retrieved April 10, 2019
10. ^ McMahon, Paul (October 12, 2010). "In the Forepart Row for Chris Burden's Lucifer Piece, 1972", in the Pomona Daily Collegian, archived at East of Borneo; retrieved 2011-12-xv
11. ^ Chris Burden, Cornerstone of Performance Art, Has Died at 69, by Andrew Russeth, at ARTNews; published May 10, 2015; retrieved April 10, 2019
12. ^ SiteWorks: San Francisco functioning 1969-85 - Fire Roll, at the University of Exeter
13. ^ Review: 'Chris Burden: Extreme Measures', past Philip Kennicott, in The Washington Post; published December 19, 2013; retrieved Apr 10, 2019
14. ^ ^{a b} Do You Believe in Goggle box? Chris Burden and Television set, past Nick Stillman, at East of Borneo
15. ^ Functioning Anthology, p. 195; edited by Carl Loeffler; published 1989 past Last Gasp
16. ^ RIP Chris Brunt, beloved fifty-fifty past the 'victim' in 'TV Hi-Jack', by John Rabe, at Southern California Public Radio; published May 13, 2015; retrieved April 10, 2019
17. ^ Idiot box Hijack. February 9, 1972, past Chris Burden, at the Metropolitan Museum of Art; retrieved Apr x, 2019
18. ^ Chris Brunt (1995). Chris Burden. Blocnotes Editions. p. 131. ISBNii-910949-00-ane.
19. ^ "Chris Brunt at Virtual Venice". Retrieved half-dozen August 2011.
20. ^ "White Light/White Heat February 8 – March one, 1975". Archived from the original on January 25, 2011. Retrieved December 14, 2010.
21. ^ Chris Burden (1995). Chris Brunt. Blocnotes Editions. p. 133. ISBN2-910949-00-i.
22. ^ Chris Burden: "My God, are they going to exit me here to die?", by Roger Ebert; originally published in the Chicago Sun-Times, May 25, 1975; archived at RogerEbert.com; retrieved Apr 10, 2019
23. ^ "Chris Burden and the limits of art," past Peter Schjeldahl. The New Yorker, May 14, 2007.
24. ^ "1996 review of Burden'due south MAK retrospective". Archived from the original on May 17, 2008.
25. ^ Sarah Thornton (2 November 2009). Seven Days in the Art World. New York. ISBN9780393337129. OCLC 489232834.
26. ^ Boehm, Mike (22 January 2005). "ii Artists Quit UCLA Over Gun Incident". Retrieved 26 January 2019 – via LA Times.
27. ^ "Chris Burden»Pacific Standard Time at the Getty". Pacific Standard Time at the Getty . Retrieved 26 Jan 2019.
28. ^ Carpenter, Susan (11 Nov 2009). "MOCA revs upwards Chris Burden'due south 'Big Cycle'". Los Angeles Times.
29. ^ "Chris Burden's Atomic Alphabet – Daddy Types". daddytypes.com . Retrieved 26 January 2019.
30. ^ "SFMOMA". Archived from the original on 2014-03-27. Retrieved 2012-08-07 .
31. ^ "Families". whitney.org . Retrieved 26 January 2019.
32. ^ It Was Feared That Samson Might Topple the Museum, by Cathy Curtis, at the Los Angeles Times; published May fourteen, 1988; retrieved October 8, 2018
33. ^ Museum Shorn of 'Samson' Exhibition, by Cathy Curtis, at the Los Angeles Times; published May 24, 1988; retrieved October 8, 2018
34. ^ Structural Integrity, by Eric Banks, in Men's Vogue, June 2008; retrieved via annal.org, April 23, 2019
35. ^ Chris Burden: A Tale of Two Cities, February 3 – June 10, 2007 Orangish County Museum of Art, Newport Beach.
36. ^ Chris Burden, All the Submarines of the U.s.a. of America (1987) Archived Oct 5, 2013, at the Wayback Machine Dallas Museum of Fine art, Dallas.
37. ^ "Chris Burden, When Robots Dominion: The Two-Minute Plane Manufactory, exhibition catalogue". Store. Fine art Metropole. Archived from the original on 16 September 2010. Retrieved 24 November 2010.
38. ^ "Chris Burden". artmag.com. Retrieved 24 November 2010.
39. ^ Preece, R.J. (1999). "Chris Burden at the Tate Gallery". World Sculpture News / artdesigncafe.
40. ^ Jones, J. (15 Nov 2011). "Tacita Dean's artwork malfunction". The Guardian.
41. ^ ^{a b c} The Heart: Open or Airtight, February xiii – March 27, 2010 Gagosian Gallery, Rome.
42. ^ "Ghost Ship" Archived 2011-07-17 at the Wayback Auto at www.fairisle.org.uk
43. ^ "Ghost Send – a new deputed work by Chris Burden" Archived September 21, 2007, at the Wayback Machine, Locus+, University of Southampton news release, thirteen July 2005
44. ^ ^{a b} "Chris Brunt, Urban Lite". LACMA Collections. Archived from the original on November 24, 2011. Retrieved November 22, 2011.
45. ^ "Metropolis II". as displayed at LACMA. Archived from the original on 26 October 2018. Retrieved 8 May 2016.
46. ^ "Metropolis Ii". How Chris Brunt Created Urban center Two, A Tiny City Where 1,100 Toy Cars Zoom . Retrieved 8 May 2016.
47. ^ ^{a b} "Chris Burden's Metropolis Ii on Its Way to LACMA". Los Angeles County Museum of Art. Retrieved half-dozen August 2011.
48. ^ "City II past Chris Burden (the picture)". youtube.com. Retrieved 6 Baronial 2011.
49. ^ "Metropolis Two". - what information technology is . Retrieved eight May 2016.
50. ^ ^{a b c} Bencks, Jarret (11 May 2015). "Chris Burden, 'One of the greatest American artists of his generation'". Brandeis University. Retrieved eleven August 2018.
51. ^ "Chris Brunt, Low-cal of Reason". Rose Art Museum . Retrieved 11 Baronial 2018.
52. ^ Jorin Finkel (May 11, 2015), Remembering Chris Brunt, the artist who traded daredevil performances for daring applied science The Art Newspaper.
53. ^ ^{a b} Julia Halperin (May 13, 2015), Inside Chris Burden's briefcase ^{[ permanent dead link ]} The Art Newspaper.
54. ^ Jessica Gelt (May thirteen, 2015), Frank Gehry on Chris Burden: 'gift of the gods', plus art left unfinished Los Angeles Times.
55. ^ ^{a b c} Chris Brunt Gagosian Gallery.
56. ^ Adrienne Gaffney (March five, 2009), Gagosian Gold Held Hostage in Ponzi-Scheme Investigation Vanity Fair.
57. ^ Dana Goodyear (March 23, 2009), Goldless The New Yorker.
58. ^ "One-time Chief Investment Officeholder of Stanford Fiscal Group Pleads Guilty to Obstruction of Justice". U.s. Department of Justice – June 21, 2012. Retrieved 2012-06-26 .
59. ^ "Allen Stanford jailed for 110 years for $7bn Ponzi". BBC News. 14 June 2012.
60. ^ "Allen Stanford Sentencing: The Arguments From Both Sides". The Wall Street Journal. xiv June 2012.
61. ^ Chris Burden: Ane Ton 1 Kilo, March vii – April 4, 2009 Gagosian Gallery, Los Angeles.
62. ^ Thompson, Dave (November sixteen, 2010). Hallo Spaceboy: The Rebirth of David Bowie. ECW Press. ISBN9781554902712 – via Google Books.
63. ^ Hernandez, David Hoodwinked Sarabande Books. 2011 ISBN 978-one-932511-96-iii
64. ^ Schneiderman, Jason Hold Me Tight Red Hen Printing. 2020 ISBN 978-one-597098-29-eight
65. ^ Knight, Christopher. "Chris Burden dies: Artist'south light sculpture at LACMA was symbol of L.A." LA Times . Retrieved 10 May 2015.

External links [edit]

• Google Arts & Civilization - Chris Burden
• Chris Burden by Robert Horvitz – detailed overview and analysis of Burden'southward early work, published in the May 1976 upshot of Artforum magazine
• 1996 review of Burden'south MAK retrospective
• Ghost Ship
• UbuWeb Film & Video: Chris Burden
• A feature article on Brunt in the June 2008 upshot of Men'southward Vogue
• "Poetic, Model: A New Criticism Of Chris Burden via Evil Monito Mag"
• Chris Burden in the Mediateca Media Art Space
• Photos of Chris Burden's Urban Calorie-free about the Los Angeles Canton Museum of Fine art, Los Angeles, CA – free to employ for non-commercial purposes

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Source: https://en.wikipedia.org/wiki/Chris_Burden

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