Cady Noland
Noland at Documenta in Kassel in 2006.
Born1956 (age 67–68)
Washington, DC
NationalityAmerican
EducationSarah Lawrence College
Known for
Notable workOozewald (1989)
This Piece Has No Title Yet (1989)
The Big Slide (1989)
Tower of Terror (1993-1994)

Cady Noland (born 1956) is an American postmodern conceptual sculptor and an internationally exhibited installation artist whose work deals with the failed promise of the American Dream and the divide between fame and anonymity, among other themes.[1][2] Her work has been exhibited in museums and expositions including the Whitney Biennial in 1991 and Documenta 9 in Kassel, Germany.[3] Noland is known for her reluctance to be publicly identified, having only ever allowed one photograph of herself to be publicly released, and for her numerous disputes and lawsuits with museums, galleries, and collectors over their handling of her work.[4] She attended Sarah Lawrence College and is the daughter of the Color Field painter Kenneth Noland.

Style and themes

Noland's work often explores what she calls "The American Nightmare," or aspects of American culture she considers toxic, such as social climbing, glamour, celebrity, violence, and death. She describes these social constructs as a "game." Noland's work has dealt with themes of restrictions, both physical and mental, often using metal in her work to evoke senses of joining or separating.[5]

The American Trip (1988) at the Museum of Modern Art in 2022

Noland's central theme in her work retains fear, both personal and cultural. Crashed Car was brought upon by the fact that she was in a car wreck at a very young age. In Plane Crash she emphasizes her fear of flying. The Family and the SLA that kidnapped Hearst is based on her fear of cults.[4] Her later works have been said to be less aggressive and more friendly to viewers, and more stable and grounded.[6]

Noland's work also studies the American social landscape and shows America's social identity to be in fragments. On top of that, she makes sculptures that are prompted by the theme of humiliation that in part lives in the American consciousness. It is all in relation to the institution, containment and mobility, and to the American way of life.[7]

Untitled (1991) at the Baltimore Museum of Art in 2022, an example of the artist's work featuring Patty Hearst, William Randolph Hearst, and the Manson family

Patty Hearst and her grandfather, newspaper magnate William Randolph Hearst, have both been recurring figures in Noland's work. Noland has used Patty's story as a kidnapping victim who would later join her kidnappers - the Symbionese Liberation Army - in several high-profile crimes, as well as her grandfather's role as an architect of the contemporary American media landscape, to explore themes of propaganda, brainwashing, and psychopathy.[4]

Noland's arrangement of objects have casualness that call into question the status of the art object and its artistic position, and her works are often composed of assembled found objects. Like other fellow artists, such as Mike Scott and Laurie Parsons, Cady Noland's paintings resist interpretation.[8] Appropriated by Noland, the role of the press photograph expanded in a post-war country that was understanding and exporting itself through images. She is known for reframing the photo that she appropriates through the materiality of the image itself. It is then transferred by silkscreen from source to surface. According to Noland, to reproduce the image is to insert it into a category of knowledge and understanding. One that is transformed by way of a continuous return.[9]

This Piece Has No Title Yet (1989) at the Rubell Museum in 2021

Objectification Process (1989) features a rolled-up flag placed on an orthopedic walker. Noland's incorporation of walkers, canes, police barricades, and fences work to convey themes of immobility, containment, confinement, and violence.[10]

This Piece Has No Title Yet (1989), one of Noland's most well-known works, is a room-sized installation composed of over 1000 six-packs of Budweiser beer stacked behind metal scaffolding. Curator and dealer Jeffrey Deitch called the work "her masterpiece, her greatest work."[11]

In her work, Not Yet Titled (Bald Manson Girls Sit-In Demonstration) (1993–1994), Noland changes both the image and the text. It is a wire photo capturing four of the young women from the Manson family kneeling on a sidewalk.[9]

Relationship with art market

Noland set the record for the highest price ever paid for an artwork by a living woman ($6.6 million), for her 1989 work Oozewald sold at Sotheby's.[12] In the fall of 2012 the same auction house, Sotheby's, removed her aluminum print Cowboys Milking (1990) from a contemporary sale after the artist "disavowed" the work.[13] Both Noland and the auction house were later sued by the piece's owner, gallerist Marc Jancou, for twenty six million dollars (with twenty million having been sought from Noland and six from Sotheby's).[14] In November 2012 a judge dismissed Jancou's lawsuit.[15]

Noland's 1989 red silkscreen on aluminum of Lee Harvey Oswald, titled Bluewald, sold for $9.8 million at Christie's in May 2015, setting a new auction record for the artist.[16]

In June 2015, the Ohio collector Scott Mueller filed a lawsuit at the United States District Court for the Southern District of New York seeking to reverse his 2014 purchase of Noland's sculpture Log Cabin (1990) for $1.4 million; he claimed that Nolan had "disavowed" the work by not approving the extensive restoration of the piece.[13] The artist disavowed her sculpture, following its sale to Mueller, because she believed the work had been restored "beyond recognition."[17] This restoration occurred following a long-term loan to Suermondt-Ludwig-Museum in Aachen, Germany, where the condition of the logs had deteriorated from 10 years of outdoor exposure. A conservator was consulted and hired to complete the restoration in Germany, where all of the decayed wood was replaced with logs obtained from the same Montana source as the original sculpture.[18] The artist, who believes she should have been consulted about this, felt the extensively restored piece was essentially recreated, and therefore, it was now an unauthorized copy of the original, violating her copyright protections as outlined in the Visual Artists Rights Act, a 1990 addition to the US Copyright law.[19]

Since the disavowal in 2016, the artist has been involved in complicated legal battles regarding the restoration of Log Cabin and the application of the copyright laws pertaining to the materials used in her sculpture, German vs. US laws, and her rights to copyright as a living contemporary artist.[20] A lawsuit was dismissed in June 2020 by a New York district court judge, who ruled that Noland's rights had not been violated.[17]

Several critics have suggested that Noland's legal disputes surrounding the sale, restoration, and treatment of various works, along with her longtime self-imposed distance from the traditional gallery ecosystem, are themselves a form of artistic statement and communication.[21][22] Writing for T: The New York Times Style Magazine, Zoë Lescaze posited, "She has become known as the art world’s boogeyman, but she might be its conscience."[23]

Exhibition history

The artist's first solo exhibition took place in 1989 at Colin de Land's American Fine Arts gallery in New York.[24]

Noland's major exhibitions include: Whitney Biennial, New York (1991); Strange Abstraction with Robert Gober, Philip Taaffe, and Christopher Wool, Touko Museum of Contemporary Art, Tokyo (1991); Paula Cooper Gallery, New York (1994); Museum Boijmans Van Beuningen, Rotterdam (1995); Wadsworth Atheneum, Hartford, Connecticut (1996); Documenta 9, Kassel (1992); MONO: Olivier Mosset, Cady Noland, Migros Museum of Contemporary Art, Zurich (1999); Cady Noland: The American Dream, Frans Hals Museum - Hal, Haarlem (2010–11);[10][3] and Cady Noland (2018-2019), an extensive survey of the artist's work at Museum of Modern Art, MMK in Frankfurt.[25]

The American Dream (2010–2011) was an exhibition of assemblages and silkscreens that showed Noland's practice from 1989 to 1995, the year of her last solo presentation in the Netherlands at Rotterdam's Museum Boijmans Van Beuningen.

Noland's first solo gallery show in the United States in over two decades, The Clip-On Method, opened at Galerie Buchholz in New York in 2021 and was accompanied by the publication of a two-volume artist's book of the same.[26]

Notable works in public collections

References

  1. ↑ JOURNAL OF CONTEMPORARY ART, conversation, Cady Noland and Michèle Cone Retrieved January 11, 2010.
  2. ↑ "Cady Noland - Artist Biography for Cady Noland". askart.com. Retrieved September 20, 2015.
  3. 1 2 "One Art World". oneartworld.com. Retrieved September 20, 2015.
  4. 1 2 3 Russeth, Andrew (27 March 2018). "This American Life: Cady Noland's Art Feels More Prescient, Incisive, and Urgent Than Ever". ARTnews. Archived from the original on 18 April 2021. Retrieved 26 March 2022.
  5. ↑ Butler, Cornelia; Schwartz, Alexandra (2010). Modern women : women artists at the Museum of Modern Art. New York: Museum of Modern Art. p. 397. ISBN 9780870707711.
  6. ↑ Parrino, Steven (2005). "Paranoia Americana: The New Work of Cady Noland". Afterall (11): 3–8. JSTOR 20711565.
  7. ↑ Summers, Francis (2000). "Noland, Cady". Oxford Art Online. doi:10.1093/gao/9781884446054.article.T096914. ISBN 978-1-884446-05-4.
  8. ↑ Mosset, Olivier (1989). "Star Trek, Neo-Geo: The Next Generation". Bomb (29): 66–71. JSTOR 40423901.
  9. 1 2 Korczynski, Jacob (Summer 2011). "Pierre Leguillon features Diane Arbus: A Printed Retrospective. 1960–1971 & Cady Noland: The American Dream". C: International Contemporary Art. 110: 47–48. ProQuest 877969540.
  10. 1 2 "Cady Noland". Gagosian. 2018-04-12. Retrieved 2021-04-20.
  11. ↑ Binlot, Ann (3 December 2019). "Vanity Fair, Genesis, and the Rubell Museum Kick Off Miami Art Week". Vanity Fair. Archived from the original on 3 December 2020. Retrieved 24 March 2022.
  12. ↑ "The price of being female: Post-war artists at auction". Prospero blog. The Economist. May 25, 2012. Retrieved May 25, 2012.
  13. 1 2 Laura Gilbert (June 25, 2015), Did Cady Noland disavow another work? The Art Newspaper.
  14. ↑ "Dealer Marc Jancou Sues Sotheby's, Cady Noland for $26 M. | Observer". galleristny.com. Retrieved September 20, 2015.
  15. ↑ "Judge Dismisses Marc Jancou's Lawsuit Against Sotheby's | ARTINFO\'s Commentary on the Art Market". blogs.artinfo.com. Archived from the original on June 26, 2015. Retrieved September 20, 2015.
  16. ↑ Reyburn, Scott (May 11, 2015). "Picasso and Giacometti Artworks Top $120 Million Each at Christie's Sale". The New York Times. Archived from the original on May 15, 2015. Retrieved May 12, 2015.
  17. 1 2 "Cady Noland Said a Collector Restored Her Log Cabin Sculpture Beyond Recognition. A Judge Has Thrown Out Her Lawsuit—for the Third Time". artnet News. 2020-06-03. Retrieved 2020-10-20.
  18. ↑ "Cady Noland Rejects Restored artwork lawsuit". artnet News. 2015-06-25. Retrieved 2020-10-20.
  19. ↑ Kaplan, Isaac (2017-07-21). "Cady Noland Sues Collector and Galleries to Destroy Artwork "Copy"". Artsy. Retrieved 2020-10-20.
  20. ↑ "Art Dealers Strike Back at Cady Noland in an Increasingly Philosophical Legal Dispute About a Restored Sculpture". artnet News. 2018-04-05. Retrieved 2020-10-20.
  21. ↑ Brazda, Bozidar; Josephine Meckseper (9 November 2015). "Cady Noland". Flash Art. Archived from the original on 5 November 2021. Retrieved 24 March 2022.
  22. ↑ Ward, Frazer (2018). "Refusals, Disclaimers and Denials: Cady Noland's Recent "Work"". Performance Paradigm. 14 (14): 28–44. ISSN 1832-5580. Retrieved 24 March 2022.
  23. ↑ Lescaze, Zoë; David Breslin; Martha Rosler; Kelly Taxter; Rirkrit Tiravanija; Torey Thornton; Thessaly La Force (15 July 2019). "The 25 Works of Art That Define the Contemporary Age". T. The New York Times. Archived from the original on 1 February 2022. Retrieved 24 March 2022.
  24. ↑ Saltz, Jerry (9 May 2006). "Invasion of the Sculpture Snatchers". The Village Voice. Archived from the original on 11 November 2019. Retrieved 25 March 2022.
  25. ↑ Nickas, Bob (19 March 2019). "Cady Noland at MMK". Spike Art Magazine. Archived from the original on 24 March 2022. Retrieved 24 March 2022.
  26. ↑ Schwendener, Martha; Jason Farago (7 July 2021). "Art Gallery Shows to See Right Now". New York Times. Archived from the original on 19 January 2022. Retrieved 24 March 2022.
  27. ↑ "Cady Noland, Cart Full of Action". Met Museum. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  28. ↑ "Cady Noland, The American Trip". MOMA. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  29. ↑ "The Big Slide". Art Institute of Chicago. 1989. Retrieved 20 May 2022.
  30. ↑ "Booth - The Big Plunge". SMAK. Stedelijk Museum voor Actuele Kunst. Archived from the original on 8 November 2022. Retrieved 8 November 2022.
  31. ↑ "Cady Noland, Celebrity Trash Spill". Kunstmuseum Liechtenstein. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  32. ↑ "Deep Social Space". Museum Brandhorst. Archived from the original on 24 May 2022. Retrieved 15 November 2022.
  33. ↑ "Cady Noland, Frame Device". Hammer Museum. Archived from the original on 20 October 2020. Retrieved 24 March 2022.
  34. ↑ "Objectification Process". ICA Boston. 1989. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  35. 1 2 3 "Cady Noland". Glenstone. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  36. ↑ "Oozewald, Cady Noland". MUHKA. Archived from the original on 30 November 2020. Retrieved 8 January 2022.
  37. ↑ "Tanya as a Bandit". Museum Brandhorst. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  38. ↑ "Tanya as a Bandit". MoMA. Museum of Modern Art. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  39. ↑ "Cady Noland Tanya as a Bandit". Whitney Museum. Archived from the original on 4 July 2021. Retrieved 24 March 2022.
  40. ↑ "Cady Noland". Rubell Museum. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  41. ↑ "Untitled". ArtBMA. Baltimore Museum of Art. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  42. ↑ "Untitled". ICABoston. Institute of Contemporary Art, Boston. 1989. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  43. 1 2 3 "Cady Noland". Wadsworth Atheneum. Archived from the original on 24 March 2022. Retrieved 24 March 2022.
  44. ↑ "Awning Blanks". SMAK. Stedelijk Museum voor Actuele Kunst. Archived from the original on 8 November 2022. Retrieved 8 November 2022.
  45. ↑ "Chainsaw Cut Cowboy Head". MCA Chicago. Archived from the original on 24 March 2022. Retrieved 24 March 2022.
  46. ↑ "Noland, Cady, Chainsaw Cut Cowboy with Baked Beans, 1990". Museum Ludwig. Archived from the original on 24 March 2022. Retrieved 24 March 2022.
  47. ↑ "Dance Hall Doors". SFMoMA. San Francisco Museum of Modern Art. Archived from the original on 8 January 2022. Retrieved 15 November 2022.
  48. ↑ "Enquirer Page with Eyes Cut Out". SFMoMA. San Francisco Museum of Modern Art. Archived from the original on 8 January 2022. Retrieved 15 November 2022.
  49. ↑ "Misc. Spill". MOCA LA. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  50. ↑ "Press Czar - telling the story of Randolph Hearst". SMAK. Stedelijk Museum voor Actuele Kunst. Archived from the original on 8 November 2022. Retrieved 8 November 2022.
  51. ↑ "SLA Group Shot #4". MOCA. Museum of Contemporary Art, Los Angeles. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  52. ↑ "Cady Noland, SLA #4". Guggenheim. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  53. ↑ "Pipe Soffit". MOCA. Museum of Contemporary Art, Los Angeles. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  54. ↑ "Mr. Sir". The Broad. Archived from the original on 24 May 2022. Retrieved 15 November 2022.
  55. ↑ "SHAM DEATH Cady Noland". The Broad. Archived from the original on 11 April 2021. Retrieved 24 March 2022.
  56. ↑ "Untitled Xerox Cut-Out (Squeaky Fromme/Gerald Ford)". MoMA. Museum of Modern Art. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  57. ↑ "Cady Noland, Walk and Stalk". SF MOMA. Archived from the original on 8 January 2022. Retrieved 8 January 2022.
  58. ↑ "Joan, is there one law?". ArtIC. Art Institute of Chicago. 1994. Archived from the original on 15 November 2022. Retrieved 15 November 2022.
  59. ↑ "Untitled". Hamburger Kunsthalle (in German). Retrieved 8 November 2022.
  60. ↑ "Untitled - Cady Noland". Rose Art Museum. Archived from the original on 24 March 2022. Retrieved 24 March 2022.
  61. ↑ "4 in One Sculpture". CCS Bard. Bard College. Archived from the original on 24 March 2022. Retrieved 24 March 2022.
  62. ↑ "Untitled Cady Noland". Walker Art. Archived from the original on 3 August 2021. Retrieved 24 March 2022.
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