The fulcrum of my work derives from literary conventions and their
manipulation into visual puns that serve to re-present a wider range of
associations to society. The aim is not only to expose the vulnerability of
language but to show how it may be re-constructed in a way that evokes
people to participate with a more objective dispatch to the world around
My work is a fusion of traditional form and new media. It references art
history with critical humor and acknowledges the visual component as the
carrier of content and functions well into the dictum of painting and
sculpture while loosening the seams of classicism. It sustains
responsiveness to the moment that is more akin to promote doubt and
instability in the psychological main frame we use to “figure things out”
rather than endorse its own authenticity. My art retains a hybrid between
“Houdini, (ism),” and Court Jester strategies that involve the mechanics to
induce an aesthetically/conceptual provocative state.
usa, +347 261 7194
aut, +43 699 1159 6031
|Dirty word as a thought bubble 2008 Light
box, 70 x 50 x 7cm.
|Works on Glass
Glass, bio-degradable materials and other
detritus are used to express the precarious
role language plays in the attempt to define
content and gain orientation to one's
70 x 40 cm.
Enamel paint and glass with light
fixture and wood frame recessed behind
|Road Kill of a Disco Ball
1691 pieces of mirrored glass on a flat
piece of wood.
Diameter around 73 cm.
|Floor Plans for Dirty Words
The floor plans are down loaded from real
estate web sites selling high-end
residencies in the USA. They are then
modified to fit the perimeter of a giving
word. Each word has been formatted to a
In March 2009, I will place my body
inside "Turk" and have
charcoal poured over me. A live video
feed from Vienna will be down loaded
from the internet in New Haven CT. and
projected in human scale on one of the
walls in the exhibition space.
Laminated birch plywood.
30 x 90 x 20 cm.
The next 11 images: "Satellites,
Outposts and a Ridiculous Leap of
Faith" A collaborative project with
Bettina Schulke. At the MAK, Museum of
Contemporary Art, Vienna. Febuary, 21st,
and LUME, Center for New Media and
Design, Helsinki, 2006.
|Sobriety Test 2001
C-print, 35 x 40 cm.
Video-still from, "Vehicles for
Another Landscape" Director/Camera:
1983 California Inst. of the Arts, MFA.
1981 Kansas City Art Institute, BFA.
1989-93 Jersey City State College, 3D-Design.
2007 Federal Assistance Grant, US Embassy, Austria.
2007 Austrian Cultural Forum, NYC.
2002 Adolph and Esther Gottlieb Foundation, New York City, N.Y.
2002 Franklin Furnace, New York City, N.Y.
2000 Pollock/Krasner Foundation, New York City, N.Y.
1999 Artist in Residence, Austrian Chancellery, Vienna, Austria.
1994-95 Artist Fellowship, New Jersey Council on the Arts, Jersey City, N.J.
2007 Through the Night Softly, Nestroyhof, Vienna, AUT
1994-99 R-Town(s). Brooklyn, NY.
Selected solo shows:
2008 Floor Plans for Dirty Words, Arch-Art Galerie, Linz, Aut.
Raton basket with wood frame for the
"Outpost" with the "Satellite".
The MAK, Vienna.
C-print., 60 x 70 cm.
"Front-man" Herwig Kienzl
climbing up to attach the safety line
that suspends the "Nomad" and
the "Satellite". The MAK,
13 meters x 4 m. Diameter.
Bettina Schulke with Herwig Kienzl
callibrating the tension of the wire to
hold 95 bales of straw onto the frame of
the "Outpost". The MAK,
Group shows and Events:
Strange Position Systems, Art Space, New Haven, CT. curator, Caterina Verde
SAL, Satellites, Outposts and a Ridiculous Leap of Faith, LUME Mediakeskus,
Helsinki, Curator, Mauri Via- Kotola.
SAL, Satellites, Outposts and a Ridiculous Leap of Faith MAK, Museum of
Cont./Applied Arts,Vienna, curator, Andreas Kristof.
Vienna Coffee Table, Galerie Bernhard Knaus, Mannheim, Germany, curator,
Fussabstreifer, Georg Kargl Galerie, Vienna, AUT.
Day Tripping to the South Fork, SOHO in Ottakring. Vienna, AUT. curator,
FIAT, Tar-Beach, Vienna, AUT
VAL, Vehicles for Another Landscape, ORF television, Kunst Stücke, Vienna
EASY KILLERS and other SOFTWEAR, Edberg Galerie, Family Bernsteiner,
Kampfzone, (A Sobriety Test), Vienna , AUT. curator: Kunst Büro.
JIFFY, Commerce Street Gallery, Houston, TX. curator: Ramzy Telly.
Hell Raiser, Afflictions of the Central Nervous System, The Kitchen, NYC,
curator: Anne Bonney.
Works from the Permanent Collection, Islip Art Museum, Islip, N.Y.
Can We Talk, Basilico Fine Arts, NYC. Curators: Bloodgood/Friedman.
ATE-BALL, The KITCHEN; N.Y. curator: Katherine Greene.
The LIMON TWINS, Noyes Museum, Oceanville, N.J. curator: Stacy Smith.
BENCH-WARMER, The KITHCHEN, NYC, curator: Katherine Greene.
LIMB to LIMB, The KITHCHEN, NYC, curator: Katherine Greene.
The Definitive Decade, Aljira Gallery, Newark, N.J. curator: Victor Davson.
Hell-Raiser, Mostra d’ Atre Contemporanea, Monte Carrasso, Switzerland.
curator: Stefano Jermini.
A WARM SPOT, Islip Art Museum, Islip, N.Y. curator: Catherine Valenza.
Twisted State, NYC. Curator: primary Projects.
Ebb Tide Shell Gathering, CCA, Martigny, Switzerland. curator: Stefano
Zoo Extract”, Islip Art Museum, Islip, N.Y. curator: Primary Projects.
FERTILE GROUND, Rushmore Outdoor Sculpture Festival, Upstate, N.Y.
curator: Bill Arning.
PRIME CUT, David Zwirner Gallery, water-bar. curator: Erik Oppenheim.
Metro Show, City Without Walls, Newark, N.J. curated by: PPOW NYC.
Essential Structures, Aljira Gallery, Newark, N.J. curator: Karl Hazelwood.
VIEWER MALE, BlumHelman Warehouse, NYC. water-bar curator: Erik
THE LIFE OF THE PARTY, Dooley le Cappellaine, NYC. curator: Dooley le
Under Thirty, Galery Metropol, Vienna, Austria. curator: Erik Oppenheim.
MR WINTER’S MEAT MARKET WINDOW DISPLAY, Kansas City. Mo.
ARTIST AT YOUR SEVICE; Oak Street Beach, Chicago. Ill.
THE HEAT’S ON, California Inst. of the Arts, Valencia, Ca.
MY POSITION WITH RESPECT TO MY AUDIENCE; Cal Arts, Valencia, Ca.
RECENT FETISHES, Kemper Gallery, Kansas City, Mo. curator: Sheri Lacy.
I would remain on my
back for 3 hours at
the exact "perfect spot" for
tourists to take a picture of
the Opera House.
A StandBy is a critical/supportive reaction in which I insert myself into an
artwork/exhibition or public context. At times these actions are spontaneous
at other times they are planed with minimal yet essential props to illustrate
comment. StandBys are never sponsored and are always executed without
Bank Austria, AUT.
Sabine Kofler, Vienna, AUT
Freunde der bildenden Kunst, Vienna, AUT.
Georg Kargl Galerie, Vienna, AUT.
Bundeskamzerlamt, Vienna, AUT.
Family Bernsteiner, Vienna, AUT.
Gunter Brodar,Vienna, AUT.
Oliver Stebich, Crozier Fine Arts, New York, N.Y.
Katrin Ridder, SRI International, New York, N.Y.
Dr. James P.D.Lynch, New York, N.Y.
Islip Art Museum, Islip, New York.
Gregory S. Smith/Issacs Fine Art Inc. New Jersey.
Myra Morgan Gallery, Kansas City, Mo.
“FALTER”, ‘Through the Night Softly”, pg. 14, Sept. 20th, 2007
„Superkünstler”, (MAK NITE), Catalogue, Curator, Andreas Kristof. 2004
“PROFIL”, Kunst Sektion , 14-01-03, pg. 129. Wien, AUT.
DER STANDARD, “Sobriety Test”, Sektion 2, pg.2 5/30/2000
NEW YORK TIMES, “A Cocktail with Your Reading”, Section C, 12/24/95
NEW YORK TIMES, The Definitive Decade”, Section C, pg.12, 11/13/94
NEW YORK TIMES, “A Warm Spot”, Section 13, pg.16, 7/24794
NEW YORK TIMES, “Three Wise Men”, Section 13, pg.12, 6/5/94
Schwabsky, Barry. “Twisted State” Catalogue, “Do the Twist”, by, NYC.
Art In America, “Zoo Extracts”, Section 13, pg.12. 5/8/93
THE NEW YORKER, “By Proxy”, pg.10. column 3, 7/20/92
NEW YORK TIMES, “Essential Structures”, Section13, pg.16. 5/24/92
NEW YORK TIMES, “Small Works”, Section C, pg.16, 1/19/92
CHICAGO TRIBUNE; “Pop Art”, “Artist at Your Service”, Front page.
“HIGH PERFORMANCE” magazine. Issue #22, pg.128, 1983
“HIGH PERFORMANCE” magazine. Issue #17, pg.166, 1982
“HIGH PERFORMANCE” magazine. Issue #14, pg.85, 1981
KANSAS CITY STAR, “Audience On Exhibit”, “Plaza Perform. Front pg.
60 x 30 cm.
|Sliding in the Outpost
"Nomad", Alexander Viscio
enters the "Outpost" wearing
the mirrored over-alls that were
designed to reflect light in dark
cramped spaces. The MAK, Vienna.