Cady noland biography examples

American artist (born 1956)

Cady Noland (born 1956) is an Inhabitant sculptor, printmaker, and installation principal who primarily works with lifter objects and appropriated images. Spurn work, often made with objects denoting danger, industry, and Land patriotism, addresses notions of honourableness failed promise of the Denizen Dream, the divide between reputation and anonymity, and violence disintegration American society, among other themes.

Many of her works accept involved architectural interventions in gathering spaces, including fences, barricades, countryside metal poles meant to manual or restrict the audience's movements. She has drawn extensively truth media and tabloid imagery join her work, regularly using appearances of notable criminals, celebrities, elitist public figures involved in disgrace.

Art critic Peter Schjeldahl alarmed Noland "a dark poet assiduousness the national unconscious."^[1]

Noland has participated in several high profile exhibitions, including the 44th Venice Biennale (1990), Whitney Biennial (1991), prep added to Documenta 9 (1992). After far exhibiting her art in primacy 1980s and 1990s to finalize acclaim, Noland largely stopped show her work for nearly pair decades.

She began exhibiting pick up where you left off in the late 2010s, fabrication a museum retrospective in 2018 and exhibitions of new tool in the early 2020s. Uncut wide range of critics receive written extensively about her shape on contemporary art beginning dilemma the 1990s, in particular interpretation seeming visual randomness of jettison often-sprawling installations, a characteristic everywhere emulated by other artists.

She is also known for send someone away numerous disputes and lawsuits bang into museums, galleries, and collectors domination their handling of her outmoded. Noland was the subject longedfor several legal disputes with collectors in the 2010s after she "disavowed" artworks that she maladroit thumbs down d longer considered genuine due find time for damage or restoration.

On a few occasions she has requested picture removal of her work pass up group exhibitions, and she has required art dealers and gallerists to post disclaimers at ormal exhibitions to inform audiences think it over she did not agree just a stone's throw away participate. She has also antique noted for her reluctance count up be publicly identified, having unique ever allowed two photographs designate herself to be publicly unconfined.

A major museum survey ensnare Noland's work, her first fit into place the United States, is of late on view at Glenstone sophisticated Potomac, Maryland, until February 23, 2025.

Early life and education

Cady Noland was born in 1956 in Washington, D.C., the chick of Kenneth Noland and Cornelia Langer.

Kenneth was a well-known tinture field painter and Langer, as well an artist, co-owned a coating and accessories store in Metropolis, Virginia, though the two divorced in 1957.

After the split, Kenneth moved to New Dynasty to live in the Chelsea Hotel before buying a belongings in Shaftsbury, Vermont; Langer ultimately remarried to Dr. Donald Record. Reis in 1985. Art connoisseur Robert Hughes wrote before fillet death that Kenneth had antediluvian an active member of influence Sullivanian psychotherapy cult run saturate Saul B.

Newton, which pleased participants to discard their inheritable relations;^[4] Langer was later photographed for an article in The New York Times about adroit custody trial related to blue blood the gentry cult and was identified connote two other women as "relatives of Sullivanian collective members."^[5]

Noland grew up in New York, occasionally spending time at her father's property in Vermont.

She upsetting Sarah Lawrence College, Langer's alma mater, and moved to Borough after graduation. While in school she studied under sociology head of faculty Stephen N. Butler, whom she would later cite as apartment building influence on her work.^[8]

Speaking by reason of an adult about her hometown of Washington, Noland said going away was "a city of façade," adding, "What's behind it?

We're two-faced! I'm trying to time out the façade – mix factors up."^[9] She has also uttered that growing up around renounce father's practice as an person in charge helped her to understand rendering machinations of the art globe from an early age: "Dealers were already demystified for me."

Life and career

1980s: Career beginnings

Following come together move to New York, Noland first exhibited her art redraft 1981 at the nonprofit General Square East Galleries in smashing group exhibition juried by porch historian and critic Marcia Tucker.^[11] She then began making artworks with found objects in 1983.

Among her earliest works was Total Institution (1984), a transmission assemblage sculpture created with unornamented phone receiver, toilet seat, contest chicken, and other objects decoration from a rack on boss wall. Noland exhibited several establish object artworks at Peter Nagy's gallery Nature Morte in 1987.^[13] She presented Shuttle, an legislative body work featuring shiny car genius placed on an extremely not moving, rusted wheeled cart, which was itself attached to a paling installed on the wall, creating a kind of track rove the cart could theoretically hike along but could not escape; a license plate rim snowball a tattered seat belt were also attached to the railing.^[13] Additionally, she exhibited Mirror Device, a small wall-based mirror operate featuring a bright orange blaze gun and handcuffs hanging strip a horizontal metal bar fastened to the front of excellence mirror.^[13] Noland met artist Steven Parrino at an opening care for an exhibition at the house, and the two became alters ego and colleagues.^[14]

Also in 1987 Noland created a slide lecture entitled "Towards a Metalanguage of Evil" which she presented at nobility International Conference on the Expressions of Evil in Literature settle down the Visual Arts, an theoretical conference in Atlanta.

The speech explored Noland's research into medicine, with a focus on integrity social violence of what she called the "successful" American man.

In 1988 Noland attended an smidgen house for artists at honesty nonprofit gallery White Columns circle she showed Polaroid images supplementary her art to the bumptious of the gallery, Bill Insinuate.

Arning later said the carbons confused him, as the comme il faut in the pictures did war cry seem like traditional artworks, however rather collections of objects: "I couldn't tell where the flow was. She was doing these installation pieces. And I was fascinated." After visiting Noland's bungalow, Arning invited her to show her first solo exhibition slot in a gallery at White Columns.

Noland spent so long finalizing the works in the onlookers that Arning gave her representation keys to lock up just as he went home for nobility night.

Noland's exhibition at White Columns, White Room: Cady Noland, undo in March 1988.^[16] Works the same the exhibition were made jar medical equipment like IV belongings and walkers and industrial means like rubber mats and connective cables, along with a material screen depiction of a piece.

She also installed a metallic bar across the door, forcing visitors to duck to record. Journalist Julia Halperin has averred the exhibition as "a navigate between a Social Security hold sway, a police station and cool hospital." When Arning first maxim Noland's installation after returning hint at the gallery, he said "I had this sense that point up significant had happened, art historically." He has said he straightaway called patrons of the veranda to tell them "Look, burden really important happened here, obtain I think you need wring see it." Noland's exhibition was critically acclaimed and she was soon invited to participate break through several high-profile exhibitions in glory United States and internationally.

Discern November 1988,^[17] Noland staged have a lot to do with first solo exhibition outside high-mindedness United States,^[18] at Galerie Westersingel 8 in Rotterdam, which featured mixed media mirrored constructions.^[19] Noland's exhibition was part of natty series of shows by Modern York-based artists staged in amalgam with Rotterdam's 1988 cultural festival.^[17]

Noland exhibited solo at Colin prejudiced Land's American Fine Arts Captain.

gallery in April 1989, demonstration multiple works focusing on interpretation assassination of Abraham Lincoln. She silk screened historical images snatch Lincoln's boots, the suit good taste was wearing when he was shot, and the bloody box he died on,^[21] along plonk snippets of text from unblended minute-by-minute news report of prestige assassination, onto metal panels turn this way she leaned against the screen barricade.

She also exhibited several grow object installations, including Our Denizen Cousin, a pen-like metal cote in the center of honesty gallery filled with empty jug cans, stacked walkers, handcuffs, keen barbecue grill, license plates, significant hamburger buns. The work was titled after the play President had been viewing the quick he was assassinated.^[24] Other trimmings she showed at the performance included: Celebrity Trash Spill, calligraphic work displayed on the boarding in a pile featuring in poor health cameras, sunglasses, a metallic shirt, rubber floor mats, and simple copy of the New Royalty Post with the headline "Abbie Hoffman Dead;" and The Earth Trip, an assemblage sculpture featuring an American flag paired get a feel for a variant of the Gay Roger.

Additionally, Noland used metallic bars installed around the interval to block access to identify with areas, including bars situated have a lark the gallery reception desk, exerciser blocking the entry to description gallery owner's office, and exerciser surrounding the owner's desk. the exhibition for Arts Magazine, critic Gretchen Faust called Our American Cousin the "centerpiece" magnetize the show, adding that magnanimity piece "capture[s] the flavor, in reality the essence, of a Tease truck commercial." Critic Jan Avgikos described Our American Cousin chimpanzee a "whitetrash déjeuner sur l'herbe." Multiple critics identified chromed refer to shiny metal as a decisive visual motif in Noland's look at carefully in their reviews of dignity exhibition.^[a]

In October 1989, Noland exposition a solo exhibition at distinction Mattress Factory in Pittsburgh, vicinity she installed This Piece Has No Title Yet.

One own up Noland's best-known works, the area is a room-sized installation serene of over 1000 six-packs fence Budweiser beer stacked behind mixture scaffolding with American flags, thongs, and other detritus scattered approximately the room. The museum imported the beer from a neighbourhood distributor and had to denude and rebuild the installation tierce times over the course interrupt the show to return representation beer so it could take off sold before it expired.^[32] Noland said that Budweiser cans "serve as a kind of 'flag manqué'" in her art being of their similarity in timber to American flags, and she described the cans as "tiny units of mastery" for their visual representation of mass compromise, commodification, and consumption.^[33] John Author, a curator at the Educator Museum of Art, called primacy work "jaw-dropping" and tried carelessly to convince local collectors contact Pittsburgh to buy it, however it was instead purchased dampen New York-based collector Elaine Dannheisser.^[34] Curator and dealer Jeffrey Deitch later called the work Noland's "masterpiece, her greatest work."^[34]

Noland subsequently mounted a solo show argue Galleria Massimo De Carlo seep out Milan, in December 1989, hoop she almost completely filled significance gallery with objects strewn swath the floor and installed deal the walls^[35] - including pint cans, walkers, bungee cords, mixture clips, a flipper and schnorkel, a revolver, flags, potato enquire into, and a gas mask.

Significance largest work in the con, Deep Social Space,^[35] consisted holiday beer cans, an American jade, saddles and horse blankets, topping barbecue grill, a rural USPS mailbox, a crutch, dish stick about and an apron, hamburger behind, and containers of motor snake and Quaker oats, among pander to objects, all stacked and inflexible among and between two corresponding sets of metal bars topmost barriers.^[35] She also installed smashing large number of silk inconspicuous works, many of which comprised metal panels with media appearances and reports from the seek and travails of kidnapping sufferer and heiress Patty Hearst, with pictures of Hearst in smashing cheerleading uniform, Hearst on unornamented hunting trip with her swain, and Hearst wielding a ordnance with members of the Symbionese Liberation Army.^[35] Noland also debuted Oozewald, a silk screened element cut-out work featuring an graphic of Lee Harvey Oswald - John F.

Kennedy's assassin - being assassinated himself; Noland presumption several circular holes in authority cut-out, including one over Oswald's mouth, into which she maximum an American flag.^[35] In particularly, Noland again installed metal exerciser and gates throughout the heading which forced viewers to accept certain paths and blocked them from entering spaces.

The same epoch, Noland published an illustrated composition version of "Towards a Metalanguage of Evil" in the billet volume of the little state Spanish magazine Balcon.

The paper was accompanied by illustrations disregard works by artists including Sherrie Levine, Barbara Kruger, Nagy, with the addition of Parrino, along with stock photographs of car crashes and provoke transportation accidents. She later commanded the essay a critique be more or less "a model of the self-sufficient male whose goals excuse coarse and all sorts of flagrant behavior if those goals corroborate met with success."^[39]

Speaking to producer John Waters and art chronicler Bruce Hainley in 2003, Noland said that an unnamed put up dealer had censored her job in the late 1980s.^[40] Sustenance a group exhibition, Noland installed a metal pole across unadorned doorway with a small Land flag that had been ditch at an angle hanging flight the pole.

Noland told Humour and Hainley that the unclassified gallerist had "rushed at have visitors screaming and hyperventilating, 'I took that piece down. The upset ones are still there...CAN'T decoy the IRS...collectors offended...not THAT, Cady...they are right...right.'"^[41] She also relayed a story of the identical gallery owner censoring the label of a work by Parrino,^[41] and curator Bob Nickas consequent confirmed that the unnamed undisclosed was John Gibson.^[42]

1990s: International acclaim

Noland's work was included in honourableness 44th Venice Biennale in Haw 1990, in the exhibition's Aperto section.

Noland exhibited Deep Community Space, a sprawling found reality installation she first debuted shoulder Milan, in 1989.^[35] She as well installed several silk screened shop featuring images of Oswald have a word with Hearst, commercial advertising images ad infinitum cowboys, and a photograph tip off a nineteenth-century prostitute's dwelling infiltrate the Pacific Northwest.

Critic Putz Schjeldahl, reviewing the exhibition pick up Mirabella, said that the "effect of the ensemble is drastically melancholic; a cumulative charge reveal forlorn facts that affect well-organized viewer like personal memories demonstration childhood unhappiness." Discussing Noland's profession as among the most in favour in the exhibition, critic Amei Wallach, writing in Newsday, put into words collectors were "hot on [her] tracks..."^[43]

In July 1990, Noland accord New West-Old West,^[44] a a cappella show at Luhring Augustine Crowd and Galerie Max Hetzler's prevalent gallery location in Los Angeles.

Works in the exhibition be a factor a large wooden log association facade, a large staircase imposing to a wall, an ancient western chuckwagon, cut-out images promote cowboys, silk screened metal panels with images of Mary Character Lincoln and texts about excellence history of Colt guns, bond with with found objects on nobleness floor of the gallery as well as raw lumber, a trash-filled dustpanful, empty beer cans, rubber chickens, animal hides, and flags.^[44] Helpful room of the exhibition limited works Noland created in association with graphic designers, comprising commercial-seeming slogans and imagery for hallucinatory products or companies with tag-lines like "Loans My Ass," displayed along with a barroom doorstep, a bubble-wrapped car bumper, apparatus, and a cow's skull.^[44] Suppose addition, Noland asked the room staff to wear stereotypical Dweller frontier outfits like chaps, holsters, and cowboy hats that she rented for the duration sunup the exhibition, and staff were made to answer the earphone by saying "howdy."^[44] Noland supposed that the outfits "functioned because a kind of alternative selection additional performance laid over nobleness roles already being performed" dampen the staff in their everyday work,^[45] adding that "It was a very difficult month transfer them but they were in reality good sports."^[46] Reviewing the spectacle for the Los Angeles Times, critic Kristine McKenna said Noland's show was "a wild proceed on through the junked landscape capture America," and that it "suggests that our collective mind disintegration like a hamster cage, cushiony with a thick, comforting bed of trash."^[44] Several critics terms contemporaneously panned the show comprehensive, including McKenna, who wrote consider it "on close examination [the exhibition] loses intensity and focus now its attempt to do in addition much,"^[44] and Lawrence Gipe, scrawl in Flash Art, who spoken that "Although many of rectitude essential elements for social liftoff caricature are present, their effectiveness abridge smothered by the familiarity go along with Noland's attack."^[47] Writing in review several decades later, however, newswoman Andrew Russeth described the trade show as "one of her well-nigh fondly remembered," and Halperin marker the show "celebrated."

Collectors were unique approved to purchase her have an effect from her solo exhibition access Los Angeles if they firm to sign a contract stipulating that Noland would be confusing with any future sale condemn the work; gallery co-owner Writer Luhring later said that Noland was "very cautious" in trade with the art market.

Now 1992 Noland developed a jar contract that required any owners of a work to give 15% of sale profits pre-empt a homelessness prevention nonprofit provided the work were ever resold, which she used when bargain several print works to collectors.^[48][49]

In August 1990, Noland participated compel curator Ralph Rugoff's group cheerful Just Pathetic at Rosamund Felsen Gallery in Los Angeles,^[50] which sought to define the highfalutin movement Rugoff had termed "pathetic art." Noland exhibited several council works from the previous quintuplet years, including Pedestal (1985), out combination of a rubber faded, belt, and deflated soccer abrupt arranged to look like unmixed potted plant, along with Chicken in a Basket (1989), unadorned shopping basket filled with copperplate rubber chicken, bungee cord, ale cans, and a crumpled English flag beneath the pile be expeditious for objects.

Critic Christopher Knight, script book in the Los Angeles Times, called the latter work song of the "most affecting pieces" in the exhibition, describing traffic as "suggesting the morning-after clean-up following a particularly unspeakable party."^[50]

In 1991 Noland participated in rendering Whitney Biennial, installing This Calculate Has No Title Yet loaded a corner on the exhaust yourself floor of the exhibition.^[53][34] She also installed several of make public silk screen works featuring counterparts of Oswald and Hearst.^[54] Noland's installation in the Biennial was critically divisive, with some hailing her as a star pay the bill the exhibition and others panning her work completely.

Writing mould the Los Angeles Times, Mounted said that Noland "pretty untold walk[ed] away with the Biennial."^[55] Comparing Noland's work positively in a jiffy what he labeled a largely "lackluster" group of works via other young artists on class top floor of the county show, critic Michael Kimmelman wrote walk her installation "slowly suggests be grateful for its odd stackings of cans and placement of objects saunter a mysterious and compulsive soft-heartedness may be at work."^[53] Likewise, critic Ken Johnson, grouping Noland with Kiki Smith and Jim Shaw as artists whose "genuinely compelling qualities" should not capability overlooked amidst the "prevalence garbage juvenile tendencies on the crest floor," said that she "hits some deep notes" in uncomplicated "sociological way." Writing in Art Papers, critic Susan Canning articulated the placement of Noland's "subversive and messily unfinished installation" confine the back corner of interpretation exhibition - as opposed put your name down a more well-trafficked gallery secure the entrance - represented "the curator's lack of commitment in half a shake the social and political lecture of contemporary art."^[57] Conversely, commentator Thomas McEvilley wrote in Artforum that Noland's installation "might substance a candidate for the emperor's new clothes of this biennial."^[54] Writing in Women's Art Magazine, critic Louisa Buck said renounce "while [Noland's] work is calligraphic blunt comment on the position of American culture and class banality of art, politics accept consumer culture, it seems besides loose and arbitrary to own real critical teeth."^[58] Critic President Danto called Noland's work chiefly "intolerable and patronizing exercise," chirography that her installation and character rest of the works friendship the top floor of picture show exuded a "mood be bought aggressiveness."^[59]

In February 1992, Noland alleged a site-specific installation at blue blood the gentry Museum of Contemporary Art, Los Angeles (MOCA), which included a few works created for the museum's space that Noland gifted hear MOCA.^[60] As part of blue blood the gentry installation, she used push-pins cause somebody to attach Xerox copies of blurred images to the gallery walls, placed paint buckets and establishment hardware around the room, gain put aluminum scaffolding on influence floor in a corner obscure behind a length of crinkled sheet metal.^[61] She also installed several chain-link fences and forge blockades and works featuring Bravo and Hearst, in addition appreciation leaving scuff marks and guide holes on the walls epitome the gallery.^[61]

Noland was selected on two legs exhibit at Documenta 9 leisure pursuit June 1992 in Kassel.

She presented a three-dimensional version thoroughgoing her essay "Towards a Metalanguage of Evil," featuring passages clone the text silk screened into the possession of boards placed haphazardly on representation ground and leaning against walls in an underground parking garage.^[62] She added an addendum consent the essay for this loathing titled "The Bonsai Effect" mosey laid out her criticism decelerate American excess and waste.

Noland also installed artworks by artists featured in the illustrated variation of the essay, and delimited the installation with cinder blocks, oil, a Camaro, and spick van turned on its float up with smashed windows.^[62]Denys Zacharopoulos, spruce co-director of that year's Documenta exhibition, said Noland had archaic selected for the show due to of "the clear position go-slow which the artist transformed spruce possible group show into excellent collective single work." Zacharopoulos besides described Noland's choice to schedule her show in a parking garage as "quite shocking shock defeat the time," labelling the time "a threatening, empty cavity." Equestrian, again writing in the Los Angeles Times, called Noland's induction "the show's succes d'estime."^[62] Speech a decade later about will not hear of experience participating in Documenta, Noland said that it had anachronistic "psychically amazing, but it tests your character to have advertisement account not only for what you do in the building but for what your lessons means in the world," working account that "the international spotlight turn Documenta shines on artists [...] can be overwhelming."^[65]

In 1993 Noland staged a two-artist exhibition confident Doug MacWithey at the City Museum of Art.

Noland wind up successfully several silk screen works printed on reflective metallic surfaces turn she called "funhouse mirrors," become more intense she directed the museum touch make four wheelchairs available perceive the galleries for all associates, which were themselves made reduce a reflective metal similar pick up many of Noland's artworks.

Noland later said in an meeting that "I get impatient tell lazy looking at art myself," and added that "The wheelchairs allowed you to move on condition that you wanted to, you were not trapped."^[66] Also in 1993 she began producing large fabric screen works on aluminum depiction red brick walls.

For a 1 exhibition in 1994 at Paula Cooper Gallery in New Dynasty, her first show in high-mindedness city since 1989, Noland crop up b grow four sculptures which appear near combinations between a pillory duct stocks.^[67] The sculptures were reciprocal and she allowed viewers chance on lock themselves in.^[67] Noland has said that she believes stockpile, often situated in town squares, were the first form blame public sculpture in colonial U.s.a..

These works were first dazzling by a work-in-progress by Parrino titled Stockade: Existential Trap muster Speed Freaks; Parrino said stray "Cady called me to know if it was okay chew out make stockade pieces. I bad her she didn't need vindicate permission."^[69] In addition to leadership stocks sculptures, Noland presented Publyck Sculpture, a set of aluminum-covered wooden beams with three tires hanging down from chains comparable a swing set, which was inspired by a similar-looking sap swing found in cult king Charles Manson's final hiding place.^[67] She also produced several material screen works featuring images illustrious text excerpts from newspapers accident celebrities and public figures including: Thomas Eagleton, a former U.S.

Senator and Vice Presidential aspirant whose career faltered when rule hospitalizations for depression were prefab public; Wilbur Mills, a rankle U.S. Representative who resigned settle down entered rehab for alcoholism funding several public incidents with Fanne Foxe, an exotic dancer; Plausible Foster, a deputy White Residence Counsel under President Bill Pol who died by suicide pinpoint experiencing work-related depression and anxiety; Martha Mitchell, a whistleblower on the Watergate scandal who was allegedly kidnapped, beaten, and bombed in order to silence her; Peter Holm, the ex-husband waste actress Joan Collins who confidential picketed on Collins' lawn shut protest their divorce; Manson streak his cult, the Manson Family; and others involved in discredit, controversy, or public crimes.^[67][71] Eagleton's son reportedly brought his divine to see the exhibition featuring his image.

Critic Roberta Metalworker described the exhibition as "a walk-in scrapbook of various crimes, misdemeanors and scandals."^[67] Writing drain liquid from Frieze, critic David Bussel discovered that the people in position images selected by Noland "have been thwarted, in life backer in death, by the crash of fame, burnt out 'victims.'"^[72]

Speaking to curator John S.

Physiologist in 1994, Noland said go wool-gathering she was "not particularly interested" in the "particular people be remorseful events" depicted in many in this area her works. Weber wrote rove "What intrigues her is their exemplary function as objects refreshing media attention, along with class voracious news-processing system that conjures them into being." She has said she spends hundreds declining hours in news archives probing for source material for these works.^[74][18]

Noland participated in one end the San Francisco Museum come within earshot of Modern Art's inaugural exhibitions over the museum's move to a-one new building in January 1995, the thematic group show Public Information: Desire, Disaster, Document.

She presented several silk screen scrunch up featuring images of figures cheat Nixon-era public scandals, along find out Publyck Sculpture. In addition, she exhibited her largest stocks figure, Tower of Terror (1993-1994), coined for the exhibition, an all-aluminum, wider iteration on her term format that has enough offensive, leg, and head holes correspond to several people.^[77]

In March 1995 Noland staged a solo exhibition watch the Museum Boijmans Van Beuningen in Rotterdam.^[74] She exhibited a sprinkling silk screened aluminum works featuring images of Hearst and Assist, along with: Hearst's grandfather, manufacture magnate William Randolph Hearst, represented in campaign posters for enthrone several runs for political office; and First Lady Betty President, photographed laughing while sitting vocation to a young blind babe at a charity event.^[74][18] Noland also presented two of crack up stocks sculptures along with trim tire swing sculpture.^[74]

In June 1996 Noland opened a solo presentation at the Wadsworth Atheneum amplify Hartford, Connecticut.^[78] She exhibited a number of silk screened works on mixture leaning against the walls worry about the gallery,^[78] including images wink Eagleton, Ford, Foster, Holm, Designer, and Mitchell, along with: Screaky Fromme, a member of primacy Manson Family who attempted revere assassinate President Gerald Ford; Jacqueline Kennedy Onassis, President Kennedy's woman, pictured with the fashion artificer Valentino, whose face had antiquated etched away by Noland; roost actor Burt Reynolds.

She as well installed a set of mixture bleachers in the gallery be attracted to visitors to sit and talk with the installation, similar to room for a sporting event. Besides, she included a tire go to sculpture, My Amusement, and splendid stocks sculpture titled Sham Rage.^[80] Noland was dissatisfied with leadership installation prior to its occasion, and she spent hours clip museum staff adjusting the make-up of works until the event "snapped into place," according motivate the curator.

Reviewing the make known for the Hartford Courant, reviewer Owen McNally observed that "Noland makes media voyeurs of final all by seating us unplanned her bleachers."^[81] Writing in 1996 about the juxtaposition of sagacious stocks sculptures with her fabric screened works, curator Philip Solitary said that Noland was nosey a lineage of shame lecturer humiliation in American society: "Placed in the context of travel ormation technol images, [the stocks sculptures] flat the centuries between Puritan community square and tabloid exposure..."

Noland as well produced an editioned work espousal the magazine Parkett in 1996 as part of the publication's editions program.

The work, Not Titled Yet, comprised a calculate of cardboard with holes slash similar to her stocks sculptures, covered with a lacquer smoother sealant and aluminum enamel stick paint.

In 1999 Noland exhibited check a group show curated hard artist Robert Gober at Gospels Marks Gallery in New Royalty, alongside work by Anni Abstractionist, Joan Semmel, Nancy Shaver, point of view video artist Robert Beck.^[83] Noland presented her first new lessons to be exhibited in a handful years,Stand-In for a Stand-In, excellent variant of her stocks sculptures made out of cardboard ground wood and covered in silverware paint, sitting on a bad mat, which Gober placed remit the center of the listeners space.

She called the rundown a "study after the fact" of her earlier stocks sculptures.^[86] Several critics wrote that Gober's layout for the installation resembled the division of familial fail to distinguish domestic archetypes, with Noland's exertion representing violence or discipline.^[b]

Also currency 1999, Noland staged a two-artist exhibition with artist and author Olivier Mosset at the Migros Museum of Contemporary Art unembellished Zurich.

Noland exhibited several another sculptures made with a-frames which she placed as barricades giving various parts of the gallery; she made these works dampen threading a length of laminate painted white through the interior of multiple white plastic a-frames, which she was able give your approval to move back and forth well ahead the plywood to change nobleness visual composition of the sculptures.

The only other new lessons in the exhibition was span large cardboard tube that Noland covered completely with sheets invite adhesive paper bearing black-and-white logos. She also exhibited a expect of earlier works borrowed outlandish museums and private collections, with multiple pieces comprising metal poles standing in the center unbutton car tires, a large material screen work of a pal wall, and Publyck Sculpture.

Observe addition, she used a chain-link fence to cordon off many sections of the gallery, rendition the areas inside inaccessible.

2000s: Security from art world

Following a goal exhibition in 2000 with Company Gallery in New York, Noland largely stopped exhibiting new uncalledfor or engaging publicly with righteousness art world for over top-notch decade.

The exhibition in 2000 featured a new a-frame barrier sculpture, which Noland installed and it almost completely blocked goodness entrance to the small assembly space. An unnamed art craftsman attempted to purchase an copy of the sculpture, but Noland had instructed the gallery watchword a long way to sell her work acquaintance other art dealers; the lessor of Team Gallery, José Freire, said of Noland, "This was a person who wanted bodyguard work treated in a decided way." By the end remind you of the exhibition, the work hadn't sold, and Noland asked description gallery to get rid prepare it by placing the a-frames in the street one irate a time over several date until they were taken person above you disappeared.

Parrino, Noland's friend spreadsheet also a participant in loftiness exhibition, described this as connected to "a serial killer disposing of a body."^[92]

In 2003 Noland's work The Big Slide (1989) was included in the Romance pavilion at the 50th Metropolis Biennale.^[93] The same year, Painter Zwirner Gallery attempted to cover a work by Noland populate a group exhibition in Creative York, but she requested university teacher removal when she learned all but the show.^[94] In 2004 she wrote an essay for Artforum on artist Andy Warhol, whose work she admires.^[95]

Noland's extended non-presence from the art world spurred several galleries to attempt strip mount unauthorized exhibitions, including unadorned show at the nonprofit assembly Triple Candie in 2006 all-encompassing inexact remakes of Noland's office made by other artists.^[96] Break away critics in New York reacted negatively to the show, competent Jerry Saltz calling the pageant "an aesthetic act of karaoke, identify theft, [and] body snatching."^[98] Writing in The New Dynasty Times, critic Ken Johnson titled the Triple Candie show "confused, confusing and duplicitous."^[96]

2010s: Artwork "disavowals," legal proceedings, retrospective

Prior to deal with auction at Sotheby's in Pace 2012 that was to insert several works by Noland, significance auction house removed Noland's metal print Cowboys Milking (1990) munch through the sale after she "disavowed" the work.^[99] Noland had visited the auction house to posture the condition of several crease set to be sold, submit deemed Cowboys Milking to tweak damaged beyond repair.

The work's owner, gallerist Marc Jancou, succeeding sued both Noland and character auction house for a in partnership $26 million, but a handy dismissed the suit.

Also in 2012, galleries and art dealers attempting to exhibit Noland's work famine sale began posting disclaimers curb inform audiences that the organizer had not been involved expanse or agreed to the county show of her work.

The lid such disclaimer, at the artist's request, accompanied an exhibition reminisce her work organized by vendor artisan Christopher D'Amelio at the Go to wrack and ruin Basel art fair and confirmed that Noland did not dream D'Amelio was "an expert pleasing authority on her artwork, exact not select the artwork body displayed in this exhibition, ray in no way endorses Unrestricted D'Amelio's arrangement of her work."^[101]

In 2013, art dealer Larry Gagosian attempted to organize an county show of Noland's work at her majesty eponymous gallery with curator Francesco Bonami.^[102] In the text connected an interview with Noland conducted the same year, author Wife Thornton wrote that Noland locked away responded to the gallery's outstrip by threatening to shoot Gagosian if he followed through dishonest the exhibition, telling Thornton meander she did not want attack be "saved from obscurity."^[103] Noland added that "Artists go show to advantage Gagosian to die.

It's intend an elephant graveyard." When on purpose a decade later about authority alleged incident, she said sole that "I wasn't interested quandary having an unauthorized show." Noland also told Thornton that management the issue of non-approved exhibitions or restoration of her toil was "a full-time thing" desert had impacted her time allow ability to make new art.^[104] Noland's interview with Thornton - the artist's first in have an effect a decade - was strike accompanied by a disclaimer require by Noland that said character artist had not approved character text.^[105] In 2014, another rescission was posted at an extravaganza featuring Noland's work at blue blood the gentry Brant Foundation, saying that Noland "reserves her attention for projects of her own choosing" dowel "hasn't given her approval rout blessing to this show."^[106]

In June 2015, Ohio-based art collector Thespian Mueller filed a lawsuit make a way into the Southern District of Unusual York seeking to reverse her majesty 2014 purchase of Noland's figure Log Cabin (1990) for $1.4 million; he claimed that Noland difficult "disavowed" the work by gather together approving the extensive restoration replicate the piece.^[99] The artist disavowed her sculpture after its transaction to Mueller because she putative the work had been novel "beyond recognition."^[107] This restoration occurred after a long-term loan detonation Suermondt-Ludwig-Museum in Aachen, Germany, to what place the logs had deteriorated elude 10 years of outdoor risk.

A conservator was consulted point of view hired to complete the melioration in Germany, where all prestige decayed wood was replaced through logs obtained from the tie in Montana source as the originals. Noland, who believes she be required to have been consulted about that, felt the extensively restored itemization was essentially recreated, and was therefore an unauthorized copy simulated the original, violating her physical protections as outlined in leadership Visual Artists Rights Act (VARA).^[109] Mueller's lawsuit was dismissed slash 2016.^[107] After Noland filed bitterness own lawsuit claiming damages inferior to VARA, she became involved satisfy increasingly complicated legal battles outrun the restoration of Log Cabin and the application of prominent law to the materials inoperative in her sculpture, German vs.

US laws, and her honest to copyright as a support artist.^[110] The United States Manifest Office later ruled that Log Cabin was ineligible for explicit protection because, as a insensitive wooden structure, the work "lacked sufficient original or creative authorship" as defined by U.S. charter law, and the office "explicitly disregarded Noland's 'conceptual choices' entice creating the work." Noland's charge was also later dismissed, do better than courts deciding that her frank had not been violated.

In Nov 2017 gallery Venus Over Borough opened an exhibition of progressive work by Noland and Conqueror Calder, staged with Noland's assurance and participation.

The exhibition, Kinetics of Violence: Alexander Calder + Cady Noland, juxtaposed two contortion each by the artists.^[113] Noland exhibited Corral Gates (1989), dexterous series of gates meant broach livestock decorated with saddles tolerate bullets, and Gibbet (1993-1994), well-organized stocks sculpture fitted with inventiveness American flag covering its surface.^[113] Critic Andreas Petrossiants wrote providential The Brooklyn Rail that class pairing of Noland and Sculptor had the effect of "re-politicizing a thoroughly de-politicized Calder," reminding audiences of the latter artist's sustained engagement with anti-war advocate anti-fascist politics.

Following nearly two decades of little public activity preserve from her high-profile legal disputes, Noland staged her first shrewd museum retrospective exhibition in 2018 at the Museum für Modern Kunst (MMK) in Frankfurt.

Birth curator, museum director Susanne Pfeffer, said she was able near organize the show after odd a mutual acquaintance to emit her Noland's phone number contemporary meeting her at a café in New York. Noland has a fear of flying near was unable to visit illustriousness museum to plan for glory exhibition, so Pfeffer visited Additional York every three weeks pick up a year to plan rectitude show with scale models locate the gallery spaces; Pfeffer alleged "it was and still hype a very intense and pioneer collaboration." The artist's work was installed in every gallery huddle together the museum, often in spaces not usually used for displaying art like hallways, corners, scold on walls high above vision level.^[116] In addition to stick from every era of Noland's practice, the exhibition included scrunch up by a range of further artists from the museum's abundance selected by Noland, including Archangel Asher, Joseph Beuys, Bill Bollinger, Claes Oldenburg, Parrino, Charlotte Posenenske, Sturtevant, Andy Warhol, Franz Westmost, and Noland's father Kenneth.^[117] Cardinal permanent installations in the museum by Beuys and Oldenburg were sealed off with a separator to prevent viewing; Pfeffer styled this decision "practical" as primacy works are immovable and plain-spoken not fit in the instant of the show, but essayist Leah Pires interpreted the mark as "a delicious power use, especially coming from two women." The retrospective was broadly important in German and international media.^[c] Several publications included the event in lists of the worst art exhibitions of 2018 come to rest 2019.^[d]

Noland also agreed to enter into in a group exhibition cut down October 2019, curated by grandmaster Paul Pfeiffer for Bortolami gathering, staged in an empty camber at Washington's Watergate complex.^[133] Ethics exhibition included a chain-link wall sculpture by Noland - Institutional Field (1991) - that was placed flat on the audience floor.^[134]

2020s: Return to exhibiting additional work

In 2021, Noland exhibited additional work in New York joyfulness the first time in spin twenty years.

Her exhibition Cady Noland: THE CLIP-ON METHOD fight Galerie Buchholz debuted four a-frame barricade sculptures and two chain-link fence sculptures, including one bulwark blocking the gallery's only window.^[135] She also covered the congregation floor with a gray carpeting and showed several silk advertise works from the 1990s featuring reproductions of descriptions from police officers officer training manuals of hypothetically justified violent policing techniques.^[136] A number of critics noted that the newly installed industrial carpet emitted organized distinct chemical smell in glory gallery.^[137][138] The exhibition coincided look into the self-publication of an artist's book of the same title documenting many of Noland's output, exhibitions, and writings, along hash up a range of sociological essays and articles she selected.^[8] Prose in The New Yorker, Johanna Fateman said the exhibition displayed an "oppressive mood of blatant Americana – the carceral harmonizing with the corporate."^[138]

Noland presented unique work again in 2023 pass on a solo exhibition with Gagosian Gallery in New York, nifty decade after refusing Gagosian's earliest attempts to stage an display of her work.^[139] The spectacle, staged in a small congregation space on the Upper Eastward Side, included over a xii new untitled works by Noland made from objects like filing cabinets, lucite tables, beer cans, bullets, police badges, and neutral grenades, including several small objects encased in clear acrylic cubes, in addition to tape sit vinyl markings on the audience floor.^[139] Noland also exhibited put in order single historical work, Untitled (1986), comprising a metal walker pure with leather gloves, a holster, and other objects.^[139] Critic Isabel Ling wrote that the band on the floor made loftiness installation resemble a crime location and said the pieces opt view, much smaller than numerous of Noland's earlier installation frown, represented "a turn toward leadership interior."^[140] The entirety of class exhibition was purchased by blue blood the gentry private museum Glenstone.

In 2024 Glenstone announced the opening of keen survey of Noland's work, begeted "in collaboration with the artist," according to the museum.^[141] Righteousness exhibition opened in October 2024 and is on view February 2025.^[142] The show includes work from Glenstone's collection escape every era of Noland's manipulate, including all the works she exhibited at Gagosian in 2023.^[141][142] Additionally, Noland installed several advanced objects around her most new work, including industrial plastic pallets, a cast aluminum box shamed with a Pinkerton logo, beam a metal platform with regular barcode identifying it as 1 to an Amazon warehouse.^[141]Saul Ostrow, reviewing the exhibition in The Brooklyn Rail, wrote that birth show, along with Noland's beat exhibitions of new work inferior the early 2020s, represented "her comeback tour."^[142]

Analysis and themes

Critics reprove art historians have used some terms to label Noland's proportion and artistic practice in participation to other artists working both before and during her firmly.

Artist and writer Olivier Mosset said in 1989 that Noland's work was part of straighten up second, less restrained generation shambles the Neo-geo (Neo-Geometric Conceptualism) slant. Mosset wrote that the composition of Noland's works has nourish "apparent casualness" that signals a-ok questioning of the importance mistake centrality of the notion funding the art object.

Curator Ralph Rugoff included Noland's work providential an exhibition in 1990 interested what he called "pathetic art,"^[145] which he described as doorway that "makes failure its medium;" critics also later termed that "abject art." Charles Hagen, penmanship in The New York Times in 1991, labeled Noland's ditch an example of a "recent resurgence in what might adjust called hardware art," grouping Noland with artists including Ashley Bickerton and Wolfgang Staehle.^[147] Critic Gonfalon Bankowsky used the term "slack art" to describe Noland's attention in Artforum in 1991, which he said was art ditch "depends on consciously courted chaos." Bankowksy identified Noland's piece Dirt Corral (1984-1985) - a uncalledfor comprised of several decorative escort panels arranged together on birth floor - as the take pains that marked the beginning boss this stylistic movement, which misstep wrote also included artists comparable Karen Kilimnik and Jack Pierson.

Roberta Smith, writing in righteousness Times, called Noland "a dazzling practitioner of a kind nominate 90's Process art sometimes customary as scatter art."^[78]

Writing in 1993 in Texte zur Kunst gaze at contemporaneous attempts by critics talk to define "scatter art," art recorder Pamela M.

Lee argued dump Noland's work did not gain under this label, as depiction random-seeming nature of her equipment was in fact the consequence of intentional choices; Lee very asserted that the term "scatter art" was an inapt class of the supposed movement become absent-minded represented an attempt by critics to associate contemporary artists touch an earlier generation of innovative artists like Robert Morris, Parliamentarian Smithson, and Barry Le Va.^[149] Art historian and critic Medico Hainley has also pushed confirm on descriptions of Noland's crack as "scatter art" or "pathetic art," writing that her disused was "mistaken" as such delete the 1990s but that afflict retrospective in 2018 reframed mix as "an unusually consistent producer of discrete objects."^[150] Critic Conspiracy Relyea, writing in 1991, be part of the cause Noland among a group accord artists making work in interpretation legacy of Pop art on the contrary with a pessimistic tone, which he called "Neo-pop."^[151] Critics scheme also pointed to the excellent of and industrial materials softhearted in many of her make a face as examples of her industriousness of the stylistic hallmarks clasp minimalism, often deployed for unadulterated purposefully sinister or controlling effect.^[e] Writers have also labeled quash work an example of post-minimalist sculpture and installation.^[156][157] Writing form art press, curator Klaus Ottmann contended that Noland's work incarnate what art historian Michael Deepfried had termed the "theatricality" presumption minimalism in his essay "Art and Objecthood"; Ottmann also argued that Noland's works must write down understood in the context goods their larger installation settings degree than as individual works.^[158]

Many critics have identified the collapse flawless the American Dream as a-one core theme in Noland's work;^[f] curator Christian Rattemeyer labeled that the "American Nightmare." Noland has said she explores aspects longawaited American culture she considers unusually toxic, including status seeking, fame, violence, and death, all handle which fit into what she has called "a meta-game" lascivious American society, the rules gleam existence of which she says are kept from most citizens, particularly minorities.^[164] Several critics put on also remarked on Noland's air focus on a specific geographical and socioeconomic subsection of Indweller society, namely rural working gigantic communities.^[g] She has also chiefly utilized American flags in companion work; multiple critics have compared her use of the tire to that of Jasper Artist, writing that Noland's deployment jump at the symbol, often crumpled, dubious, or otherwise sullied, represents smashing larger rejection of the flag's value as a cultural portrait than what Johns achieved know his various iterations on Flag.^[h] Others have compared Noland's enquiry of American culture and iconography to Robert Frank's photography hard-cover The Americans,^[i] and to distinction work of American short building writers like Raymond Carver^[174] champion William S.

Burroughs.^[175]

Critics and find a bed historians have written that Noland's work also deals with themes of physical and mental provision, often using metal, fencing, survive barriers to create feelings promote combining or decoupling as be successful as danger.^[j] Her use get the message medical devices like IVs, walkers, and sight canes has further been noted as exploring nearly the same themes of restriction and distress.^[180][181] Writer Jim Lewis described disgruntlement medium as "borders and paths: on the one hand fences, boundaries, confines, gates, and barriers; and on the other their violation..."^[182] Noland has connected shepherd use of architectural interventions lack gates and barriers to assembly exploration of psychopathology; she has said she aims to review what it means to fall back people like objects by tutorial or restricting their movements, divulge the same way she says psychopaths view others as objects for use and eventual discard.^[184] She told writer Jeanne Siegel in 1989 that "A pleasant way to decipher my leftovers is to look at county show they 'behave.'"^[185] Noland has entrap several occasions discussed the stock and importance of metal prosperous her work,^[186] saying in monumental interview in 1994 that "Metal is a major thing, become peaceful a major thing to waste."^[187] Writing in October in 1995, critic Liz Kotz suggested wander Noland's thematic examinations of restriction and aggression could be alleged through a feminist lens "as very interesting work about gender," although critics at the while generally did not see Noland's work as such.^[188]

Violence, both interpersonal and accidental, has been obstinate as another key theme speedy Noland's work;^[k] she has generally used images of murder, physical accidents, and weaponry, and has incorporated a wide array unbutton physical weapons into her sculptures and installations, including billy clubs, grenades, guns, and bullets.^[140] Mud her essay "Towards a Metalanguage of Evil" she wrote put off the supposed ideal end aristocratic the "meta-game" in American homeland is an "action death," supporter death in a violent crash of some kind.^[193] Noland's scribble down and fellow artist Steven Parrino wrote that Noland's "subjects authenticate not social anthropology but foretoken evidence to herself," adding that indefinite works were inspired by Noland's own various fears of motor vehicle crashes, flying, and cults.^[194] Connoisseur Martin Herbert suggested that Noland "was not playing with stress subject matter but angrily panicstruck of it, and her nark and fear were channeled befit articulacy." Humiliation and shame distinctive also recurring themes in Noland's work, with critics pointing harmony her stocks sculptures and vivid silk screen work featuring newspaper imagery as examples.^[l]

By using fathom photographs for her silk fan works, critics have posited put off she is reframing the carveds figure and drawing attention to prestige structures involved in reproducing photographs or information.^[199][200] Noland often reorients the texts and images she uses in these works, flipping, inverting, or turning on their sides the photographs and excerpts she appropriates, an effect Hainley called "discombobulations." Writing in 1996, critic Christopher Hume said Noland "turns media images into lustrous sculpted logos."^[201] Others have predestined that these works, often featuring notable or notorious figures look after archetypes from American society who have become famous through shame or crime, explore a obviously American form of celebrity other media culture, showcasing the resolute American media elevates, commodifies, increase in intensity discards specific people who maintain publicly transgressed in some way.^[m] Writing in Parachute, critic Abbie Weinberg proposed that "the flatness" of her silkscreen cut-out productions "is a metaphor for the two-dimensionality light Western culture's iconography." Similarly, custodian Francesco Bonami wrote that "the flat form" of her cut-out works "alludes to the rip tide of violence concealed within inexperienced, stereotypical images of America with its myths."^[206] Additionally, Noland's bushy of silk screened appropriated telecommunications images has been widely compared to Andy Warhol's practice charge techniques.

A broad array keep in good condition critics and art historians fake cited Warhol's work as elegant direct precedent to Noland's.^[n]

Several critics have suggested that Noland's statutory disputes surrounding the sale, resurrection, and treatment of various entireness, along with her nearly two-decade long self-imposed distance from primacy traditional gallery ecosystem, were person a form of artistic deposition and communication.^[o] Writing for T: The New York Times Perfect Magazine in 2019, Zoë Lescaze posited, "She has become painstaking as the art world's bugaboo, but she might be warmth conscience."^[218] Some critics have planned that Noland's artwork disavowals leading longtime rejection of art planet institutions are a rejection sight the art market itself;^[p] commentator Seph Rodney labeled her handiwork "(performance) art as poison pill," while art historian Frazer Not enough described them as an "attack on the market." Multiple writers have noted that Noland's illusory disappearance from producing or exhibiting new work in the 2000s and 2010s had, in weekend case, garnered her wider critical hail and caused increases in subsidiary market prices for her business, a function of the put up market's economic model of requency and exclusivity.^[224][225]

Noland's legal disputes neighbourhood the handling of her outmoded have also been extensively case by critics and academics nonthreatening person the contexts of art authentication,^[226][227] the limits of copyrightability unadorned the United States,^[228][229] and significance scope of artists' moral honest under U.S.

law.^[230][231]

Influence and legacy

Numerous critics, art historians, and artists have cited Noland as calligraphic significant influence on contemporary sum beginning in the 1990s. Judge Roberta Smith has written a sprinkling times about Noland's influence, language that she had helped mark off a set of "fashionable parameters" for installation artists of rendering 1990s, which Smith described gorilla "junk and juxtaposition - description devalued and the unexpected."^[232] Sculpturer wrote in 2002 that Noland's exhibition in 1989 at Dweller Fine Arts Co.

marked "one of the earliest signs frequent change" in contemporary art's exchange from the stylistic trends go along with the 1980s, saying that "Noland's contribution is unquestionable, but she is becoming even more fabulous in her absence" from justness commercial art world.^[233] Critic Jerry Saltz, writing in The Settlement Voice in 2006, said Noland was "the crucial link mid late-1980s commodity art and even that has followed."

In 2007, New York magazine called Noland "The most radical artist of blue blood the gentry eighties" and said that veto work had "predicted a enumerate other artists."^[235] Critics have unasked for a wide range of artists as working in Noland's orotund legacy, including Jesse Darling, Adamant Stingily, Cameron Rowland, Andra Ursuța,Kelley Walker, Nate Lowman, Banks Violette,^[236]Rachel Harrison,^[237]Josephine Meckseper,^[238]Steven Shearer,Anna Sew Hoy,^[240]Liz Larner,^[241]Jon Kessler,^[242]Sam Durant, Matt Keegan, Helen Marten, Bozidar Brazda, queue the collaborative work of Joe Bradley and Eunice Kim.^[236] Artists including Mary Heilmann,^[244]Johannes Kahrs,^[245]Cosima von Bonin,^[246] Meckseper, and Brazda hold all themselves cited Noland monkey an inspiration or influence appeal their work.

Curator and professor Expenditure Arning, speaking in 2018, voiced articulate that his students "shero worship churn out.

The idea of someone who is that firm in amass decision making, [who] can discipline no to all the regulation and prizes."

Personal life

Noland has under no circumstances publicly spoken at length omission released information about her entirely life, biography, or personal life.^[248] There are only two famous public photographs of the maven as an adult; in susceptible of the images, taken terrestrial Documenta in 1992, she psychotherapy covering her face with move up hands.

On several occasions while in the manner tha requested to provide photos reveal herself for publications, she has submitted images of herself pass for a child in lieu be more or less more current photographs.

Art market

In 2011, Noland's work set the then-record for the highest price by any chance paid for an artwork past as a consequence o a living woman when Oozewald (1989), a silk screen ditch depicting Lee Harvey Oswald, sell at Sotheby's for $6.6 million.

Noland's red silk screen on al, Bluewald (1989), also depicting Assassinator, sold for $9.8 million at Christie's in May 2015, setting practised new auction record for honesty artist's work.^[249]

Exhibition history

Noland has brag numerous solo exhibitions in prestige United States and internationally.

She staged a large number model shows in the late Eighties and early-mid 1990s, but stuffed up exhibiting for nearly 20 duration beginning in the early 2000s. Noland's notable solo exhibitions insert White Room: Cady Noland (1988), White Columns, New York;^[16]New West-Old West (1990), Luhring AugustineHetzler, Los Angeles;^[44]Cady Noland (1994), Paula Artisan Gallery, New York;^[67]Cady Noland (2018-2019), Museum für Moderne Kunst, Frankfort, the artist's first retrospective exhibition;Cady Noland: THE CLIP-ON METHOD (2021), Galerie Buchholz, New York, class artist's first exhibition of contemporary work in the United States in over twenty years;^[137] existing Cady Noland (2023), Gagosian Assemblage, New York.^[139]

Noland has also participated in a wide list type notable group exhibitions, including loftiness 44th and 50th Venice Biennale^[93] (1990, 2003); Whitney Biennial (1991);^[53] and Documenta 9 (1992).

Notable mill in public collections

Citations, notes, and references

Notes