19:(born 1968) is a Los Angeles–based American artist who works primarily in film, painting and drawing. His work addresses the production, consumption, and proliferation of cultural objects, reflecting his interest in the possibility of an artwork to mediate information or meaning in a way that engages with the aesthetics of a specific time period. In the words of Sarah Robayo Sheridan, “Paul Sietsema compounds organic and artificial detritus in all his artwork, scavenging in history’s wake to identify specific tools of cultural production and foraging for concepts of art promulgated in the words of artists and attitudes of critics. He mines film as a vestige, the medium of the mechanical age, pressing and squeezing its very obsolescence through a contemporary sieve. In so doing, the artist hovers in the switchover between a bodily inscription in the image and a fundamental reconstitution of sight and representation in the matrix of the virtual. Where body stops and image starts is a divide collapsing through a series of innovations and accidents that go back as far as the people of Pompeii trapped in an emulsion that marked their death, but which paradoxically carried forward their image into eternity.”
152:, debuted in his survey exhibition organized by the Wexner Center for the Arts. The film presents five sequences that explore varied configurations of objects from various eras arranged on a desktop. The vignettes move from groupings of collectable objects of contemplation—Roman glass, ancient coins, Victorian fans—to the everyday objects of an office space—phone, pen, typewriter, money. Several views of each vignette are followed by an image of a still photograph of the scene deposited in a desktop inbox. Within the typewriter, the film traces the written description of a historical painting, one paragraph at a time.
158:(2002), his most well-known film, centers around an image of art critic Clement Greenberg's living room as pictured in a 1964 issue of Vogue magazine. Sietsema recreated the room and its contents within his studio and filmed the space in 16mm film. Greenberg's space, along with the books and artworks within it, formed the point of departure for a series of vignettes examining various avant-garde movements throughout history. The unnatural construction of these seemingly absolute histories form the framework for many of Sietsema's films.
179:, originally presented as a “lecture” at the New School in New York in place of the artist being present himself, intersperses images of the stained tabletops of Sietsema's studio with an appropriated text by the artist Jean Dubuffett, adapted to describe Sietsema's own work. The film examines the presentation of unintentional marks from the artist's studio as possibly intentional artworks, as well as a confusion of aesthetics and philosophies from different eras being read as contemporary.
186:, he made a series of hyperrealistic plants, drawn from images of plants and flowers he had collected over many years, and shot them with different dead-stock 16mm films, both in black and white and in color, in order to demonstrate “an array of stylistic influences based on the sort of history of photography.” He has said of this work, “The structures I have made for the films usually explore different clichéd aspects of the overall categories I start with. In
164:, the artist's first 35mm film, focuses on a cardboard sign rotating in space, displaying a brief description of a different object with each rotation. The phrases conjure images of the collectible objects they describe. The punched dot letters of the sign are part of the infrastructural aesthetics that exist for manufacturing—a sublanguage within automated industrial production. The film itself is an automated system of rendering each phrase.
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Photoshop's paintbrush, Microsoft Word's sheet of paper and email's envelope drowned in pools of enamel are rendered in that same material on the backs of found canvases, which he often sources from obscure online auction websites. A reel of film, an art magazine and the artist's pen and notebook encased in a pool of paint on an old newspaper have been depicted in his drawings and paintings.
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The imagery of
Sietsema's paintings encompasses the tools of artistic production: from the hammer and chisel, to the icons of the digital desktop. Newspapers, magazines, coins and currency are also subjects addressing systems of cultural exchange and proliferation. Images of real world equivalents of
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Upon returning to Los
Angeles from Berlin in 2011, Sietsema began teaching in the graduate department at the Roski School of Fine Arts at the University of Southern California as a visiting core faculty member. He continued to teach at USC for three years before deciding to devote his time to being
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The artist's first solo show with
Matthew Marks Gallery took place in New York in 2011, and the Kunsthalle Basel organized a solo exhibition in 2012. Sietsema and the Kunsthalle Basel exhibition's curator, Adam Szymczyk, collaborated with writer Quinn Latimer and designer Manuel Raeder on a book of
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Sietsema was born in
Southern California and moved to Northern California as a teenager. He attended high school in Mill Valley and became involved in the Bay Area punk scene revolving around clubs such as the Mabuhay Gardens and the On Broadway in San Francisco in the early to mid 1980s. In 1992,
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In 2005, curators Daniel
Birnbaum, Hans Ulrich Obrist, and Gunnar Kvaram invited Sietsema to participate in the exhibition “Uncertain States of America” at the Astrup Fearnley Museum, which travelled to the Hessel Museum at Bard College, the Serpentine Galleries, and additional venues in Poland,
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In 1994, the
American painter Peter Saul included Sietsema in a group exhibition he curated in Austin, Texas. While a student at UCLA, Sietsema self-published a series of three books documenting the performances he made there, which were often sculpture based. During this time, he worked in the
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In 2009, the Museum of Modern Art in New York presented a solo exhibition of
Sietsema's work, and the Reina Sofia in Madrid mounted a solo exhibition of Sietsema's films and drawings. That same year, Sietsema moved to Berlin on a DAAD residency, and in 2010 he had a solo show at the Schinkel
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He also participated in
Sonsbeek 9, Arnhem, Netherlands (2001); The 1st Auckland Triennial (2001); Second Moscow Biennial (2003); the 55th Carnegie International, Carnegie Museum of Art, Pittsburgh (2008); and the 5th Berlin Biennial for Contemporary Art (2008).
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Sietsema completed his undergraduate studies at the
University of California at Berkeley in 1992. He enrolled in UCLA's New Genres graduate program in 1996 and began studying with Chris Burden, Paul McCarthy, and Charles Ray, receiving his MFA in 1999.
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Sietsema received the
Foundation for Contemporary Arts Grants to Artists award in 2002 and the Wexner Center Artist's Residency Award in 2010. He has been a Guggenheim Fellow since 2005 and a German Academic Exchange Service (DAAD) Fellow since 2008.
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depicts picture frames, paint brushes, a film camera, and other artists’ tools covered in black ink, an interference that explores the deterioration of objects through mediation and the intersection of the tools and products of art.
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an advisor in post-graduate studies at the Rijksakademie in Amsterdam at the urging of Dan Graham, who had been involved with the school for many years, along with Joan Jonas. Sietsema continues to hold this advisory position today.
95:. The artist's work also was included in the Carnegie International and the 5th Berlin Biennial in 2008, and later that year, the De Appel Arts Centre in Amsterdam mounted a survey exhibition, “Paul Sietsema: Three Films,” featuring
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Carpenter, Elizabeth. “Paul Sietsema.” In Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections, edited by Joan Rothfuss and Elizabeth Carpenter. Minneapolis, MN: Walker Art Center,
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The Belgian curator Jan Hoet visited the artist at his studio in 2000 and invited him to participate in the international exhibition “Sonsbeek 9” in 2001 in the Netherlands. “Sonsbeek 9” published a book by Sietsema,
68:, in conjunction with the exhibition. Hoet, a friend of Marcel Broodthaers, educated Sietsema about the artist's work and showed him many of Broodthaers’ pieces in both private and public collections in Belgium.
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published a feature article by Bruce Hainley on Sietsema's work. Hainley included Sietsema in his 2000 group exhibition, “Mise-en-Scene: New LA Sculpture” at the Santa Monica Museum of Art, and
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The Wexner Center for the Arts in Columbus, Ohio, organized a survey exhibition spanning five years of work in 2013, which travelled to the Museum of Contemporary Art in Chicago.
75:. This film and additional material (drawings and constructions) comprised Sietsema's first solo museum exhibition, at the Whitney Museum of American Art in New York in 2003.
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Sietsema visited the first US solo exhibition of Jeff Koons, at the San Francisco Museum of Modern Art, which proved to be an influence on his early thinking and work.
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studios of Chris Burden and Charles Ray. Sietsema also met the artist Dan Graham while at UCLA, who included Sietsema's early work in a group exhibition he curated at
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in Monaco in 2015, and in 2016, the artist had his first one-person exhibition in Los Angeles in nearly fifteen years, at Matthew Marks Gallery.
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Hainley, Bruce. “Skeleton Key: A Conversation with Paul Sietsema.” Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 41
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Hainley, Bruce. “Skeleton Key: A Conversation with Paul Sietsema.” Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 41
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Sietsema's first solo exhibition took place at Brent Petersen Gallery in Los Angeles in 1998, where he exhibited his first 16mm film,
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 77
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 77
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 78
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 78
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 78
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 78
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 47
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Sietsema, Paul, Cornelia H. Butler, and Bruce Hainley. Figure 3 - Paul Sietsema. New York: Museum of Modern Art, 2009. Print. p. 9
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Sietsema, Paul, Christopher Bedford, and Ann Bremner. Paul Sietsema. N.p.: Wexner Center for the Arts, n.d. Print. p. 105
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Sietsema, Paul, Christopher Bedford, and Ann Bremner. Paul Sietsema. N.p.: Wexner Center for the Arts, n.d. Print. p. 105
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Baker, George. "The Black Mirror." Paul Sietsema. By Paul Sietsema, Christopher Bedford, and Ann Bremner. 14-17. Print.
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Sietsema mounted his next exhibition at Matthew Marks Gallery in New York in 2014. The show featured his new 35mm film
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Baker, George. "The Black Mirror." Paul Sietsema. By Paul Sietsema, Christopher Bedford, and Ann Bremner. 8-11. Print.
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133:. The Nouveau Musée National de Monaco's Villa Paloma presented an exhibition of new paintings and a recent film,
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Paul Sietsema. Construction of Vision. Arnhem, The Netherlands: Sonsbeek 9; Los Angeles, Regen Projects, 2001.
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Paul Sietsema. Construction of Vision. Arnhem, The Netherlands: Sonsbeek 9; Los Angeles, Regen Projects, 2001.
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In 2002, Sietsema's second solo show in Los Angeles took place at Regen Projects, where he exhibited the film
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The San Francisco Museum of Modern Art organized a solo exhibition in 2008 to debut Sietsema's third film,
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Sietsema, Paul, Christopher Bedford, and Ann Bremner. Paul Sietsema. Wexner Center for the Arts, Print.
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832:"Datebook: Toba Khedoori's enigmatic drawings, games about capitalism, art about the California coast"
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was included in the large survey, “The Americans: New Art,” at the Barbican Gallery in London, 2001.
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Latimer, Quinn, and Adam Szymczyk. “Impossibly Clean Models: Paul Sietsema in Conversation,” in
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Sietsema, Paul. Seven Films by Paul Sietsema. Milan, Italy: Mousse, 2014. 129-30. Print.
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Sietsema, Paul. Seven Films by Paul Sietsema. Milan, Italy: Mousse, 2014. 123-26. Print.
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Sietsema, Paul. Seven Films by Paul Sietsema. Milan, Italy: Mousse, 2014. 134-35. Print.
1280:. Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, CA.
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Baker, George, Christopher Bedford, Bill Horrigan, Suzanne Hudson, and Paul Sietsema.
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Related to Sietsema's paintings and drawings, a black and white film from 2012 titled
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Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, CA
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1238:"Paul Sietsema - Signals | Life on Mars, the 2008 Carnegie International"
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Rosenberg, Karen. "Art in Review." The New York Times. N.p., 08 May 2009. Web.
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Since the late 1990s, Sietsema has created nine 16mm films and one 35mm film.
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365:. Columbus, OH: Wexner Center for the Arts, The Ohio State University, 2013.
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420:. Arnhem, The Netherlands: Sonsbeek 9; Los Angeles, Regen Projects, 2001.
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Carter Mull, “Paul Sietsema: Interview,” Marcel—Issue #3, September 2010
461:“Anne Collier & Paul Sietsema: Discipline,” The Wrong Times, 2006.
384:, ed. Quinn Latimer (Berlin: Sternberg Press, 2012), pp. 89–108.
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Burnett Abrams, Nora, Michael Ned Holte, and Sarah Robayo Sheridan.
733:"University of Southern California (USC) Roski School of Fine Arts"
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was included in a group exhibition at Modern Art Oxford in 2004.
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Solo exhibitions of Sietsema's work have been organized by:
190:, I was interested in shared ideas of beauty, the visual.”
346:. San Francisco: RITE Editions and Sternberg Press, 2014.
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collected interviews in conjunction with the exhibition,
856:. Wexner Center for the Arts, The Ohio State University.
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The Fonds régionaux d’art contemporain/Le Plateau, Paris
1103:"Paul Sietsema September 30, 2009–February 15, 2010"
1379:"Sculpture from the Hammer Contemporary Collection"
408:. New York: Whitney Museum of American Art, 2003.
293:Museo Nacional Centro de Arte Reina Sofia, Madrid
1121:"Project Room : Paul Sietsema Villa Paloma"
1013:"Paul Sietsema: 20 September - 10 November 2012"
913:"Paul Sietsema: September 13 - October 25, 2014"
796:"Paul Sietsema: September 13 –October 25, 2014"
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1421:. Museo Nacional Centro de Arte Reina SofĂa.
1397:"Untitled figure ground study (Degas/Obama)"
1278:Berkeley Art Museum and Pacific Film Archive
1202:"The 1st Auckland Triennial: Bright Paradis"
1157:"Anticultural Positions - Schinkel Pavillon"
1073:. Museo Nacional Centro de Arte Reina Sofia.
1031:"Paul Sietsema 14. June 2012 – 26. Aug 2012"
769:"Paul Sietsema 14. June 2012 – 26. Aug 2012"
382:Paul Sietsema: Interviews on films and works
375:Paul Sietsema: Interviews on films and works
121:Paul Sietsema: interviews on films and works
879:. Wexner Center of the Arts. Archived from
396:, New York: The Museum of Modern Art, 2009.
814:"Project Room: Paul Sietsema Villa Paloma"
1419:Museo Nacional Centro de Arte Reina SofĂa
1071:Museo Nacional Centro de Arte Reina Sofia
227:Museo Nacional Centro de Arte Reina SofĂa
311:Whitney Museum of American Art, New York
241:Nouveau Musée National de Monaco, Monaco
1224:2nd Moscow Biennale of Contemporary Art
715:"Paul Sietsema: Anticultural Positions"
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296:Museum of Contemporary Art, Los Angeles
107:Pavillon, which featured his 16mm film
1226:. Moscow Biennale of Contemporary Art.
1175:"Paul Sietsema: Empire at the Whitney"
1145:. San Francisco Museum of Modern Art.
326:Battista, Emiliano, Eva Fabbris, and
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1475:. San Francisco Museum of Modern Art
290:Metropolitan Museum of Art, New York
1127:. Nouveau Musée National de Monaco.
1049:"Gallery - Midway Contemporary Art"
820:. Nouveau Musée National de Monaco.
509:. Foundation for Contemporary Arts.
451:. Milan, Italy: Mousse. p. 15.
232:Museum of Contemporary Arts, Denver
1143:San Francisco Museum of Modern Art
332:Fifty-three Works by Paul Sietsema
302:San Francisco Museum of Modern Art
299:The Museum of Modern Art, New York
275:Carnegie Museum of Art, Pittsburgh
244:San Francisco Museum of Modern Art
148:Sietsema's most recent 16mm film,
97:Untitled (Beautiful Place), Empire
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1588:Sietsema at Matthew Marks Gallery
1537:. Whitney Museum of American Art.
1439:. The Museum of Contemporary Art.
1312:. Centre Pompidou. Archived from
334:. Milan: Mousse Publishing, 2016.
1618:American people of Dutch descent
1306:"Centre Georges Pompidou, Paris"
1125:Nouveau Musée National de Monaco
818:Nouveau Musée National de Monaco
507:Foundation for Contemporary Arts
377:. Berlin: Sternberg Press, 2012.
353:. Milan: Mousse Publishing, 2014
1208:. Regional Facilities Auckland.
211:De Appel Arts Centre, Amsterdam
1549:"Paul Sietsema - Bibliography"
1535:Whitney Museum of American Art
1437:The Museum of Contemporary Art
308:Walker Art Center, Minneapolis
278:Centre Georges Pompidou, Paris
257:Whitney Museum of American Art
52:. Following this exhibition,
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995:"Paul Sietsema "Three Films""
850:"Exhibitions: Paul Sietsema"
482:"Goes the old-fashioned way"
449:Seven Films by Paul Sietsema
351:Seven Films by Paul Sietsema
83:Iceland, China, and Russia.
1469:"You searched for sietsema"
1457:. The Museum of Modern Art.
1109:. The Museum of Modern Art.
182:For Sietsema's first film,
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1415:"Paul Sietsema - Figure 3"
1055:. Midway Contemporary Art.
854:Wexner Center for the Arts
524:Goes the old-fashioned way
287:Hammer Museum, Los Angeles
251:Wexner Center for the Arts
188:Untitled (Beautiful Place)
184:Untitled (Beautiful Place)
58:Untitled (Beautiful Place)
50:Untitled (Beautiful Place)
1294:. Carnegie Museum of Art.
1244:. Carnegie Museum of Art.
1067:"Figure 3: Paul Sietsema"
877:Wexner Center of the Arts
562:"OPENINGS: PAUL SIETSEMA"
247:Schinkel Pavillon, Berlin
1573:. Matthew Marks Gallery.
1555:. Matthew Marks Gallery.
1455:The Museum of Modern Art
1292:"Carnegie Museum of Art"
1139:"New Work Paul Sietsema"
1107:The Museum of Modern Art
919:. Matthew Marks Gallery.
802:. Matthew Marks Gallery.
757:. Matthew Marks Gallery.
236:The Museum of Modern Art
23:Early life and education
1341:. Dallas Museum of Art.
1053:Midway Contemporary Art
1001:. de Appel Arts Centre.
447:Sietsema, Paul (2014).
394:Figure 3: Paul Sietsema
221:Midway Contemporary Art
217:Kunsthalle Basel, Basel
1531:"Paul Sietsema: 1968-"
667:. The Berlin Biennale.
418:Construction of Vision
194:Drawings and Paintings
177:Anticultural Positions
109:Anticultural Positions
66:Construction of Vision
1571:Matthew Marks Gallery
1553:Matthew Marks Gallery
1256:"5th Berlin Biennale"
917:Matthew Marks Gallery
800:Matthew Marks Gallery
755:Matthew Marks Gallery
406:Empire: Paul Sietsema
1519:. Walker Art Center.
1339:Dallas Museum of Art
1206:Auckland Art Gallery
1163:. Schinkel Pavillon.
999:de Appel Arts Centre
739:. Art&Education.
721:. Schinkel Pavillon.
373:Latimer, Quinn, ed.
305:Tate Gallery, London
281:Dallas Museum of Art
267:Selected Collections
214:Drawing Room, London
162:Abstract Composition
131:Abstract Composition
1037:. Kunsthalle Basel.
775:. Kunsthalle Basel.
1262:. Berlin Biennale.
685:. SculptureCenter.
480:Muchnic, Suzanne.
392:Butler, Cornelia.
344:At the hour of tea
150:At the hour of Tea
135:At the hour of tea
1517:Walker Art Center
1161:Schinkel Pavillon
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737:Art&Education
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486:Los Angeles Times
425:Honors and awards
175:An earlier film,
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568:. Artforum.
328:Tim Griffin
203:Exhibitions
169:Encre chine
111:, in 2010.
43:303 Gallery
1597:Categories
1403:. The Met.
1359:. Navigart
1320:2016-09-24
1089:MCA Denver
434:References
238:, New York
1357:Navigart
1335:"Empire"
229:, Madrid
101:Figure 3
93:Figure 3
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1501:. Tate.
1401:The Met
1473:SFMOMA
156:Empire
99:, and
87:Career
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