598:"On one level, it's a forest that has been downed by an unseen force—a force of nature or, perhaps, a force of man. I also want the sculpture to be the force itself, a swirling, churning force. The word 'maelstrom' actually has a Dutch root; it literally means 'grinding stream,' ... The third state is trees in the state of becoming abstractions. There are areas with recognizable tree parts and then others where representation is stretching, breaking apart, and coalescing again ... I want the fourth state of trance to be a pipeline in a factory that's run amuck. This is getting back to the root of the material, so to speak, which is purely industrial. Here the piece is embracing its source. And, finally, the fifth state is that of a mental storm, or what I envision happens during an epileptic seizure."
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stainless steel trees, vitrines of mushroom and plant life in various states of decay and several large-scale machines designed to replicate creative processes. Many of his works create a platform to ask aesthetic questions about art, the natural, and the unnatural world rather than answer these questions like his counterparts he ignites the flame of inquiry. Collectively, his works demonstrate the human attempt to impose order on natural forces, depicting the struggle between the natural and the artificial, the rational and the instinctual. Paine has said, "I'm interested in taking entities that are organic and outside of the industrial realm, feeding them into an industrial system, and seeing what results from that force-feeding. The end results are a seamless containment of these opposites."
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690:"I have been very influenced by Foucault's idea of the episteme, the knowledge structure and base of an era which determines what kind of questions can and cannot be asked at any point in time. I think it is particularly pertinent at this moment when the amount of information is so vast, and access to it so instantaneous; yet the kinds of questions being asked feel throttled and narrow, a retreat into the comforts of each person's hyper-specialized realm of knowledge."
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522:, art historian Jonathan Fineburg wrote that "The beauty of the machine and the eccentricity of the results are also a paean to the romantic. Paine positions both his gardens and his machines at a fluid interface of man, nature, and science; they take the viewer to an intuitive experience of the liminal place at which scientists have arrived as they begin to redesign the human genome and connect living neurons with silicon chips."
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515:, 2005, which consists of a robotic arm that traces and cuts patterns into large blocks of stone. The course of the arm's movement is determined by data sets, such as weather conditions and school test results. The work suggests the corrosive effects of human imposition on the environment while at the same time represents the transformation of the banal into the beautiful.
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438:, 2000, shows a field of psychoactive mushrooms that appear as if they are sprouting from the gallery floor. This field might present multiple readings: are these works a hallucinogenic vision on their own or do they represent the plant life that offers the possibility of arriving at that vision? Another related series of works is that of the
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284:"There was a creek nearby when I was growing up. That's where I spent most of my time. I would constantly reroute the stream, building dams. I was mostly interested in the water. What I remember distinctly about nature in the suburbs were the borders. The natural world is totally controlled and manipulated in suburbia."
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pushes the metaphoric content that underpins these sculptures to new extremes. It still uses arboreal forms, but they now mesh with other overtly defined branching systems: a vascular network of arteries and veins with two plump kidneys, mushroom colonies and their germinating mycelia, neuron bundles
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From this point onward, Paine's work separated into a few distinct but nevertheless related categories. The first involves naturalistic works: minutely precise reproductions of natural objects like mushrooms, leafy plants or poppies. A second category consists of machine-based works: he has devised a
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Paine was born in New York City and raised in the suburbs of northern
Virginia. Throughout his childhood, he spent his free time exploring the wooded, overgrown areas of land that separated housing developments in his neighborhood. He describes his experience of growing up in suburbia as a "twisted
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is a 40 ft tall by 45 ft wide sculpture of two trees whose branches cantilever in space and connect in mid air. Paine creates two different fictional tree species where each branch from one tree joins with a branch from the other. For the observer, it is unclear where one tree begins and
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Paine uses both mechanical means and the innate logic of natural forms to create his "Dendroid" tree-like sculptures. Paine's meticulous research and observation of a variety of tree species help him to understand the "language" of how a tree grows, and from there he creates fictional tree species
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In his body of work, Paine mirrors natural processes, drawing increasingly on the tension between organic and man-made environments, between the human desire for order and nature's drive to reproduce. His highly detailed simulations of natural phenomena include an ambitious series of hand-wrought
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Paine's vitrines and botanical works often feature replicas of plants that have been discovered as extremely poisonous or have been used by humans for experimental hallucinogenic or drug experiences. The living plants are cast and subsequently rendered in thermoset polymers, paint, lacquer, and
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for a time, originally as a painting major but later switching to sculpture. In addition to paintings, Paine produced unusual, functional ceramic and metal musical instruments. He eventually dropped out of Pratt, and with help from some of his colleagues, formed the artist collective
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Employing the language that he has invented pertaining to each of these fictive species, Paine's trees are "grown" through a laborious process of welding together the cylindrical piping and rods of diminishing size. He has also described his aims with the
508:, from 1999–2000, involves a metal painting arm that is programmed to expel white paint onto a canvas according to specific instructions programmed into the machine. The resulting works often can evoke landscapes or possibly layers of geological sediment.
434:, 1997–98, shows a field of poppies, with ripened pods exposing the evidence of raw opium being readied for harvest. The piece embodies the shifting views of the beauty of a field of wild flowers and the grave potential of drug addiction.
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series by saying, "I have been seeking to expand the edges of the language, and send the work outward into those edges. Essentially, I am establishing the rules of a language, only to then break those rules."
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240:) is an American painter and sculptor widely known for his installations that often convey elements of conflict between the natural world and the artificial plains man creates. He was educated at both the
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Since 1990, Paine's works have been exhibited in major collections and galleries across the United States, Germany, Sweden, England, the
Netherlands, and Israel. His most reviewed exhibitions include
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I've processed the idea of a tree and created a system for its form. I take this organic majestic being and break it down into components and rules. The branches are translated into pipe and rod.
409:, 2005. Bridging the gap between the naturalistic and mechanized works, Paine also creates large-scale stainless steel trees and boulders of varying sizes (ranging from 8 – 50 feet in height).
486:, 1997, employed a steel armature that continuously dipped canvases into a vat of paint over the course of time, creating works that collect latex paint stalactites along the bottom edge.
304:"In general, the teachers hated me. I always had problems with art teachers. I don't know why. I didn't go in trying to be confrontational, but it always ended up with bad blood somehow."
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take on a state of potential, presenting us with a deceptively simple plant that nonetheless contains complex molecules that can give rise to an altered state of consciousness.
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In
September 2013 Paine debuted the first two installations of a new series of work utilizing large-scale dioramas. The two installations were revealed in an exhibition at the
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which has long been used as a poison and hallucinogen; many species are known by common names such as Hell's Bells or Devil's weed. Paine's re-creation of various species of
636:. Taking more than three years to produce, this 56-foot-tall stainless steel dendroid sculpture, as described by Paine, "was trying to capture a churning, swirling force."
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The new work draws from a complex dialog of
Western and Eastern philosophies which both embrace and deconstruct the values and conceptual core of Paine's earlier work.
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Paine further discussed his interest in the new work as a manifestation of "A copy of a copy of a copy," which could be connected
Foucault's fellow poststructuralist,
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At age 15, Paine ran away to
California to live with his brother, a hiker and rock climber. His brother's "outdoor western" influence spurred them to hike places like
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Removing the artist's hand in the creative process and replacing it with a computer program is the crux of Paine's machine-based works. His first art-making machine,
354:, 1992, which had a leaking pipe in the ceiling dripping water on a tall stack of soap bars, leaving a pool of semi-liquid soap to collect on the gallery floor.
1015:. Herbert, Lynn M. (Lynn McLanahan), 1956-, Volk, Gregory., Paine, Roxy, 1966-, Contemporary Arts Museum., Rose Art Museum. Houston: Contemporary Arts Museum.
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courtesy of Paine and
Marianne Boesky Gallery. In 2015, the Association for Public Art received a grant from the Daniel W. Dietrich II Trust, Inc. to acquire
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490:, 1998–2001, melts plastic with pigments and periodically extrudes them onto a conveyor belt, creating bulbous shaped sculptures that are each unique.
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gallery in
Chicago. The new pieces, meticulously carved from wood, are life-size replicas of a fast-food restaurant and a control room, respectively.
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393:. The research alone took eight months, and overall, the work took two years to produce, opening Paine to new approaches and processes in his work.
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vision of nature", his environment possessing an "overwhelming blandness". Around age 13 or 14, Paine used his local creek as a place to explore.
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Neil, Jonathan T.D. 'Do
Androids Dream of Making Art? Roxy Paine's Robot Artworks and Artificial Environments Ask Just that Question' in
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576:, 2008, was installed in the Public Art Projects section of Art Basel 39, in Basel, Switzerland in June 2008. It was also part of
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350:, 1990, which consisted of a paint brush smearing ketchup, white paint and motor oil on the gallery space's front window; and
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is a group of poisonous and psychoactive mushrooms that has some species that are among the deadliest if ingested by humans.
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2009 was installed at the
National Gallery of Art Sculpture Garden in Washington, DC, in the fall of 2009. When asked about
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674:, which emphasizes the beauty within natural and unpredictable flaws. Paine also told Viveros-Faune of an interest in
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552:, 1999, now at the Wanas Foundation, in Knislinge, Sweden. He has gone on to create 25 of these sculptures, including
296:. Living in California helped Paine make his decision to become an artist. He moved to New Mexico and enrolled at the
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in 1995, and it included other kinetic works, but the central and most critically acclaimed work was a piece called
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the other ends. "Conjoined" was acquired in 2008 by and is on display at the Modern Art Museum of Fort Worth.
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643:(2011) was installed in Philadelphia, Pennsylvania, in Iroquois Park, originally on temporary loan to the
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1085:, 2002. Page 27, Contemporary Arts Museum, Houston and Rose Art Museum, Brandeis University, Waltham, MA.
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Sheets, Hilarie. 'Man of Steel's Industrial Web Mirroring Nature,' The New York Times, October 17, 2010.
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2010, was on view at James Cohan Gallery in New York from October 16 - December 11, 2010, and
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2009, was on view at the Metropolitan Museum of Art from April 28 - November 29, 2009 and
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and taxonomic diagrams, and raw pipelines connected to steel tanks and industrial valves.
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2010, was installed permanently at the National Gallery of Canada, in Ottawa, Ontario.
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in October 1992. His early work consisted of kinetic and time-based sculptures such as
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342:(which he helped to found) and he had his first solo exhibition at the short-lived
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1135:, Second Edition, 2000. Page 498-499, Harry N. Abrams, Publishers, New York, NY.
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The artist Roxy Paine contributed many of his works to the following locations:
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vitrines, lifelike mushrooms seem to be decaying under glass. The genus
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Goodman, J (2014). "Dendroids, Replicants, and Sculpture Machines".
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501:, 2001, installed at the Museum of Contemporary Art, Detroit, 2007.
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catalogue, 2002, Page 24. Public Art Fund and James Cohan Gallery.
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Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE
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was permanently installed in April 2011 on the south lawn of The
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number of conceptually-challenging art-making machines, like the
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from the article and its talk page, especially if potentially
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1412:"Roxy Paine: Yield at Crystal Bridges Museum of American Art"
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He also received a Trustees Award for an Emerging Artist by,
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Frederik Meijer Gardens and Sculpture Park, Grand Rapids, MI
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De Pont Museum of Contemporary Art, Tilburg, The Netherlands
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during the Whitney Biennial in 2002, and the very ambitious
1437:"Roxy Paine New York USA 1966, lives and works in New York"
816:
National Gallery of Art Sculpture Garden, Washington, D.C.
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Paine described it as existing on five "levels" at once:
1387:"City of Style: Beverly Hills Shows Off its Public Art"
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Volk, Gregory. 'Roxy Paine: Dreams and Mathematics' in
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Hirshhorn Museum and Sculpture Garden, Washington, D.C.
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Crystal Bridges Museum of American Art, Bentonville, AR
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Il Giardino Dei Lauri, Città della Pieve (PG), Italy
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John Simon Guggenheim Memorial Foundation Fellowship
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in 1990 and 1991 at an artist run collective called
1108:. Grand Arts, Kansas City, Missouri. Archived from
651:, enabling the dendroid to remain in Philadelphia.
531:that grow to a logic of their own. Paine has said:
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837:Rose Art Museum, Brandeis University, Waltham, MA
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825:The New School for Social Research, New York, NY
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580:in The Hague, Netherlands through August 2008.
834:Olympic Sculpture Park, Seattle Art Museum, WA
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1853:Santa Fe University of Art and Design alumni
1491:Frederik Meijer Gardens & Sculpture Park
1176:http://bombsite.com/issues/107/articles/3261
1064:http://bombsite.com/issues/107/articles/3261
852:Whitney Museum of American Art, New York, NY
822:Nelson-Atkins Museum of Art, Kansas City, MO
263:. Roxy Paine currently lives and works in
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56:about living persons that is unsourced or
1692:The Rose Art Museum | Brandeis University
828:North Carolina Museum of Art, Raleigh, NC
463:Another example is the leafy plant genus
127:Learn how and when to remove this message
1258:"Symbiosis - Association for Public Art"
950:
890:Heartney, Eleanor; Paine, Roxy (2009).
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308:He then moved to New York and attended
1106:"Roxy Paine June 29 - August 11, 2001"
843:San Francisco Museum of Modern Art, CA
819:National Gallery of Canada, Ottawa, ON
771:The Aldrich Museum of Contemporary Art
556:, 2002, which premiered in New York's
840:Saint Louis Art Museum, St. Louis, MO
246:Santa Fe University of Art and Design
7:
1182:Spring 2009, retrieved July 27, 2011
1072:Spring 2009, retrieved July 27, 2011
751:, 2008–2009, National Gallery of Art
511:Most recently, Paine introduced his
1360:"2006 Guggenheim Fellows Announced"
1133:Art Since 1940: Strategies of Being
849:Wanas Foundation, Knislinge, Sweden
810:Modern Art Museum of Fort Worth, TX
1204:"James Cohan Gallery:Distillation"
991:Beeler Gallery Roxy Paine Comments
813:Museum of Modern Art, New York, NY
736:, 2010, National Gallery of Canada
718:, 2008, at Billy Rose Art Garden,
613:as described by Hilarie Sheets in
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917:Paine, Roxy; Schall, Jan (2011).
548:The first of these dendroids was
506:PMU (Painting Manufacturing Unit)
403:PMU (Painting Manufacturing Unit)
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578:FREEDOM: Den Haag Sculptuur 2008
369:His next solo exhibition was at
334:Paine began showing his work in
257:Replicants, Machines, Dendroids,
23:
1868:21st-century American sculptors
1838:20th-century American sculptors
1542:Modern Art Museum of Fort Worth
1385:Crews, Cameron (11 June 2021).
1013:Roxy Paine : second nature
1792:Whitney Museum of American Art
762:Roxy Paine was awarded by the
430:epoxy, among other materials.
1:
795:Denver Art Museum, Denver, CO
520:SCUMAK (Auto Sculpture Maker)
488:SCUMAK (Auto Sculpture Maker)
425:, 2001, installed in Germany.
399:SCUMAK (Auto Sculpture Maker)
16:American painter and sculptor
1642:North Carolina Museum of Art
1517:The Israel Museum, Jerusalem
831:Fundación NMAC, Cadiz, Spain
34:biography of a living person
1617:Nelson-Atkins Museum of Art
1192:Metropolitan Museum website
1144:Roxy Paine, interviewed by
630:Nelson-Atkins Museum of Art
152:1966 (age 57–58)
61:must be removed immediately
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1592:National Gallery of Canada
1262:Association for Public Art
1228:National Gallery of Canada
1094:Volk, Gregory. Page 28-29.
1011:Ketner, Joseph D. (2002).
865:Inside the artist's studio
645:Association for Public Art
572:Paine's recent sculpture,
1487:"Neuron - Meijer Gardens"
1083:Roxy Paine: Second Nature
786:City of Beverly Hills, CA
773:, Ridgefield, CT in 1997.
686:, as described by Paine-
807:Israel Museum, Jerusalem
248:) in New Mexico and the
1588:"One Hundred Foot Line"
1567:National Gallery of Art
1122:Volk, Gregory. Page 33.
668:Christian Viveros-Faune
375:Dinner of the Dictators
363:Dinner of the Dictators
1848:Pratt Institute alumni
1843:Contemporary sculptors
1717:Saint Louis Art Museum
1563:"Roxy Paine's "Graft""
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436:Amanita Muscaria Field
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371:Ronald Feldman Gallery
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336:Williamsburg, Brooklyn
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48:Please help by adding
1767:Sheldon Museum of Art
1391:Beverly Hills Courier
734:One Hundred Foot Line
634:Kansas City, Missouri
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405:, 1999–2000, and the
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216:Guggenheim Fellowship
1824:at Wikimedia Commons
1638:"Artist: Roxy Paine"
1335:"Kavi Gupta Gallery"
1310:"Kavi Gupta Gallery"
1282:"Kavi Gupta Gallery"
1131:Fineburg, Jonathan.
966:Museum of Modern Art
678:and the theories of
54:Contentious material
919:Roxy Paine: Ferment
615:The New York Times,
298:College of Santa Fe
269:Treadwell, New York
242:College of Santa Fe
224:trustees award 1997
171:College of Santa Fe
1667:Seattle Art Museum
1233:2011-09-27 at the
1112:on April 27, 2007.
778:Public collections
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340:Brand Name Damages
315:Brand Name Damages
1820:Media related to
1466:Denver Art Museum
1462:"Vibrating Field"
1104:Tan, Lin (2001).
928:978-0-615-43782-8
901:978-3-7913-4137-8
874:978-1-61689-468-9
863:Fig, Joe (2015).
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1788:"Roxy Paine"
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43:verification
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1858:1966 births
1538:"Conjoined"
1513:"Inversion"
1416:James Cohan
1052:(8): 24–31.
894:. Prestel.
294:Joshua Tree
1832:Categories
1822:Roxy Paine
1797:4 November
1772:4 November
1747:4 November
1722:4 November
1697:4 November
1672:4 November
1647:4 November
1622:4 November
1597:4 November
1572:4 November
1547:4 November
1522:4 November
1497:4 November
1471:4 November
1446:4 November
1421:4 November
1396:4 November
1370:3 November
1345:2013-10-23
1320:2013-10-15
1292:2015-04-24
1267:2017-02-02
1214:2010-10-27
1163:Art Review
1022:0936080744
997:2019-04-23
971:4 November
945:References
892:Roxy Paine
661:Kavi Gupta
584:Maelstrom,
518:About the
413:Replicants
365:, 1993-95.
330:Early work
234:Roxy Paine
143:Roxy Paine
117:April 2009
87:newspapers
1713:"Placebo"
1613:"Ferment"
1046:Sculpture
937:699379092
910:294884961
883:923017419
716:Inversion
672:Wabi-Sabi
649:Symbiosis
641:Symbiosis
592:Maelstrom
574:Inversion
566:Conjoined
562:Conjoined
542:Dendroids
526:Dendroids
317:in 1989.
275:Biography
189:Sculpture
164:Education
39:citations
1364:Artforum
1231:Archived
1031:51903098
857:See also
766:in 2006.
684:Episteme
655:Dioramas
550:Impostor
499:SCUMAK 2
478:Machines
457:Datura 2
401:, 1998,
290:Yosemite
265:Brooklyn
261:Dioramas
199:Movement
193:painting
65:libelous
1663:"Split"
702:Gallery
626:Ferment
445:Amanita
391:Suharto
101:scholar
1742:SFMOMA
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757:Awards
588:Graft,
472:Datura
466:Datura
459:, 2006
209:Awards
158:, U.S.
103:
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1150:Bluff
749:Graft
554:Bluff
244:(now
108:JSTOR
94:books
32:This
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1372:2023
1027:OCLC
1017:ISBN
973:2023
933:OCLC
923:ISBN
906:OCLC
896:ISBN
879:OCLC
869:ISBN
432:Crop
389:and
381:and
321:Work
292:and
267:and
259:and
218:2006
149:Born
80:news
41:for
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