This is an old revision of this page, as edited by Addbot (talk | contribs) at 19:21, 7 March 2013 (Bot: Migrating 3 interwiki links, now provided by Wikidata on d:q437729). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.
Revision as of 19:21, 7 March 2013 by Addbot (talk | contribs) (Bot: Migrating 3 interwiki links, now provided by Wikidata on d:q437729)(diff) ← Previous revision | Latest revision (diff) | Newer revision → (diff)Cady Noland (born 1956 in Washington, DC.) is a postmodern conceptual sculptor and an internationally exhibited installation artist, whose work deals with the failed promise of the American Dream and the divide between fame and anonymity (among other themes).
Early life and work
Cady Noland is the daughter of the Color Field painter Kenneth Noland (1924-2010). She attended Sarah Lawrence College.
Noland’s early art work incorporates press photographs, newspaper copy, and advertisements. Her work Guns (1986–87) is a black-and-white photocopied image of a pistol leaning against a can of Diet Pepsi riddled with bullet holes. A collage of images along the right edge offers instructions on how to reload the weapon.
Firearms also figure in Noland’s series of cowboy sculptures. Cowboy Blank With Showboat Costume (1990) presents the silhouetted aluminum cutout of a cowboy punctured by four holes. He crouches and discharges his weapon toward the viewer, while sporting a delicate bow tie around his hat as well as an ostrich plume and bandanna in his belt. Injured and feminized, disabled by gunfire, Noland’s cowboys are impotent. The artist addressed the same theme in Saw Action/Duty (1986), an orthopedic walker draped with police equipment.
In the late 1980s Noland began a series of sculptures and installations examining the masculine underpinnings of the American dream, embodied in men’s beer consumption. Her Crate of Beer (1989) is a wire-mesh basket full of empty Budweiser cans. In her 1989 untitled installation at the Mattress Factory in Pittsburgh, Noland stacked six-packs of Budweiser atop one another. Metal scaffolding transformed these mountains of alcohol into a construction site. For the artist, Bud cans are as potent an American symbol as Old Glory, both being red, white, and blue. Flags, too, populate Noland’s work. In The American Trip (1988), Cheap and Fast (1989), and related works, the flag is draped or hung, limp or pierced.
Exhibition history
Her work has been exhibited in museums and expositions including the Whitney Biennial in 1991 and Documenta 9 in Kassel, Germany.
Solo exhibitions of Noland’s work have been organized by the Paula Cooper Gallery in New York (1994), Museum Boijmans Van Beuningen in Rotterdam (1995), and Wadsworth Atheneum in Hartford, Connecticut (1996).
As of early 2013 it had been over eleven years since she had publicly exhibited new work.
Market history
Noland holds the record for the highest price ever paid for an artwork by a living woman ($6.6m), for her 1989 work Oozewald.
References
- JOURNAL OF CONTEMPORARY ART, conversation, Cady Noland and Michèle Cone Retrieved January 11, 2010
- Retrieved January 10, 2010
- retrieved January 10, 2010
- "The price of being female: Post-war artists at auction". Prospero blog. The Economist. May 25, 2012. Retrieved May 25, 2012.