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Robin Rhode

News

12 Can't Miss Events at Performa 15 Artnet

October 29 2015

News

4 Questions with South African Artist Robin Rhode Forbes

September 12 2015

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The New York Times

July 10, 2015

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Wallpaper

July 3, 2015

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W Magazine

July 2, 2015

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Interview Magazine

June 26, 2015

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Artinfo

September 14, 2014

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Time Out Hong Kong

September 2014

News

Robin Rhode: Animating the Everyday Neuberger Museum of Art

March 29 2014

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Art+Auction

June 2013

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Fluorodigital

May 21, 2013

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Artthrob

May 12, 2013

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Modern Painters

April 2013

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Wertical

March 14, 2013

News

Artforum Review: Robin Rhode at Lehmann Maupin

March 2013

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ARTnews Review: Robin Rhode at Lehmann Maupin

March 2013

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Artforum

March 2013

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ARTnews

March 2013

News

New York Magazine Finally, a Chance to Draw on the Walls. Robin Rhode turns a gallery into a coloring book

January 28, 2013

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New York Magazine

January 28, 2013

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The New York Times

April 20, 2012

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Lehmann Maupin Gallery Now Representing Robin Rhode

April 2012

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Los Angeles Times

March 22, 2012

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initiArt Magazine

October 31, 2010

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Art in America

March 25, 2010

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The New York Times

November 16, 2009

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New York Magazine

August 23, 2009

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Art in America

January 1, 2009

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W Magazine

October 31, 2008

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ArtForum

August 31, 2007

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The New York Times

May 13, 2007

ARTnews

Review: Robin Rhode at Lehmann Maupin

March 2013

Review: Robin Rhode, Lehmann Maupin
By: Emily Nathan


For this pair of exhibitions at both Lehmann Maupin spaces, Berlin-based South African artist Robin Rhode wryly subverted the principles of street art to activate and enliven urban space.  While murals and graffiti traditionally hinge on the anonymity of the author and exist as the defiant, branded vestiges of an insurgent artistic impulse, Rhode inserted himself into his images and laid bare his process.


At the Chelsea venue, "Take Your Mind Off The Street" featured nine photographic works, all 2012-2013, that track the development of an outdoor wall painting in a sequence of still frames, like a deconstructed flip-book.  Appropriating the gridded, stop-motion esthetic of zoetropes, Rhode used his own body to guide the action; as he modified his position in each shot, so did the painting behind him progress.


Rather than engaging street art's weighty history, Rhode chose to depict juvenile, even vaudevillian motifs, from flaming juggler's sticks to jacks.  In both Almanac and Blackness Blooms, he hams it up, miming great struggles under the weight of enormous combs tipped with pigment, which he hauls across the wall to create varied textures and patterns.  Twilight's eight C-prints present the artist crouching agains a white building with his arm extended, a large black feather appearing to bloom from his open palm.  As he leans progressively backward, he sprouts another feather and then another, until he is finally crowned by a fan of them: a human peacock.

Such youthful energy was echoed in his downtown show, "Paries Pictus," which he produced in collaboration with Time In, a local arts-education organization for underserved elementary-school children.  Here, Rhode literally opened up the walls, applying the black outlines of sunny vinyl graphics- from sailboats to birds in flight-directly to them and inviting the children to color the images in with oversize crayons.  Eschewing the traditionally loaded messages of wall art, the forms on view asserted nothing more than the playful, colorful potential of the creative gesture, and vested the gallery's public space with w positive, productive living spirit.