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Robin Rhode

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12 Can't Miss Events at Performa 15 Artnet

October 29 2015

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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

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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

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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

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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

Los Angeles Times


Los Angeles Times
March 22, 2012

Art review: Robin Rhode at L&M Arts
By Sharon Mizota

South African artist Robin Rhode is known for ingenious, storyboard-like narratives depicting a lone figure (sometimes the artist, sometimes not), interacting with drawings on the wall or the ground behind him.

For his first solo outing in an L.A. gallery, Rhode also ventures into more conventional modes of sculpture and photography. An oversized rubber stamp in the shape of the moon and crumpled images of abandoned post-Katrina houses both feel labored, but most of the works on view at L&M Arts are actually quite magical.

“36 Ways a Dice can Roll/Dice,” features 36 images of a man “throwing” an oversized pair of dice drawn on the wall. The panels are arranged in a grid so that the numbers on the dice read in order from top to bottom, in all possible combinations. This arrangement suggests a neat mathematical structure that contrasts with the aura of chance surrounding street corner dice games. But the man is wearing a business suit and holding a briefcase. Given the current economic and political climate, his get-up conjures the machinations of Wall Street: a seemingly ordered system that is actually more like a street hustle.

Other works bring to mind, obliquely, the artist David Hammons, known for selling snowballs on the street and making sculptures out of empty liquor bottles. In the show’s lone video, Rhode uses a tennis racket to hit snowballs onto the smooth metal wall of a Richard Serra sculpture, “decorating” it with an all-over polka dot pattern and reminding us, humorously, that it might easily double as a playground backboard.

In the sequence of photos titled “Rocks” a dark-skinned man holds a bottle of whiskey and an empty glass, appearing to “skate” unsteadily around an asphalt lot. In his wake is a perfect figure eight of ice cubes — a fantasy both lovely and desolate.

It may be tempting to lump Rhode in with other artists who document physical performances, but his work is another species entirely. Each image is carefully staged for the camera — in some cases requiring that an entire wall be repainted for each shot. The resulting sequences suggest a combination of live action and animation, a space somewhere in between the reality we inhabit and the one we imagine.

Although video would seem the perfect medium in which to bring this world to life, I prefer Rhode’s storyboards. In the stuttering movie they create in the mind’s eye, they seem more elusive, and beguiling.