Back To Top

Gallery Exhibitions

Museum Exhibitions & Projects

Store

Artist Bio

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

PRESS

The New York Times

July 10, 2015

PRESS

Wallpaper

July 3, 2015

PRESS

W Magazine

July 2, 2015

PRESS

Interview Magazine

June 26, 2015

PRESS

Artinfo

September 14, 2014

PRESS

Time Out Hong Kong

September 2014

News

Robin Rhode: Animating the Everyday Neuberger Museum of Art

March 29 2014

PRESS

Art+Auction

June 2013

PRESS

Fluorodigital

May 21, 2013

PRESS

Artthrob

May 12, 2013

PRESS

Modern Painters

April 2013

PRESS

Wertical

March 14, 2013

News

Artforum Review: Robin Rhode at Lehmann Maupin

March 2013

News

ARTnews Review: Robin Rhode at Lehmann Maupin

March 2013

PRESS

Artforum

March 2013

PRESS

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

PRESS

New York Magazine

January 28, 2013

PRESS

The New York Times

April 20, 2012

News

Lehmann Maupin Gallery Now Representing Robin Rhode

April 2012

PRESS

Los Angeles Times

March 22, 2012

PRESS

initiArt Magazine

October 31, 2010

PRESS

Art in America

March 25, 2010

PRESS

The New York Times

November 16, 2009

PRESS

New York Magazine

August 23, 2009

PRESS

Art in America

January 1, 2009

PRESS

W Magazine

October 31, 2008

PRESS

ArtForum

August 31, 2007

PRESS

The New York Times

May 13, 2007

ArtForum


ArtForum
September 2007

Robin Rhode: Perry Rubenstein Gallery
By Tom Breidenbach

Though much of his work depends on performance, South African artist Robin Rhode's recent exhibition at Perry Rubenstein Gallery comprised elegant sculpture, photography, and film that functions independently of the action that gave birth to it. Spade, 2007, for example, is a small cast of a shovel in gold-plated bronze. A succinct fusion of the rarefied and the quotidian, it mutely avers that value lies in the doing as much as in what gets done. Empties, 2007, comprises a Carling beer crate filled with hand-blown dark green bottles whose fragile stems are gracefully elongated to human height and resemble flowing reeds. The contrast between the found crate and the "reproduction" bottles might also reference the gap between the political context of the artist's boyhood (due perhaps to its black label, Carling was associated among South Africans with the struggle against apartheid) and his current professional success.

One critic notes that Rhode's subjects resonate with his background as a "colored" South African (the term is used in that country to denote people of mixed race). The interplay of much black and white media in the exhibit--the large wall drawing Head and Tales, 2007, which consists of dark marks made using spray paint and abalone shells cast from charcoal--arguably accentuate this. (One charcoal shell is displayed as part of the work.) Yet his references are also close to being universal. Soap and Water, 2007, for example, features an old-style bicycle cast out of green soap, lying on the floor next to a bronze bucket of water. It is a remarkably allusive form, connoting all the chores one might do to acquire a bike, as well as the ephemeral nature of even the most treasured possession.