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Robin Rhode

News

A Classic Operatic Work, Performed in Times Square New York Times

November 6 2015

News

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

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

New York Magazine

January 28, 2013

Robin Rhode Turns a Gallery Into a Coloring Book
By Carl Swanson

 

When Robin Rhode was in school in Johannesburg during the twilight of apartheid, upperclassmen would herd younger students into the boys’ room, draw a picture on the wall—a bicycle, say—and force them to interact with it. This hazing ritual, fueled by angry longing—South Africa was excluded from the global economy, and few students had things like bikes—is reenacted in his work, which often consists of the artist performing alongside something he’s sketched. Works along those lines are what you’ll see now at the Chelsea location of Lehmann Maupin, and recently, he turned the Chrystie Street branch of the gallery into a big coloring book, stenciling pictures on the walls and inviting 37 first-graders from the South Bronx to fill in the blanks. Kids paired off to operate Rhode’s oversize crayons, one supporting the rear and the other in charge of aiming. The students are participants in a program called Time In, which connects children in the city to its aloof creative life of galleries, opera, and museums. “They were delighted to be able to draw on the walls after not being able to touch anything,” says Cyndie Bellen-Berthézène, Time In’s director. The nonprofit “is not really about high culture,” she says, “but being involved in the world and feeling they’re a part of it. To destroy the idea of us-and-them.” She pauses: “The racial divide.” And to be sure, there was not a towhead among the kids. Rhode, who was classified as “colored” under apartheid, has his own agenda. “The market is getting more hectic and demanding. It’s creating this huge social divide between communities and the art bubble,” he says. The kids were pretty hectic and demanding, too: “Pick me! Pick me! Pick me!”