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Warren, Rebeccafree

British, 20th–21st century, female.

Born 1965, in London.

Sculpture.

Sculptor Rebecca Warren was born in 1965 in London, where she still lives and works. She is known for her work in raw clay, painted bronze, and welded steel, and for her wall-mounted vitrines. Warren earned her BA in Fine Art at Goldsmiths College, London in 1992 and her MA in Fine Art from Chelsea College of Art the following year. From 1993 to 1994 Warren was artist in residence at The Ruskin School, University of Oxford.

In 2006, Warren was nominated for the Turner Prize for her sculptural installations in her solo exhibitions at Matthew Marks Gallery, New York and Galerie Daniel Buchholz, Cologne, as well as for her contribution to the Tate Triennial of 2006. In 2008, she was nominated for the Vincent Award. In 2013, Warren was elected a Royal Academician in London and, since 2014, she has been a Professor of Arts at the Kunstakademie Düsseldorf.

Warren’s work often satirically reinterprets the portrayal of the female figure throughout history by artists ranging from Edgar Degas to Robert Crumb. Warren’s figures are sexually charged, often cartoonish. They flaunt their desirability and strike confident poses. Through directly engaging with art historical lineage, Warren’s work positions itself within this tradition while gently mocking it. Referencing both high and low culture she has made a significant contribution to gender discourse on the representation of the female form as well as to the tradition of sculpture itself.

Warren’s finished work often appears crude, working, for example, with an excess of clay or with a lack of it. She places emphasis on process and her works carry the record of the artist’s manipulations. Her bronze figure sculptures for the Turner Prize exhibition, for example, are cast not from her original clay model, but from clay models which have been cast, damaged, and reworked by the artist for recasting.

Warren’s wall-based vitrines house collections of found objects and explore the interactions between those objects. Containing items ranging from underwear to neon lights, their placing and comparison draws meaning and interaction. They respond to the museum display by disrupting expectations as objects appear outside and around their containers.

Group Exhibitions

1997, Material Culture; Sculpture from the 80s and 90s, Hayward Gallery, London

1999, Root, Chisenhale Gallery, London

2001, New Labour, Saatchi Gallery, London

2006, Tate Triennial, Tate Britain, London

2006, The Turner Prize, Tate Britain, London

2009, Classified, Tate Britain, London

2009, Martian Museum of Terrestrial Art, Barbican Art Gallery, London

2009, The Vincent Award 2008, Stedelijk Museum CS, Amsterdam

2010, The Contemporary Figure, Donald Young Gallery, Chicago

2010, Statuesque, City Hall Park, New York

2011, ILLUMInations, 54th Venice Biennale, Venice

2011, Modern British Sculpture, Royal Academy of Arts, London

2011, Shape of Things to Come: New Sculpture, Saatchi Gallery, London

2012, The Space Between, Tate Britain, London

2013, Riotous Baroque: From Cattelan to Zurbarán – Tributes to Precarious Vitality, Guggenheim Museum Bilbao, Spain (curated by Brice Curiger)

2014, Cool Place, Sammlung Scharpff, Kunstmuseum Stuttgart, Stuttgart

2014, The Human Factor: Uses of the Figure in Contemporary Sculpture, Hayward Gallery, London

2014, In der Wohnung, Gebert Foundation, Rapperswil, Switzerland (curated by Fredi Fischli, Albert Oehlen and Niels Olsen)

2014, Love Story, The Anne & Wolfgang Titze Collection, 21er Haus and the Winter Palace, Vienna

2014, Somewhat Abstract, Nottingham Contemporary, Nottingham, UK

2015, La Peregrina, Royal Academy, London (curated by Jenny Saville for Rubens and His Legacy)

2015, Plasters: Casts and Copies, The Hepworth Wakefield, Wakefield, UK; ArtZuid, International Sculpture Route, Amsterdam

2016, The Body Extended: Sculpture and Prosthetics, Henry Moore Institute, Leeds

2016, Night in the Museum, Long Side Gallery, Yorkshire Sculpture Park, Wakefield, UK; The Gas Hall, Birmingham Museum and Art Gallery, Birmingham, UK; The Attenborough Centre, Leicester, UK (curated by Ryan Gander)

2016, Unfinished: Thoughts Left Visible, The Metropolitan Museum of Art at The Met Breuer, New York

2017, CORPUS: The Body Unbound, The Courtauld Gallery, London

2017, Disobedient Bodies, The Hepworth Wakefield, Wakefield, UK (curated by J. W. Anderson)

Solo Exhibitions

2000, The Agony and the Ecstasy, Maureen Paley, London

2002, Fleischvater, Modern Art, London

2004, Dark Passage, Kunsthalle Zurich, Zurich

2004, Family Badge, Antiquariat Buchholz, Galerie Buchholz, Cologne

2005, Pas de Deux, Matthew Marks Gallery, New York

2005, Rebecca Warren, Galerie Daniel Buchholz, Cologne

2007, Come Helga, This Is No Place for Us, Galerie Max Hetzler, Berlin

2007, Rebecca Warren, Matthew Marks Gallery, New York

2009, Rebecca Warren, Serpentine Gallery, London

2010, Rebecca Warren, The Art Institute of Chicago, Chicago

2011, Come Helga, This Is No Place for Us II, Maureen Paley, London

2012, Rebecca Warren, Galerie Max Hetzler, Berlin

2012, Rebecca Warren, Museum Dhondt – Dhaenens, Ghent, Belgium

2013, The Living, k.m, Kunstverein München e.V., Munich

2014, Why Do Birds Suddenly Appear?, Matthew Marks Gallery, New York

2016, Rebecca Warren: The Main Feeling, Dallas Museum of Art, Dallas

2017, Rebecca Warren, Tate St Ives, St Ives, UK

2017, Rebecca Warren: Sculptures, Fondation Vincent Van Gogh Arles, Arles

Museum and Gallery Holdings

Liverpool (Tate Gal.)

London (Arts Council Collection)

London (British Council Collection)

London (The Saatchi Gal.)

London (Tate Gal.)

Phoenix (Phoenix AM)

Toronto (AG of Ontario)

Zurich (Kunsthaus Zürich)

Auction Records

New York, 15 Nov 2007: Totem (A) (2003, painted clay, 27 × 7 × 8 ins/68.6 × 17.8 × 20.3 cm) USD 43,000

London, 12 Feb 2010: Toteum (2008, painted bronze, 25 × 7 × 10 ins/63.5 × 17.9 × 25.5 cm) GBP 27,500

London, 13 Oct 2011: Agapé (2002, self-firing clay, 4 × 15¾ × 20 ins/10.2 × 40 × 51.1 cm) GBP 25,000

London, 28 June 2012: Totem (G.) (2003–2012, hand-painted bronze on painted MDF plinth, 24½ ×10¾ × 11¾ ins/62.2 × 27.3 × 30 cm) GBP 39,650

London, 11 Oct 2012: Croccioni (2000, reinforced clay on MDF plinths, 31⅓ × 31 × 15¾ ins/79.5 × 79 × 40 cm) GBP 109,250

London, 12 Oct 2012: R.E. (2004, hand-painted reinforced painted clay, 10¾ × 8½ × 9 ins/27.3 × 21.6 × 22.9 cm) GBP 17,500; An Intimate Scene (2004, painted plaster cast, 9¾ × 7 × 5½ ins/25 ×18 × 14 cm) GBP 3,750

New York, 14 Nov 2012: Paris (2003, unfired clay, MDF, and caster wheels, 79½ × 30 × 36⅓ ins/201.9 × 76.2 × 92.1 cm) USD 98,500

New York, 7 March 2013: Tartan Dancer 2 (2005–2008, painted bronze, 25¼ × 15½ × 27¼ ins/64.1 × 39.1 × 69.2 cm) USD 43,750

New York, 16 May 2013: National Geographic, Part Two (2013, reinforced clay on painted MDF plinth, 42 × 18¼ × 14 ins/106.9 × 46.3 × 35.8 cm) USD 25,000; Bitch Magic: The Musical (2001–2003, Plexiglas, wood, neon, porn-porn, painted plaster, and clay, 55 × 19⅓ × 13½ ins/139.7 × 48.9 × 34.3cm) USD 25,000; Bunny (clay on painted MDF plinth, 29 × 15 × 13½ ins/73.5 × 38 × 34.5 cm) USD 93,750

London, 17 Oct 2013: SHE – Untitled; SHE – No.6; SHE – Homage to R. Crumb, My Father; SHE – And Who Would Be My Mother; SHE – South Kent; SHE – Valerie (6 works) (2003, unfired clay, MDF, and wheels, 78 × 18 × 32 ins/198 × 46 × 81.5 cm) GBP 385,875

London, 13 Feb 2014: Untitled (Twins) (2004, acrylic on self-firing clay with artist’s plinth, 71½ × 49½ × 13¾ ins/181.5 × 126 × 35 cm) GBP 266,500

London, 14 Feb 2014: 10–4 (2000, hand-painted reinforced clay, 14 × 11½ × 9 ins/35.5 × 29.5 × 23 cm) GBP 17,5000

New York, 24 Sept 2014: Frauenschade (2003, mixed media with Plexiglas, wood, neon, porn-porn, clay, and Styrofoam, 16¾ × 54½ × 11⅓ ins/42.5 × 138.1 × 28.6 cm) USD 37,500

London, 17 Oct 2014: Totem (a.) (2007, hand-painted bronze on painted MDF plinth, 23.3 × 7 × 7.5 ins/59.1 × 17.8 × 19.1 cm) GBP 43,750

London, 11 Feb 2015: 00 (2006, bronze, 49.5 × 15.4 × 12 ins/125.7 × 39 × 30.6 cm) GBP 290,500

London, 11 Feb 2016: BOBO (2006, bronze with golden patina and branch, 51¼ × 11¾ × 14¼ ins/130 × 30 × 36 cm) GBP 269,000

New York, 10 May 2016: Noir, comme mon ame (2007, bronze, 12 × 11¾ × 11 ins/30.5 × 29.8 × 27.9 cm) USD 25,000

London, 7 Oct 2016: Cologne (2005, hand-painted reinforced clay on painted MDF plinth, 15½ × 14½ ×13 ins/39 × 37 × 33 cm) GBP 15,000

New York, 17 Nov 2016: Totem (b.) (2007, hand-painted bronze, 24¾ × 9½ × 7½ ins/62.9 × 24.1 × 19.1 cm) USD 81,250

London, 12 April 2017: ZHIZNII (2010, bronze, 10½ × 4¾ × 3 ins/27 × 12 × 8 cm) GBP 13,125

London, 29 June 2017: Fascia III (2010, bronze on painted bronze plinth, 78½ ×12½ × 17 ins/199.5 × 32 × 43 cm) GBP 329,000

New York, 16 Nov 2017: Tartan Dancer 2 (2005–2008, painted bronze, 27¾ × 31 × 17¼ ins/70.5 × 78.7 × 43.8 cm) USD 40,000

Bibliography

  • Ruf, Beatrix: Rebecca Warren, exhibition catalogue, Matthew Marks Gallery, New York, 2006.
  • Peyton-Jones, Julia/Obrist, Hans Ulrich: Rebecca Warren, exhibition catalogue, Koenig Books, Essen, 2009.
  • Curiger, Brice: Rebecca Warren: Every Aspect of Bitch Magic, FUEL, London, 2012.
  • Heiser, Jorg: Rebecca Warren, exhibition catalogue, Holzwarth Publications, Berlin, 2012.
  • Heiser, Jorg: Rebecca Warren: The Living, exhibition catalogue, Kunstverein München, Munich, 2014.