May 31, 2003 - August 31, 2003
- Christian Marclay Guitar Drag 2000 Courtesy the artist and Paula Cooper Gallery, New York.
- Christian Marclay Recycled Record 1980 Collaged vinyl record. Collection the artist.
- Christian Marclay Installation View 2003 Hammer Museum installation showing Endless Column, 1988, in front of White Noise, 1993. Photo by Joshua White.
- Christian Marclay Tape Fall 1989 Reel-to-reel tape player, ladder, speaker, and magnetic tape. Private Collection, New York.
- Christian Marclay The Beatles 1989 Recorded music of the Beatles on crocheted magnet tape. Collection of Deborah Irmas, Los Angeles.
- Christian Marclay Boneyard 1990 750 hydrostone casts of phone receivers. Courtesy of the Dakis Joannou Collection, Athens.
- Christian Marclay Untitled 1991 Color surface print, edition of 8. Collection of the Amerada Hess Corporation, New York, published by Solo Impression.
- Christian Marclay Guitar Neck 1992 Record album covers.
- Christian Marclay Lip Lock 2000 Altered tuba and pocket trumpet. Courtesy the artist and Paula Cooper Gallery, New York.
The first in-depth presentation of Christian Marclay's work in an American museum, this exhibition includes a full range of sculpture, collage, installation, photography, and video made over the last twenty years. Exploring the relationship between sound and vision, Marclay's art focuses our attention not only on the audible qualities of sound, but also on the way it is experienced, visualized, and translated into other forms.
The exhibition was curated by Russell Ferguson, chief curator at the Hammer Museum, and is accompanied by the first major catalogue about Marclay's work.
About the Exhibition
It is sound-and our culturally determined reactions to it-that forms the basis of Christian Marclay's art. Taking his cue from both music and noise, he has produced a remarkable body of work exploring the space between what we hear and what we see. Known for his sculptures, including altered, unplayable, and distorted musical instruments and a pillowcase crocheted from the Beatles' complete works; his collages, including his Body Mix series assembled from various album covers; his videos, including the virtuosic four screen audiovisual composition, Video Quartet, 2002; and his performances, in which he plays broken and reassembled records on multiple turn-tables, Marclay crosses genre and media in his exploration of sight, sound and the translation of the audible into the visual.
This exhibition presents recent work never before seen in Los Angeles, including the critically acclaimed videos Guitar Drag (2000) and Video Quartet (2002), along with early works like the Recycled Records (1980-1986). Sculptural works include both small-scale objects such as Marclay's nine melted records (Untitled, 1989) and monumental works like Endless Column (1988) and Drumkit (1999). Also present are a group of letterpress prints on the Beatles' White Album cover and works from Marclay's still growing Imaginary Records series.
During the past few decades Marclay has established himself as one of the primary links between the worlds of contemporary art and music; this presentation offers the viewer an opportunity to see the artist's development and to evaluate his entire career.
The exhibition is made possible by generous support from Eileen Harris Norton and the Peter Norton Family Foundation. Additional support has been provided by the LLWW Foundation; Pro Helvetia, the Arts Council of Switzerland; LEF Foundation; and Art for Arts Sake.
The performance series at the UCLA Hammer Museum is funded by the American Center Foundation.