Blum & Poe is pleased to present character limit, an exhibition by New York-based artist Darren Bader. This is the artist's second solo show with the gallery.
Darren Bader (b. 1978, Bridgeport, CT) lives and works in New York and on the road. Institutional solo exhibitions include (@minedoud), Madre Museum, Naples, Italy (2017–2018); Meaning and Difference, The Power Station, Dallas, TX (2017); chess: relatives, High Line Art, New York, NY (2017); light (and) regret, Kölnischer Kunstverein, Cologne, Germany (2015); and Images, MoMA PS1, Queens, NY (2012). Awarded the Calder Prize in 2013, Bader has taken part in numerous group exhibitions and biennials including Stories of Almost Everyone, Hammer Museum, Los Angeles, CA (2018); .com/.cn, K11 Art Foundation Pop-up Space, Hong Kong, China, traveled to chi K11 Art Museum, K11 Art Mall, Shanghai, China (2017); One, No One and One Hundred Thousand, Kunsthalle Wien, Vienna, Austria (2016); 13th Biennale de Lyon: La vie moderne, Lyon, France (2015); Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum of Contemporary Art, Porto, Portugal (2015); The Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); Liberi Tutti, Fondazione Trussardi, Milan, Italy (2013); Antigrazioso, Palais de Tokyo, Paris, France (2013); D'Après Giorgio, Casa-Museo di Giorgio de Chirico, Rome, Italy (2012); Greater New York, MoMA PS1, Queens, NY (2010); and To Illustrate and Multiply: An Open Book, Museum of Contemporary Art, Los Angeles, CA (2008).
Press release courtesy Blum & Poe.
How much of Darren Bader's art do we need in the world? The world, after all, is already full of the kinds of objects that Bader brings into his exhibitions: art, words, images, personalities, ideas. Its very fullness is arguably the condition that Bader's work both critiques and thrives on. 'The world is full of objects, more or less interesting;...
How much of Darren Bader’s art do we need in the world? The world, after all, is already full of the kinds of objects that Bader brings into his exhibitions: art, words, images, personalities, ideas. Its very fullness is arguably the condition that Bader’s work both critiques and thrives on.