Daniel Arsham is a Cleveland-born New York-based interdisciplinary artist whose artistic endeavours extend beyond traditional art world platforms. His art plays with the concept of future history and fictional archaeology, presenting fossilised versions of contemporary objects and architecture.Read More
Raised in Miami, Daniel Arsham studied art at The Cooper Union in New York. He graduated and received the Gelman Trust Fellowship in 2003. His ensuing practice has crossed the disciplines of drawing, film, sculpture, installation, and architecture, playfully historicising the tangible cultural and material icons of the contemporary era.
Arsham's sculptural work presents eroded casts of various objects from the late 20th and early 21st centuries. The casts, made from geological materials like sand, selenite, and volcanic ash, appear as if artefacts unearthed after being buried for centuries—haunting future relics of the contemporary.
Arsham's chosen objects for simulated ahistorical fossilisation include older televisions, cameras, and boomboxes that highlight the acceleration of technological obsolesce in this digital age. He also presents casts of soft toys, clothing, basketballs, books, and even full-scale luxury cars. Additionally, human figures in contemporary outfits appear, in various states of decay, from fragments to whole fossils—evoking discoveries at sites like Pompeii.
Architecture is another core element of Daniel Arsham's practice, where the artist often plays with the architectural environment of the gallery. In several works, artefacts and objects intersect with exhibition walls. The analogue clock in Falling Clock (2011), for example, appears to have been lodged into a softened gallery wall. He also constructs surreal architectural environments, such as the monochrome Japanese zen gardens of Blue Garden (2017) and Lunar Garden (2017).
Beyond the gallery walls, Daniel Arsham has collaborated, since 2007, with Alex Mustonen on 'Snarkitecture': a highly acclaimed design practice. In 2014 he established 'Film the Future', creating films set in a fictional future. He has also created set designs for the Merce Cunningham Dance Company; signed to Adidas; collaborated with Dior and Pharrell Williams; and in 2020 he became creative director for the Cleveland Cavaliers NBA team in his home state of Ohio.
Daniel Arsham's art has been shown in commercial contexts as well as gallery and institutional shows worldwide. His works feature in major public collections, such as the Centre Pompidou, Paris; Institute of Contemporary Art, Miami; Walker Art Center, Minneapolis; and the National Museum of Qatar, Doha.
Relics of Kanto Through Time, Parco Museum Tokyo (2020); Connecting Time, Moco Museum, Amsterdam (2019); "3018", Perrotin New York (2018); Hourglass, High Museum of Art, Atlanta (2017); Moons and Music, Eden Rock Gallery, St Barths, French West Indies (2016); The Future Was Then, SCAD Museum of Art, Savannah (2016); #FUTUREARCHIVE, Espaces Louis Vuitton, Singapore (2013); Homesick, Galerie Emmanuel Perrotin, Paris (2005).
Crystal: Visible and Invisible, Crystal Bridges Museum of American Art, Arkansas (2019); Invento, OCA, São Paulo (2015); Shattered: Contemporary Sculpture in Glass, Musee d'Art Moderne et Contemporain de Saint-Etienne, France (2014); Homebodies, Museum of Contemporary Art Chicago (2013); Fresh!, Museum Of Glass, Seattle (2006); Miami Nice, Galerie Perrotin, Paris (2004).
Michael Irwin | Ocula | 2021
Against the backdrop of the natural, geological features of UCCA Dune, Daniel Arsham: Sands of Time stages recent sculptures and related drawings that expand upon his fascination with history, relics of the past, and idea of a 'fictional archeology.'
Daniel Arsham arrives in Hong Kong from New York in time to enjoy the last four hours of his birthday, although with his new show, Fictional Archeology, about to open at Galerie Perrot
On a lazy Sunday earlier this month, I visited a selfie space. Snark Park, a project of Daniel Arsham, Alex Mustonen, and Ben Porto's design group, Snarkitecture, opened last month inside the new mall
Daniel Arsham is an artist unencumbered by the conventions of a particular place or period. Indeed, the very nature of his work and his audience's connection to it suggest that the lines of what const
This first discussion, Virtual Reality: How Will It Influence Art & Design? revolved around the content, narratives, and technology that makes up virtual and augmented reality, and offered insight into our technologically-manipulated surroundings through Arsham’s creative lens. 'My interest has been in where this...
An immersive, site-specific exhibition titled Human Condition is currently taking up residency at a former hospital in West Adams, Los Angeles – once known as Los Angeles Metropolitan Medical Center. Opening in 1971, it was the first Black-owned hospital in the California city, running until the neighbourhood’s decline and revelations...
Video of the exhibition 3018 by Daniel Arsham at Perrotin New York September 8–October 21, 2018. Video: Guillaume Ziccarelli © 2018
Interview of Daniel Arsham on the occasion of his exhibition The Angle of Repose at Perrotin Paris, October–December 2017
Conversation between Daniel Arsham & Paul Ardenne. On the occasion of the exhibition The angle of Repose Saturday October 14, 2017
During the week of Art Basel in Miami Beach earlier this month, Whitewall partnered with Lexus to host two days of talks at the Faena Hotel. The conversations, titled _Lexus Art Series: Art & Innovati