BE THERE
Disparities and Deformations: Our GrotesquePresented by SITE Santa Fe July 18, 2004- January 9, 2005Ricci Albenda, Louise Bourgeois, Charles Burns, Francesco Clemente, Bruce Conner, R. Crumb, John Currin, Carroll Dunham, James Esber, Inka Essenhigh, Tom Friedman, Ellen Gallagher, Robert Gober, Douglas Gordon, Mark Greenwold, Lyle Ashton Harris, Jörg Immendorff, Jasper Johns, Kim Jones, Mike Kelley, Maria Lassnig, Sherrie Levine, Christian Marclay, Paul McCarthy, Jennifer and Kevin McCoy, Elizabeth Murray, Bruce Nauman, Hermann Nitsch, Jim Nutt, Tony Oursler, Gary Panter, Lamar Peterson, Raymond Pettibon, Lari Pittman, Sigmar Polke, Neo Rauch, Alexander Ross, Susan Rothenberg, Peter Saul, Jenny Saville, Thomas Schütte, Jim Shaw, Cindy Sherman, Laurie Simmons, Fred Tomaselli, Adriana Varejão, Davor Vrankic, Kara Walker, Jeff Wall, John Waters, John Wesley, Franz West, Lisa YuskavageSITE Santa Fe’s Fifth International BiennialCurated by Robert Storr, Dean of the Yale School of Art, Consulting Curator of Modern and Contemporary Art at the Philadelphia Museum of Art, and curator of the 2007 Venice Biennale. Storr’s Biennial focused on the theme of the grotesque in some of today’s most cutting-edge art. The grotesque tradition in art extends back to ancient times and can be traced through the Renaissance, Baroque, and Romantic periods. In the modern era, it can be found in the expressionist and surrealist movements, among others. Disparities and Deformations: Our Grotesque examined expressions of the grotesque tradition in contemporary art. The exhibition brought together a diverse group of works that responded and gave new substance to the sense of emotional and logical uncertainty inherent in the grotesque. This Biennial tracked the incongruous combination of disparate forms and ideas in the work of internationally renowned artists of different generations, coming from various cultural contexts, and working with different processes and ideas. The exhibition revealed the many elements of paradox inherent in the artists’ work while showing that the grotesque has many sources of inspiration and a nearly infinite number of guises.
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