David Horvitz

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David Horvitz
David Horvitz.jpg
Horvitz, circa 2013
Born David Horvitz
Los Angeles, California, USA[1][2]
Nationality American
Education Milton Avery Graduate School of the Arts at Bard College, University of California Riverside, Waseda University[2]
Known for Mail art, photography

David Horvitz is an American artist who uses art books, photography, performance art, and mail art as mediums for his work. According to The Huffington Post, he is –along with artists such as Jacob Ciocci– renowned for his work in the virtual sphere.[3]

Personal life and education

Horvitz was born and grew up in Los Angeles, California.[1] In 2002 he graduated from Waseda University in Tokyo with a B.A.; in 2004, received a second B.A. from the University of California-Riverside; and in 2010 received an M.F.A. from the Milton Avery Graduate School of the Arts of Bard College.[2]

Work

Horvitz uses art books, photography, performance art, watercolor, and mail art as mediums for his work.[4][5][6]

In 2007, he had posted a video on YouTube of a man riding a bicycle into the ocean, claiming it was a Bas Jan Ader film that he had found. Ader's gallery had the initial claims removed.[7] In 2009, Horvitz encouraged people to photograph themselves with their head in a freezer and upload the photos to social media sites.[8]

In 2013, he created The Distance of a Day (two digital videos, 12 minutes each), an installation showing sunset and sunrise from opposite points on the globe, near Los Angeles and in the Maldives respectively, recorded at the same moment. The sunset and sunrise were shown side by side on the actual phones (two iPhones) that recorded the scenes. The installation was exhibited at the Art Basel fair in June 2013.[1][9][10][11] On July 18, 2013, as part of an online one-day project named Artist Breakfast, he "invited artists all over the world to share photos and short descriptions of their morning meals with online audiences throughout the day."[12][13]

Horvitz's Gnomons was exhibited at the New Museum in 2014, featuring four works based on the concept of time. The final work was a performance piece titled Let us Keep our Own Noon, where volunteers rang brass bells in the streets around the museum at solar noon and then walked away from each other until they could not hear other bells.[14][15][16]

His work also includes "A Wikipedia Reader", a mind map of artists' browsing of Wikipedia. Public Access (2010) includes photographs of himself at various public beaches in California which were uploaded to the Wikimedia Commons and then inserted into the Wikipedia pages, and the subsequent reaction of the Commons and Wikipedia communities to his actions. These actions included criticism of the quality and artistry of the images, suspicion of the uploader's motives, and deletion of most of the images and/or removal of himself from the images. Public Access is "the piece for which he is most well known"[17] and is one of his projects which existed "only for a short time."[18]

His published work includes: Xiu Xiu: The Polaroid Project (2007), Everything that can happen in a day (2010), and Sad, Depressed, People (2012).

He has exhibited at SF Camerawork, the Museum of Modern Art, the New Museum, and Tate Modern.[19][20][21][22]

References

  1. ^ a b c Gopnik, Blake (17 June 2013). "A Gift to Galileo, The Daily Pic: David Horvitz shows sunset and sunrise from opposite points on the globe". The Daily Beast. Retrieved 26 July 2014. 
  2. ^ a b c David Horvitz Bio CHERT Gallery Berlin
  3. ^ Mason, Rachel (7 July 2014). "Cloud Galleries: The Rise of the Virtual Art Establishment". The Huffington Post. Retrieved 26 July 2014. "With too many great projects to choose from, I recommend a perusal through their treasure trove of past projects which include works by artists such as Jacob Ciocci and David Horvitz who are renown [sic] for their work in the virtual sphere." 
  4. ^ "David Horvitz CV". Gallery West. Retrieved 2 September 2013. 
  5. ^ David Horvitz bio, Foam Magazine
  6. ^ VanReece, Nancy (September 1, 2008). "Venture off the path in September". Out & About Nashville. Retrieved 30 July 2014. "...along with the work of Grant Worth and David Horvitz, two contemporary photographers based out of New York City." 
  7. ^ July 16, 2009  (2009-07-16). "Los Angeles Times". Latimesblogs.latimes.com. Retrieved 2012-04-17. 
  8. ^ Roffino, Sara. "EMERGING: David Horvitz's Multiversed, Multimedia and Oft-Absurdist Art VIDEO". BlouinArtInfo. Retrieved 23 July 2014. 
  9. ^ Lehtinen, Suvi (12 July 2013). "Local Colour?". Artfetch. Retrieved 26 July 2014. 
  10. ^ Rosenmeyer, Aoife (June 13, 2013). "Art Basel, Basel, June 13–16, 2013". Art Agenda. Retrieved 26 July 2014. 
  11. ^ "Art Basel - Basel - June 13-16 2013 - Floorplan". Art Basel. 2013. Retrieved 26 July 2014. ; "ARTBASEL2013_MEG_13_070_Chert". Art Basel. 2013. Retrieved 26 July 2014. 
  12. ^ Cascone, Sarah (18 July 2013). "The Art World Eats Breakfast All Day Long". Art in America. Retrieved 26 July 2014. 
  13. ^ Staff, Harriet (16 July 2013). "David Horvitz Would Like to Invite You to Breakfast". Poetry News. Retrieved 26 July 2014. 
  14. ^ Lohr, Nikki (27 June 2014). "In Search of New Time: David Horvitz at the New Museum". Gallerist. Retrieved 26 July 2014. 
  15. ^ Smith, Roberta (22 May 2014). "Sounds of all but Silence". New York Times. Retrieved 26 July 2014. 
  16. ^ "David Horvitz: Gnomons". New Museum. Retrieved 2014-07-28. 
  17. ^ Sara Roffino “EMERGING: David Horvitz's Multiversed, Multimedia and Oft-Absurdist Art [VIDEO]” Blouin ArtInfo, 5 August 2013
  18. ^ Fabricius, Jacob (April–May 2013). "What color is your parachute, David Horvitz?". Mousse Magazine (in English and Italian) (Milan) (38): 168–171. 
  19. ^ "As Yet Untitled: Artists and Writers in Collaboration". SF Camerawork. Retrieved 2 September 2013. 
  20. ^ "Artist Breakfast". MoMA. Retrieved 2 September 2013. 
  21. ^ Tan, Lumi. "Free". Frieze. Retrieved 2 September 2013. 
  22. ^ "Rhizome at No Soul for Sale and David Horvitz's Mail Nothing to the Tate Modern". Rhizome.org. Retrieved 2 September 2013. 

Further reading