Sterling Ruby

Sterling Ruby
File:Portrait 2008 use.jpg
Nationality	American
Education	Art Center College of Design, The Art Institute of Chicago
Known for	Artist, Sculpture, Painting, Drawing, Photography, Video, Performance

Sterling Ruby is an American artist born in Bitburg, Germany in 1972. Ruby lives and works in Los Angeles. He holds a BFA from The Art Institute of Chicago and an MFA from the Art Center College of Design, Pasadena CA.

Biography

Ruby engages directly with Minimalism's rhetoric of power with visceral deconstructions and reconstructions of dominant forms and systems. He subjects the institutionalization of the Modernist project to a form of assault through bodily gestures and semantic scramblings, destabilizing the idea of transcendence via abstraction (often invoking the “unitary forms” of Robert Morris and subjecting them to the symbols of an otherwise anonymous public body). Other work similarly deals with the refutation of gestalt using an expanded notion of collage, furthering interests in transference, transience and transgression as well as drawing connections between of transvestites, craft candles, body builders (gender crossing via extremes), prisons and gangs with a self-styled “Amorphous Law”.

He has been exhibited at The Museum of Contemporary Art, Los Angeles (solo) (2008); Ullens Center for Contemporary Art, Beijing (2008); The Drawing Center, New York (solo) (2008); The Moscow Biennale for Contemporary Art (2007); Rubell Family Collection, Miami, Florida (2006); The California Biennial (2006); The Renaissance Society, Chicago (2005/6); The Turin Triennial (2005/6); Aspen Art Museum (2005); Netherlands Media Art Institute/Montevideo, Amsterdam (2005); Tate Britain, London (2003); The Ukrainian Institute of Modern Art, Chicago (2003).

His work has been featured in Artforum, Art Review, Artnet, Flash Art, Frieze, The New York Times, The Los Angeles Times, and Modern Painters.

Selected Solo Exhibitions

2008

• "Spectrum Ripper", Spruth/Magers, London
• "Grid Ripper", Galleria d'arte Moderna e Contemporanea, Bergamo, Italy
• "Zen Ripper", Galleria Emi Fontana, Milan
• "SUPERMAX 2008", Museum of Contemporary Art, Los Angeles
• "Kiln Works", Metro Pictures Gallery, New York
• "Chron", The Drawing Center, New York

2007

• "Paintings & Benches", Galerie Christian Nagel, Berlin, Germany
• "Slasher Posters & Pillow Works", Bernier/Eliades, Athens, Greece
• "Superoverpass", Foxy Production, New York
• "Killing the Recondite", Metro Pictures

2006

• "Interior Designer", Marc Foxx, Los Angeles
• "Recombines", Galleria Emi Fontana, Milan, Italy
• "SUPERMAX 2006", Galerie Christian Nagel, Koln, Germany

2005

• "SUPERMAX 2005", Marc Foxx, Los Angeles
• "This Range", Guild and Greyshkul, New York
• "Adjoining The Voids: Sterling Ruby & Kirsten Stoltmann", Sister, Los Angeles
• "New York", Foxy Production, New York

Selected Group Exhibitions

2008

• "Endless Summer", curated by Alex Israel, Glendale College Art Gallery, Glendale, Ca
• "Base : Object", Andrea Rosen Gallery, New York
• "Dirt on Delight", Institute of Contemporary Art, Philadelphia, PA and Walker Art Center, Minneapolis, MN
• "Begin Again Right Back Here", White Columns, New York
• "If You Destroy the Image You Destroy the Thing Itself", Bergen Kunsthall, Norway
• "Substraction", Deitch Projects, New York
• "Stray Alchemists", Ullens Center, Beijing, China
• "Skat Players", Vilma Gold, London

2007

• "Imagine Los Angeles", Galerie Spruth/Magers, Munich, Germany
• "Fearful Objects", Kavi Gupta Gallery, Chicago, Illinois
• "POST ROSE", Galerie Christian Nagel, Berlin, Germany
• "Raise High the Roof Beam", Rainbo Club, Chicago, Illinois
• "Circumventing the City", D'amelio Terras Gallery, New York
• "Dark Mirror", Netherlands Media Art Institute, Amsterdam
• "Seattle Art Museum at 75", Seattle Art Museum
• "I Want to Believe", Galerie Eva Presenhuber, Zurich
• "The Second Moscow Bienniale of Contemporary Art", Moscow
• "Mixed Signals", Ronald Feldman Fine Art, New York

2006

• "Red Eye : L.A. Artists from the Rubell Family Collection", Rubell Family Collection, Miami
• "Only The Paranoid Survive", Hudson Valley Center for Contemporary Art, New York
• "California Biennial", Orange County Museum of Art, Newport Beach, Ca
• "Into the Black", Western Bridge, Seattle, Washington
• "Behind the Pedestal", Jonathan Viner, London, United Kingdom

2005

• "Having New Eyes", Aspen Art Museum, Aspen, Colorado
• "T1-Turin Triennial : The Pantagruel Syndrome", GAM Galleria Civica d'Arte Moderna e Contemporanea, Tornio, Italy
• "All the Pretty Corpses", The Renaissance Society at The University of Chicago, Chicago
• "Sugartown", Elizabeth Dee Gallery, New York and Participant Inc, New York
• "5XU", Team Gallery, New York

Bibliography

2008

• Campagnola, Sonia. "Sterling Ruby: MOCA Los Angeles," Flash Art, October: 135.
• Auberbach, Tauba. "Top Ten: Sterling Ruby SUPERMAX 2008," MoCA, Los Angeles, Artforum, October: 205.
• Fowle, Kate (ed.) "Stray Alchemists", Ullens Center foe Contemporary Art, Beijing: 93-108.
• Farronato, Milovan. "Spray Painted Vandalism." Mousse, Issue #15, October/November: 15-17.
• Miles, Christopher. "Baroque Then and Now." LA Weekly, September 4.
• Schad, Ed. "Sterling Ruby: Supermax," Art Review, September: 145.
• "Diaries of a Young Artist," Art on Paper, July/August: 51.
• "Sterling Ruby SUPERMAX 2008." Museum of Contemposrary Art, Los Angeles, pp. 152.
• McMehen, Emily. "Interview with Sterling Ruby: Artworker of the Week #71." Kultureflash 263. Nov. 13.
• Trezzi, Nicola. "Sterling Ruby." Flash Art, May - June 2008: 153.
• Smith, Roberta. "Substraction." The New York Times, April 25.
• Smith, Roberta. "Sterling Ruby/CHRON & Kiln Works," The New York Times, March 21.
• Eaker, Adam. "One to Watch," ArtKrush. March 19, 2008.

2007

• Smith, Roberta. "It's Just Clay, but How About a Little Respect." The New York Times, September 7.
• Smith, Roberta. "In These Shows, the Material is the Message." The New York Times. August 10.
• Tumlir, Jan. "Sci-Fi Historicism: part 2 Desertshore." Flash Art, May - June: 118-121.
• Banai, Nuit. "Sterling Ruby." Time Out New York, 24-30. May:89.
• Fourmberg, Jason. "Eye Exam: External Pleasure." New City Chicago, December 27.
• McClemont, Doug. "Doug McClemont on Sterling Ruby at Metro Pictures and Foxy Production, New York." Saatchi Gallery Daily Magazine. June 9.
• Yablonsky, Linda. "Black Reign." The Village Voice, May 9: 53.
• Orden, Abraham. "The Minute." artnet.com, May 7.

2006

• Holte, Michael Ned. "Sterling Ruby." 2006 California Biennial: Orange County Museum of Art: 136-139.
• Myers, Holly. "Shape Shifter." Art Review, Issue 6, December.
• Duncan, Michael. "Opening Salvos in L.A." Art in America, December: 76-83.
• Taft, Catherine. "Introducing." Modern Painters, December: 75-77.
• Taft, Catherine. "Sterling." Modern Painters, November: 104-105.
• Hawkins, Richard. "Sterling Ruby: Long Live the Amorphous Law." Flash Art. October.
• Gray, Emma. "L.A. Confidential." Artnet.com. October 13.
• Knight, Christopher. "The Faces of This Place." The Los Angeles Times, September 15.
• Brooks, Amra. "Must See Art: Sterling Ruby Interior Designer at Marc Foxx." LA Weekely, September 20.
• Meyers, Holly. "Hoveringjust at the periphery," Los Angeles Times, September 15.
• Campagnola, Sonia. "Focus Los Angeles," Flash Art, No. 246, Jan-Feb: 74.
• Bonacossa, Llara. "T1-Turin Triennial: The Pantagruel Syndrome" (catalogue) Skira Editore S.p.A.: 404.
• Muchnic, Susanne. "Art Explosion." The Los Angeles Times. October 1.
• Armstrong, Elizabeth. Rita Gonzales, and Karen Moss. "No World Order: Extreme Object Makers." 2006 California Biennial. October: 43-44.
• Alemani, Cecilia. "Sterling Ruby." Milan Critics Picks, Artforum.com July 2006.
• Taft, Catherine. "Sterling Ruby." Flash Art. January-February.

2005

• Sholis, Brian. "Miami Price", Artforum.com/DIARY, December 22.
• Comer, Stuart. "Double Deutsche", Artforum.com/DIARY, October 22.
• Cotter, Holland. "Art in Review 5XU at Team Gallery", The New York Times, July 22.
• Holte, Michael Ned. "Untitled at Marc Foxx", Artforum.com. March.
• Wagner, James. "Sterling Ruby", JamesWagner.com, January 22.

2004

• Cotter, Holland. The New York Times. November26 :41.
• Rosenfeld, Kathryn. "That Kind of Fall", Artnet.
• Jeremijenko, Natalie. AIM V Syzygy (catalogue) University of Southern California.
• LaBelle, charles. "Kirsten Stoltmann and Sterling Ruby", Frieze issue 81.
• Cotter, Holland. "Works on Paper", The New York Times, January 30. :38.

External links

• Sterling Ruby at Xavier Hufkens.
• Sterling Ruby at Metro Pictures.
• Sterling Ruby at Sprueth Magers.
• Sterling Ruby at Foxy Production.
• Sterling Ruby in the Video Data Bank.

Further reading

REVIEWS

• Art in Review, The New York Times, Sterling Ruby, March 21, 2008.

ESSAYS

RUIN VALUE

Sterling Ruby's work is inherently dedicated to a sort of Socratic dialogue between order and its disruption. As a means of establishing this loosely rhetorical conversation, Ruby expressly and consciously appropriates and redirects many formal aspects of the politically unsavory architecture of power. His crucial leitmotifs thus bear unflinching relations to strategies employed by some of history’s most notorious purveyors of power as structure, all the while emitting a palpable hum of dissent.

Examples abound within the scope of Ruby’s practice. For instance: The Theory of Ruin Value, advanced by Albert Speer (the premier urban planner of the Third Reich) held that buildings should be designed with the underlying intention of begetting magisterial ruins. Ruby's structures and surfaces (sometimes borrowing formal cues from fascist constructions, only to then implode and deride them) are similarly designed with the immediate signs of dilapidation and desecration built in. However, in contrast to the Reich’s propagation of relics intended to underscore the eternal grandeur of empire, Ruby's instantly defaced, makeshift monuments point at the flimsy transience of immutable perfection, always overruled by protean immediacy. They speak of power’s inability to hold, of its inevitable denouement.

In fact, Ruby is increasingly engaged with myriad, wide-ranging dialectics regarding various structures of disorder (or ruptured order) From James Q. Wilson’s and George Kelling’s “Broken Window” theory— an almost superstitious palliative against decay begetting decay, developed to provide guidance to ailing neighborhoods in fighting crime, graffiti, and general deterioration –to Walter Benjamin’s musings on Painting as an insolubly conflicted dihedron of Sign and Mark, Ruby actively tests these theses, constructing a patchwork ethos that holds to the inevitability of reflexive, endlessly renewable conflict.

His resultant aesthetic teems with oppositional methods of expression. Frequently, the territorial, crypto-lexical mark of vandalism dances across wanting surfaces of objects liberally referencing wide cross-sections of canonical high (and low) art traditions: neo-minimalist geometric sculptures and monoliths, upwardly dripping polyurethane “action” sculptures, ambiguously biomorphic craft-scale ceramics, quasi-expressionist-cum-actionist drawings, punk/situationist collages, and… paintings.

In these last, Ruby explores perhaps the most direct, pared down manifestation of his aesthetics of disruption. Having firmly established this multivalent production process as a space within which to focus on the regenerative constant of defacement (Benjamin’s graphic line… or is it the absolute sign?) Ruby deploys a facsimile of the crudest tagger’s spray paint techniques as a kind of indiscriminate pollutant of form, with the most austere object or surface as susceptible as the most base. When loosed on the surface of a sculpture, or as the ground for a drawing or collage, his spraypaint “burnout” attack acts as one component of a complicated superstructure of signifiers, tending to result in elusive, genre-smashing hybrids. But in his new paintings, spraypaint free floats on blank canvas; traces of suggested desecration are now the central subject, no longer infecting the logic of a differently minded thing. Infection itself here seems exposed, frozen… open, maybe, to some new possibility of infection. Fast-forward on fast-forward. Broken windows.

Erik Frydenborg, 2007

STERLING RUBY: CHRON

ILLICIT SUBSTANCES

• Lines • Abbreviation (speech of doing time) • Time undone (accelerated, distended) • Blades in vessels • the Incarcerated • the Free (the Careless) • Syllogisms (order, blight, endless) • Sick voice (acronym system) • Sick hunger • Speed • Nomad reflex • Release (movement) • Taking (taking it, taking away) • Cutting (coordinates) • Sissy • Albatross (excrement, orbit) • Annexation code • Stolen properties • C.U.M.I.D. • Correction • Incorrection • Maximum security • Total serenity • Territories (outskirts) • Owners (trespassers) • Black holes on white walls • Again and again and again and so on

NOMAD REFLEX

Actions and conditions of enigmatic volatility take form in Sterling Ruby's variegated undertakings. In its vagabond unfolding, his artistic practice presents a schema of constant ideographic shuffling, endlessly obliterating and reiterating its own crystalline possibilities. It is a shifting record of coincident polarities: of blistering pace and geologic stillness, of cellular interiority and cosmic distance, of impregnable confinement and ineffable sovereignty. Now it is the constricted muscle of a relentless metabolism, moving and feeding, thrashing and evacuating. Now it is a deftly selected accessory, a smear of mascara, an effusion of intermingled pigments drifting in fathomless depths. Always becoming, iterations built up, balanced and left behind like cairns, a helical array of commemorated conceptions.

Ruby's protean methodology is rife with allusions to marginal behavior, often taking up the vessel of a transgressive gesture as a means of interrogating itself, or to speak to the impotency of some bastion of received wisdom. That said... the apparent core of it all is a pure, unadulterated compulsion. Irrespective of metaphysical heaviness and formal acumen, Ruby's investigations are ignited, propelled, and sustained by an unmitigated tendency towards substance abuse-- where substance equals physical material, equals psychic material; where abuse equals intensity of abandon, equals complexity of ciphering. On a daily basis in his studio, urethane plastic yields to pummeled clay, yields to nail polish and magazine pages, yields to scavenged rubbish, yields to canvas and spraypaint, back again and cetera. That Ruby has developed distinct microdisciplines within each of these ungainly media (and more), and that each evolves bearing demonstrably congruent logic systems, are ulitmately less important than his fundamental propensity towards fluctuation itself. His repeated invocation of the Transient as an avatar focuses and anchors his general atmospherics-- explorations of an often dark domain between spaces of urban blight and exurban emptiness-- while simultaneously suggesting imperatives of continual departure and wandering within the work itself. Clearly stated, Ruby's aims necessitate a broad and extreme material indulgence that is neither perfunctory nor incantatory, but rather a febrile, convulsive embodiment of oblivion and inception colliding.

CUTTING AND COORDINATES

Paroxysms of bleeding, blotting, bolts of vestal linen awash in filth. This dream again. The tissues spread out tendencies like waking moments. To greet you. Featureless, mum surface, delible vacuum. Awake now.The tide that pulls in lines, that sends them out, sinks them. Where you daily walk. A foundation standing stripped, or rather maybe forever awaiting its betrothed. It's in the middle of the path, and it's all unsmiling angles. Steely and sexless. The lines won't drown, they're washing up like Man O' Wars, surrounding the periphery. Everything is charred. The dream is wadded up in your pocket next to your keys, sketching a dim outline of itself through the fabric. You're saving it for later, maybe. You pick up a piece of 2 x 4 and impale yourself. There seems to be a fluorescent hum, but it's day still and there are no enclosures near. Tide is coming in and etching out a list of demands in your little brother's handwriting. You can almost make it out:

LINES

Lines and networks of lines are frontally evident in the majority of Sterling Ruby's work. Emerging from carbonized clouds, connecting fugitive droplets, describing the perimeters of harsh geometry, Ruby's linear complexes play numerous crucial-- and sometimes contradictory-- roles in his abstruse procedures. They form linkages. They form cages. They enact a sort of cartography of rapid movement, tracking and slicing their way through the spaces of Ruby's amorphous spasms and symbolic appropriations. Mostly, they seem bent on exploiting, through drawing, a sort of inherent tension between random automatism and the definition of some vaguely empirical type of order.

In his ongoing series of Mapping drawings (2005-), which drizzle nail polish on fields of fluorescent paper, short bursts of expressive gesture are methodically hemmed in by complex matrices of intersecting lines. Though aesthetically contrived to connect the cosmetic drips, the schematic lines nearly always begin to seem evocative of glimpsed facets in some absurdly barred enclosure.These lean formations epitomize Ruby's resolute thesis proposing a perpetual discord between the principles of geometry and the inchoate. They act as abbreviated points of ingress, condensations of this principle as it behaves throughout the whole of his practice.

In a related group of works serially titled Trans-Compositional (2005-), the aforementioned formula is further complicated by the additional presence of small, clipped images of inscrutably demure transsexuals collaged into dissected fragments of the nail polish melee. These figures, extracted from "Sissy" fetish magazines, induce multiple psychological charges within the frame of the geometry/nebulousness dichotomy; in their presence, the sexual dynamic of nail polish is suddenly both exaggerated and further ambiguated, while the already apparent suggestion of restive confinement begins to adhere to the quandary of a more definite (if unfamiliar) Subject. The Sissy is, in a sense, transient, and Ruby's pointed identification with this character's complex identity politics seems intended to catechize the steroidal masculinity implicit in other aspects of his production.

BLACK HOLES ON WHITE WALLS

If Ruby's oeuvre exhibits a certain antipathy towards staid iconography and modes of address-- i.e. figuration, "pure" abstraction, "straight" photography, etc.-- the presences of these formal strategies remain in abundance, albeit in the form of adulterated, piecemeal recombinations and assemblages. Increasingly prominent are incarnations of defiantly noncommital suggestions of the Face. Ruby displays an avowed attraction to the Deleuzian concept of Faciality, which asserts that intersecting axes of signifiance and subjectification engender a "white wall/black hole" system, a semiotic machine whose lowest common denominator is the Face and its endless construction or deconstruction.1

The cerebral challenge of Deleuze and Guattari's iconoclasm is seldom more obstreperous than in this treatise; and though germane, Ruby's relevant formal inferences are far from theoretical illustrations. Rather, he seems independently intent on not only locating facial tendencies in his own material and in that of canonical antecedents, but in testing and violating the structural integrity of the Face as a performative act of aggression. Here there are inevitable intimations of a more bellicose male sexual fantasy, but these are tenuous at best, yielding more often to a perplexing sense of astral displacement.

Robert Smithson once described the space between an actual site and a Non-Site as "... a space of metaphoric significance. It could be that 'travel' in this space is a vast metaphor. Everything between the two sites could become physical metaphorical material devoid of natural meanings and realistic assumptions."2 Essentially, Ruby uses the given anatomical design of the Face as a Non-Site, opening portals within it, inverting its predictable features to allow for piercing, ephemeral views of a distant cosmos. In works like Spatial Facial 1-3 (2007), Death Cult Los Angeles-Cry Me a River (2007), and his ongoing Cry prints (2005-), Ruby zooms in for near pornographic close-ups of various facial materials, from ghouls on cheapo horror posters to cutout scraps of fashion models' lips, to digital photos of his own vaguely skull-like ceramics. He finds the entry points in these images-- the eyes, mouths and nostrils, holes that suggest access to bodily interiors, to a terminus-- and blasts them out, locating instead a vast firmament, the far reaches of a staggering void. By collapsing such boundless and localized spaces, Ruby furthers his postulate of unwavering, universal tension between polar extremes.

STOLEN PROPERTIES

Reworking the austere geometry of Picasso's Portrait of Kahnweiler, Jess finds his poet friend as he was in the second year at Black Mountain College: Creely wrote subsequently that his life there in 1954-5 had in personal terms been epochal. Coming of age after the war,

there seemed no logic that could bring together all the violent disparities of that experience... the picture of the world that might previously have served [the arts] had to be reformed... Once the containment of a Newtonian imagination of the universe had been forced to yield to one proposing life as continuous, atomistic, and without relief, then In the cell, an older "inmate" knelt by the lower bunk, carefully wrapping his Koran in a towel, while a younger prisoner sat on the upper bunk clutching his pillow to his chest. It became clear from their interaction that the older one was playing a hardened convict with a protective attitude toward his cellie, who had recently been released from a mental health unit. The younger man began insisting in a sing-song whine that the pillow was his "baby." "Are you a mean man?" he asked a student who was gently trying to take it from him. "Don't take my baby!" Awkwardly, the students gained control of the pillow and talked the two men into leaving the cell. The older one was barely willing to stand for the obligatory pat search. Finally the younger inmate followed the older to the "day room," announcing childishly of the student who took his pillow, "He is not a nice man."discretions in the first situation were not only inappropriate but increasingly grotesque. There was no place, finally, from which to propose an objectively ordered reality.

By the time of Jess's portrait, Creely had found the milieu he had been looking for, one in which 3,4

TERRITORIES AND TRESPASSERS

Rifling through the mammoth glut of American excess, Sterling Ruby is engaged in a program of perpetual material reassignment. This program exhibits a heightened awareness to the blunt realities of materialist culture, unflinchingly acknowledging its collaboration with a system that churns out far more than can be properly digested. Considered as an unwieldy whole, Ruby's output in fact suggests a disquieting portrait of that bilious indigestion, all the while exemplifying the individual's autonomous capacity to commandeer this overfed system, to modulate the system's aesthetic feedback levels.

Unconcerned with hair-splitting differentiations between established artistic disciplines, Ruby instead employs an unpredictable, rotating arsenal of technical idiosyncracies as a means of arriving at physical results-- a kind of bricolage in overdrive. He appears to be preternaturally conscious of the unchecked torrent of available options, and is nonetheless at ease with the flux; using what he likes, or what is necessary, leaving the rest buried in the slag heap.

His delvings in the porous zones of print collage and photographic appropriation especially display a puzzlingly exquisite defilement of form. Those images that he finds and borrows are always irrevocably altered by the encounter-- even when merely in relational proximity to some unhallowed neighbor-- and resurface much like recovered stolen sedans, rendered forever alien by the unsavory details of their theft. Ruby's dynamics intentionally channel the territorial assailment of vandalism, perhaps the most direct and visible means of disrupting spaces of authority. This confrontational approach reaches a fever-pitch in data-smashing works like Anti-Print 2-The Absolute Violation Comes From Institutional Precedence (2006), with its eponymous proclamation scrawled across combined images of a Tony Smith sculpture and a triple X penetration close-up-- featuring a trapezoidal black censor bar that is absurdly reminiscent of the Smith image floating above. Simultaneously an uncompromising allegation and an esoteric rune, this composite image pulls away from definable meaning with the same vehemence by which it declares itself incontestable.

At the same time, Ruby displays an equally unfailing ability to transmogrify the recognizable with a more pronounced sobriety, and has established an acutely personal hieroglyphics, repurposing a menagerie of unassuming subjects towards this end. In his collaged images of basic tools and vessels-- perhaps most elegantly exemplified in his Balanced Stacks (2006-)-- catalog derived hunting knives and ceramic dishes are neatly combined and positioned against monochromatic backdrops, forming obelisks of totemic solemnity. Fittingly, these atavistic formations hark to the bursts of primitive invention that marked embryonic civilization, and are here addressed with a reclaimed aura of the magical gravity that seemingly accompanied those early human efforts. The knife and bowl also act as further binaries, signifiers of the Hunter and of the Domestic. In these works, the opposing forces would appear to have achieved an uncommonly harmonious equilibrium. But here as in scores of Ruby's prodigious assemblages, the primal instinct so achingly apparent is ultimately stanched, organized, folded into a formally rational contrivance.

-- Erik Frydenborg, December 2007

1. Deleuze, Gilles, Guattari, Félix. A Thousand Plateaus: Capitalism and Schizophrenia. ed. Brian Massumi. University of Minnesota Press, Minneapolis. 2nd Edition,1987. 2. Smithson, Robert. Robert Smithson: The Collected Writings. ed. Jack Flam. University of California Press, Berkeley. 2nd Edition, 1996. 3. Taylor, Brandon. Collage: The Making of Modern Art. Thames & Hudson, New York, New York. 2004. 4. Rhodes, Lorna A. Total Confinement: Madness and Reason in the Maximum Security Prison. University of California Press, Berkeley. 2004