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David Robbins (born 1957 in Whitefish Bay, Wisconsin) is an artist and writer who was one of the first to investigate the art world's entrance into the culture industry. For three decades, in artworks and writing David Robbins has promoted a frank, unapologetic recognition of the contemporary overlap between the art and entertainment contexts. His work ''Talent'', eighteen "entertainer's headshots" of contemporary artists including Cindy Sherman, Jeff Koons, Jenny Holzer, Allan McCollum and others, is widely credited with announcing the age of the celebrity artist, and ''The Ice Cream Social'' (1993–2008), a multi-platform project comprising a TV pilot for the Sundance Channel, a novella, installations, ceramics, and performance, has been cited by curator Hans Ulrich Obrist as pioneering the "expanded exhibition." In its totality ''The Ice Cream Social'' represents an emphatically American version of some of the exhibition strategies employed by artists associated with relational aesthetics. Progressively evolving away from the prevailing model of the professional contemporary artist, in his books ''High Entertainment'' (2009) and ''Concrete Comedy: An Alternative History of Twentieth-Century Comedy'' (2011) he identified and advanced other categories of imaginative endeavor. In 2000 he withdrew from active participation in the art world in order to discover how his imagination performed when not formatted to produce art, and began using the term "independent imagination" in place of "artist." Subsequently relocating to Milwaukee he aligned his work with contexts and formats historically forsaken by the avant garde, positing the suburb as a frontier for art production and creating TV commercials for galleries. His work was featured in the 2014 Whitney Biennial.〔Schumacher, Mary Louise. "David Robbins, Paul Druecke, Pedro Velez to be in 2014 Whitney Biennial," Milwaukee Journal Sentinel, 2014. http://www.jsonline.com/blogs/entertainment/232049971.html〕 ==Career== After attending Brown University, Robbins was employed in the early 1980s by Andy Warhol, George Plimpton, and Diana Vreeland, during which years he educated himself about art by interviewing emerging artists such as Richard Prince, Jenny Holzer, Keith Haring, and Allan McCollum. Robbins began exhibiting his art in the mid-1980s in New York, where he was closely associated with the neo-conceptual Gallery Nature Morte. In contrast to the Pictures generation (his immediate predecessors who maintained a critical distance from the mass advertising and entertainment imagery that fascinated them), Robbins pioneered an approach to art that unapologetically embraced entertainment culture.〔Salvioni, Daniella. (Review) ''Flash Art'', September 1986〕 His first solo exhibition, ''The David Robbins Show'' (1986) featured "guest" collaborators such as Richard Prince, Clegg & Guttman, and Jennifer Bolande.〔de Bruijne, Ellen. "The David Robbins Show," ''Metropolis M'', October,1990〕 He gained wider recognition for photographic works such as ''Talent'' and ''The Art Dealers' Optical Tests'' (1987), which treated the art context as material for comedy.〔"On Talent," in Likeness: Artists' Portraits of Artists, CCAC/Wattis Institute, 2004〕〔Gasparina, Jill, “Le Cauchemar de Greenberg: Sur la massification de l’art contemporain,” Les Cahiers du Musee National d’Art Moderne, Centre Pompidou, Autumn, 2007〕〔Jones, Ronald, review, ''Artscribe International'', November/December 1987〕 He actively promoted what he termed the "comic object"—an object made with sophisticated comic rather than aesthetic intent. In later works such as ''The German Reunification Public Sculpture Competition'' (1991) and ''The Ice Cream Social'' (1993–2008), Robbins looked at political content through a comic lens.〔Obrist, Hans Ulrich, "Good Humor Man," ''Artforum'', November 2004〕〔Gilbert, Chris, "David Robbins: Ice Cream Social,” ''Trouble'', #4, Spring 2004〕〔“Forming Fun: Hans Ulrich Obrist with David Robbins,” ''X-Tra'', Summer 2007〕 In other works of the same period, such as the ''Situation Comedies'' (1994–2003), he emptied his comedy of all narrative and topicality, creating objects that explored comedy as a subject in itself. Robbins is also known for the theory and practice of what he refers to as "alternatives to art." Concrete Comedy is his term for a kind of non-fiction comedy of objects and gestures that surfaced in the early decades of the 20th century, first evidenced in the work of German comedian Karl Valentin and French artist Marcel Duchamp, and was subsequently recurringly manifested culture-wide, in fashion, architecture, music, film, television, art, advertising, and design.〔"Herr Karl Valentin," ''Art issues'', April/May 2000〕 In November 2006 Robbins' "Concrete Comedy" essay appeared in ''Artforum'' magazine.〔Robbins, David, "Concrete Comedy," ''Artforum'', November 2004〕〔Grabner, Michelle,"David Robbins," ''Frieze magazine'', March 2001〕 From 1996–2006 he taught a course in the subject at The School of The Art Institute of Chicago, during which period he wrote ''Concrete Comedy: An Alternative History to Twentieth-Century Comedy'', the first comprehensive consideration of materialist comedy. The book was published in 2011 by Pork Salad Press. His other "alternative to art," known as High Entertainment, argues for a category of imaginative production that balances art's emphasis on form-discovery with entertainment's emphasis on accessibility. Born of the new production and distribution opportunities of the digital era, High Entertainment encourages the "independent imagination" to apply art's experimentalism to mainstream forms such as commercial film and television.〔Interview with David Robbins," ''Bad at Sports'', 2007〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「David Robbins (artist)」の詳細全文を読む スポンサード リンク
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