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Sean Landers
Sean Landers (born 1962) is an American artist. He is best known for using his personal experience as public subject matter〔Ha, Paul, Cynthia Daignault and Michelle Reyes Landers, eds. Sean Landers: 1990–1995, Improbable History. Zürich: JRP|Ringier Kunstverlag AG, Contemporary Art Museum St. Louis, 2011. Essay: Joao Ribas, “Sean Landers has 171 Friends”, 63〕〔Ha, Paul, Cynthia Daignault and Michelle Reyes Landers, eds. Sean Landers: 1990–1995, Improbable History. Zürich: JRP|Ringier Kunstverlag AG, Contemporary Art Museum St. Louis, 2011. Essay: Andrea K. Scott, “Failing Better”, 23〕 and for utilizing diverse styles and media in a performative manner.〔〔Hafner, Hans-Jürgen. “Dirty Clown. Sean Landers.” Spike Art Quarterly, September 2005, 66.〕〔(Press Release for 2007 solo exhibition at Andrea Rosen Gallery, New York. )〕 Through the use of painting, sculpture, photography, drawing, writing, video and audio, regardless of the medium he chooses, he reveals the process of artistic creation through humor and confession, gravity and pathos.〔〔Sean Landers, The Booby, Oil on linen, 1998〕〔(Press Release for 2010 solo exhibition at the Contemporary Art Museum St. Louis. )〕 He blurs the lines between fact and fiction, reality and fantasy, sincerity and insincerity, while presenting a portrait of the artist’s consciousness.〔〔Decter, Joshua. “New York in Review: Sean Landers.” Arts, February 1991, 105.〕 The twin strategies of personal material and formal multiplicity allow him to infiltrate his viewers’ consciousness with raw truths about contemporary society, and the art world in particular, frankly and fearlessly.〔 A collateral effect is the viewers’ identification with the artist, which allows for a deeper understanding of themselves and their humanity.〔Ruf, Beatrix, ed. Sean Landers: Kunsthalle Zürich. Zürich: JRP|Ringier Kunstverlag AG, 2004. Reprinted 2008. Caoimhín Mac Giolla Léith and Beatrix Ruf, “Interview with Sean Landers”, 34.〕〔Ha, Paul, Cynthia Daignault and Michelle Reyes Landers, eds. Sean Landers: 1990–1995, Improbable History. Zürich: JRP|Ringier Kunstverlag AG, Contemporary Art Museum St. Louis, 2011. Essay: Michael Bilsborough, “Ich Mache Mich”, 193〕
The journey from the early autobiographical work of the 1990’s—yellow legal pad drawings of writing featuring the fictional artist Chris Hamson—to the reclaiming of the persona by Landers's own voice is the focus of a monograph published by JRP|Ringier, and released in the Fall of 2011 to accompany a solo exhibition at the Contemporary Art Museum St. Louis.〔(Sean Landers ARTBOOK | D.A.P. Catalog JRP|Ringier 2011 9783037641781 Distribution Publisher Availability, Bibliographic Data )〕
He lives and works in New York City and is represented by Friedrich Petzel Gallery in New York,〔(Petzel Gallery - Sean Landers )〕 International Art Objects in Los Angeles,〔(International Art Objects Galleries )〕 greengrassi in London,〔(k)http://www.greengrassi.com/Artists?aid=14〕 Taka Ishii Gallery in Tokyo〔http://www.takaishiigallery.com/en/artists/sean_landers/index.html 〕 and Galerie Rodolphe Janssen in Brussels.〔(Galerie Rodolphe Janssen | SEAN LANDERS | Images )〕
==Collections==
Landers’s work is represented in numerous major museum and public collections including the Whitney Museum of American Art in New York, Los Angeles County Museum of Art, Walker Art Center in Minneapolis, Denver Art Museum, Seattle Art Museum, the Brooklyn Museum of Art, Tate Modern in London, Sammlung Hoffmann in Berlin, Sammlung Goetz in Munich, and Fundación/La Colección Jumex in Mexico, among others.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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