in partnership with The Brant Foundation Art Study Center

CORE: VIP Access to The Brant Foundation’s Jason Rhoades Art Exhibition -

The show features rarely seen sculptures and some of the most iconic installations within the late artist’s oeuvre

The Brant Foundation Art Study Center is currently showcasing an exhibition by Jason Rhoades (1965-2006) featuring a selection of works from The Brant Collection and other significant works from throughout his career. By bringing together iconic installations and rarely seen sculptures, the exhibition offers an insightful look at Rhoades’s powerful and persuasive oeuvre.

Usual visiting hours are limited but CORE: has partnered with the Brant Foundation on special visiting hours for CORE: members. The exhibit will be up through April 1, 2018.

The Brant Foundation Art Study Center  
941 North Street, Greenwich, CT 06831
(203) 869-0611

CORE: members are invited to visit during the foundation's operating hours from Monday-Friday 10AM - 4PM. In addition, although normally not open on Saturdays, The Brant Foundation will open specially for CORE: member groups of at least 10. Saturday operating hours would be 10AM - 2PM. Please contact to reserve a day/time to see the exhibition.


Until his untimely death in 2006 at age 41, Jason Rhoades carried out a continuous assault on aesthetic conventions and the rules governing the art world, wryly subverting those conditions by activating them within his practice. He conceived his works as part of an ongoing project in which the installations were continuously altered and supplemented. Underpinned by a unique combination of humor and conceptual rigor, his practice redefined and expanded the space in which artworks are both made and exhibited. With a firm belief in the ultimate freedom of expression for artists, Rhoades circumvented notions of taste and political correctness in a candid pursuit of the creative impulse itself.

A seminal early work created for the 1995 Whitney Biennial, My Brother/Brancuzi (1995) includes spare tires, gasoline engines, various tools, wooden crates, and an industrial donut machine in an intricate installation that at once references Rhoades’s brother’s suburban-style bedroom in California and Constantin Brancusi’s Parisian studio. A self-conscious commentary on the significance of an artist’s biographical background, the work also presents a nod to modernism—the crates double as pedestals while the donuts stand in for sculptures—and the use of the “readymade.”
Also on view is The Grand Machine/THEAREOLA (2002), a major component of Rhoades’s wider PeaRoeFoam project. The installation references a “factory” set up in the artist’s studio, where he produced a mixture of green peas, salmon eggs, and white foam that was subsequently packaged in Ivory Snow boxes. Faithful to the studio setup, a karaoke machine was added to the installation, along with the pink neon sign “The Areola,” subtly emphasizing the corporal component of the PeaRoeFoam production. A ramp created with PeaRoeFoam is also on view, as if showcasing the acclaimed, wide-ranging benefits of the mixture, which would turn into hard material when combined with glue. Presented with a small Honda motorcycle nearby, the work underscores the playful, interactive part of the production process.

Partially influenced by 9/11 and the media’s reactions to the “other,” My Madinah: in pursuit of my ermitage (2004) constituted a complex investigation of contemporary manifestations of religion, culture, sexuality, and consumerism. Numerous neon signs spelling out nicknames for the word vagina are suspended above a carpet of adjoining blankets and towels, while a variety of other materials contain further references to the world’s holy cities and places of worship.

Discrete sculptures related to My Madinah will also be on view, including a selection of self-fabricated shelves and chandeliers, where the neon phrases are suspended from a wooden wheel. Outside the exhibition space are two rarely seen sculptures, which are part of a series of works by Rhoades that involve cars or car parts—ostensibly in an effort to emulate Francis Picabia’s extensive car collection. Yellow Fiero (1994), a Pontiac Fiero, was integral to the artist’s 1994 Swedish Erotica and Fiero Parts installation and specifically chosen for its cultural resonances as an ersatz version of a luxury sports car. Rhoades allegedly bought it from a man who had given it to his daughter so she could “get hitched.” A crossover between a car and outdoor furniture, Rhoades created Anchorimpala SS, Alpinimpala SS (1998) from hand-rolled steel as a sculptural expression of a car, now with different functional qualities.

A selection of videos pertaining to the works on view will also be presented.

Jason Rhoades
Jason Rhoades was born in Newcastle, California in 1965. He received his M.F.A. from the University of California, Los Angeles in 1993. Later that year, Rhoades joined David Zwirner—becoming part of the gallery's original roster of artists—and had his first New York solo show.
Rhoades's work has been exhibited internationally since the 1990s. His first solo presentation at a European institution was held at Kunsthalle Basel in 1996. Other international venues which have organized solo shows include Van Abbemuseum, Eindhoven, The Netherlands; Kunsthalle Nürnberg, Nuremberg, Germany (both 1998); Deichtorhallen Hamburg, Germany (1999); Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK), Vienna (2002); Le Magasin - Centre National d'Art Contemporain de Grenoble, France (2005); and Centro de Arte Contemporáneo de Málaga, Spain (2006).
In 2013, Jason Rhoades, Four Roads marked the first American museum exhibition of the artist's work, organized by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia. In 2014, the exhibition traveled internationally to the Kunsthalle Bremen, Germany, followed by the BALTIC Centre for Contemporary Art, Gateshead, England in 2015.

In 2014, David Zwirner presented Jason Rhoades: PeaRoeFoam at the gallery in New York. It marked the gallery's first exhibition showcasing Rhoades since its critically acclaimed installation of Black Pussy in 2007. An accompanying publication by David Zwirner Books featured new scholarship by Julien Bismuth, an interview with Linda Norden, and selected interviews from the Jason Rhoades Oral History project
devised by Lucas Zwirner, who interviewed over fifty artists, curators, and others who intimately knew the artist.
Work by the artist has been prominently featured in group exhibitions worldwide, most recently in 2013 as part of NYC 1993: Experimental Jet Set, Trash and No Star at the New Museum, New York. Other group shows include the Whitney Biennial (1995, 1997, and 2008) and the Venice Biennale (1997, 1999, and 2007).

Museum collections which hold works by the artist include the Centre Georges Pompidou, Paris; Hamburger Bahnhof - Museum für Gegenwart, Berlin; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; Tate Gallery, London; and the Whitney Museum of American Art, New York.