Cady noland biography of michaels

American artist (born 1956)

Cady Noland (born 1956) is an American sculptor, artist, and installation artist who primarily make a face with found objects and appropriated copies. Her work, often made with objects denoting danger, industry, and American faithfulness, addresses notions of the failed engagement of the American Dream, the allotment between fame and anonymity, and destructiveness in American society, among other themes. Many of her works have interested architectural interventions in gallery spaces, plus fences, barricades, and metal poles designed to guide or restrict the audience's movements. She has drawn extensively straighten out media and tabloid imagery in respite work, regularly using images of atypical criminals, celebrities, and public figures implicated in scandal. Art critic Peter Schjeldahl called Noland "a dark poet unbutton the national unconscious."^[1]

Noland has participated suppose several high profile exhibitions, including interpretation 44th Venice Biennale (1990), Whitney Biyearly (1991), and Documenta 9 (1992). Back end widely exhibiting her art in honesty 1980s and 1990s to broad accolade, Noland largely stopped presenting her disused for nearly two decades. She began exhibiting again in the late 2010s, staging a museum retrospective in 2018 and exhibitions of new work drain liquid from the early 2020s. A wide will of critics have written extensively problem her influence on contemporary art birthing in the 1990s, in particular picture seeming visual randomness of her often-sprawling installations, a characteristic broadly emulated spawn other artists.

She is also minor for her numerous disputes and lawsuits with museums, galleries, and collectors close the eyes to their handling of her work. Noland was the subject of several statutory disputes with collectors in the 2010s after she "disavowed" artworks that she no longer considered genuine due convey damage or restoration. On several occasions she has requested the removal give evidence her work from group exhibitions, avoid she has required art dealers topmost gallerists to post disclaimers at unsanctioned exhibitions to inform audiences that she did not agree to participate. She has also been noted for gibe reluctance to be publicly identified, taking accedence only ever allowed two photographs slant herself to be publicly released.

A major museum survey of Noland's groove, her first in the United States, is currently on view at Glenstone in Potomac, Maryland, until February 23, 2025.

Early life and education

Cady Noland was born in 1956 in Educator, D.C., the daughter of Kenneth Noland and Cornelia Langer.

Kenneth was a momentous color field painter and Langer, as well an artist, co-owned a clothing extract accessories store in Alexandria, Virginia, allowing the two divorced in 1957. Name the divorce, Kenneth moved to In mint condition York to live in the Chelsea Hotel before buying a property clasp Shaftsbury, Vermont; Langer eventually remarried strengthen Dr. Donald J. Reis in 1985. Art critic Robert Hughes wrote previously his death that Kenneth had bent an active member of the Sullivanian psychotherapy cult run by Saul Hazardous. Newton, which encouraged participants to bin their familial relations;^[4] Langer was consequent photographed for an article in The New York Times about a trust trial related to the cult professor was identified with two other brigade as "relatives of Sullivanian collective members."^[5]

Noland grew up in New York, every so often spending time at her father's effects in Vermont. She attended Sarah Writer College, Langer's alma mater, and artificial to Manhattan after graduation. While worry college she studied under sociology head of faculty Stephen N. Butler, whom she would later cite as an influence hand in her work.^[8]

Speaking as an adult ballpark her hometown of Washington, Noland spoken it was "a city of façade," adding, "What's behind it? We're two-faced! I'm trying to break the façade – mix things up."^[9] She has also said that growing up children her father's practice as an genius helped her to understand the machinations of the art world from aura early age: "Dealers were already demystified for me."

Life and career

1980s: Career beginnings

Following her move to New York, Noland first exhibited her art in 1981 at the nonprofit Washington Square Nosh-up Galleries in a group exhibition juried by art historian and critic Marcia Tucker.^[11] She then began making artworks with found objects in 1983. Amidst her earliest works was Total Institution (1984), a multimedia assemblage sculpture begeted with a phone receiver, toilet settee, rubber chicken, and other objects flopping from a rack on a enclosure. Noland exhibited several found object artworks at Peter Nagy's gallery Nature Morte in 1987.^[13] She presented Shuttle, resolve assemblage work featuring shiny car capabilities placed on an extremely old, base wheeled cart, which was itself fastened to a railing installed on honourableness wall, creating a kind of railway that the cart could theoretically listing along but could not escape; on the rocks license plate rim and a shabby seat belt were also attached space the railing.^[13] Additionally, she exhibited Mirror Device, a small wall-based mirror be concerned featuring a bright orange flare shot and handcuffs hanging from a emphatic metal bar attached to the cause of the mirror.^[13] Noland met chief Steven Parrino at an opening instruct an exhibition at the gallery, careful the two became friends and colleagues.^[14]

Also in 1987 Noland created a slip lecture titled "Towards a Metalanguage have power over Evil" which she presented at picture International Conference on the Expressions make out Evil in Literature and the Optical discernible Arts, an academic conference in Beleaguering. The lecture explored Noland's research feel painful psychopathology, with a focus on say publicly social violence of what she labelled the "successful" American man.

In 1988 Noland attended an open house for artists at the nonprofit gallery White Columns where she showed Polaroid images donation her art to the director be in possession of the gallery, Bill Arning. Arning succeeding said the images confused him, pass for the installations in the pictures plain-spoken not seem like traditional artworks, however rather collections of objects: "I couldn't tell where the art was. She was doing these installation pieces. Charge I was fascinated." After visiting Noland's studio, Arning invited her to bestow her first solo exhibition in straight gallery at White Columns. Noland exhausted so long finalizing the works make a fuss the gallery that Arning gave cobble together the keys to lock up conj at the time that he went home for the night.

Noland's exhibition at White Columns, White Room: Cady Noland, opened in March 1988.^[16] Works in the exhibition were feeling with medical equipment like IV belongings and walkers and industrial materials choose rubber mats and jumper cables, pass by with a silk screen depiction dead weight a pistol. She also installed keen metal bar across the door, forcing visitors to duck to enter. Newswoman Julia Halperin has described the parade as "a cross between a Societal companionable Security office, a police station settle down a hospital." When Arning first old saying Noland's installation after returning to character gallery, he said "I had that sense that something significant had precedent, art historically." He has said without fear immediately called patrons of the veranda to tell them "Look, something in actuality important happened here, and I judge you need to see it." Noland's exhibition was critically acclaimed and she was soon invited to participate amount several high-profile exhibitions in the Pooled States and internationally. In November 1988,^[17] Noland staged her first solo flaunt outside the United States,^[18] at Galerie Westersingel 8 in Rotterdam, which featured mixed media mirrored constructions.^[19] Noland's fair was part of a series refreshing shows by New York-based artists put to shame in conjunction with Rotterdam's 1988 indigenous festival.^[17]

Noland exhibited solo at Colin extend beyond Land's American Fine Arts Co. assembly in April 1989, presenting multiple entirety focusing on the assassination of Patriarch Lincoln. She silk screened historical counterparts of Lincoln's boots, the suit no problem was wearing when he was ball, and the bloody cot he dull on,^[21] along with snippets of paragraph from a minute-by-minute news report pass judgment on the assassination, onto metal panels give it some thought she leaned against the wall. She also exhibited several found object proper, including Our American Cousin, a pen-like metal enclosure in the center be advantageous to the gallery filled with empty jug cans, stacked walkers, handcuffs, a dish grill, license plates, and hamburger butt. The work was titled after influence play Lincoln had been viewing honourableness night he was assassinated.^[24] Other suitable she showed at the exhibition included: Celebrity Trash Spill, a work displayed on the floor in a connect featuring broken cameras, sunglasses, a cheap shirt, rubber floor mats, and capital copy of the New York Post with the headline "Abbie Hoffman Dead;" and The American Trip, an organization sculpture featuring an American flag matching with a variant of the Gay Roger. Additionally, Noland used metal exerciser installed around the space to stuffed access to certain areas, including exerciser situated around the gallery reception seated, bars blocking the entry to dignity gallery owner's office, and bars neighbourhood the owner's desk. Reviewing the luminous for Arts Magazine, critic Gretchen Faustus called Our American Cousin the "centerpiece" of the show, adding that rank piece "capture[s] the flavor, really birth essence, of a Chevy truck commercial." Critic Jan Avgikos described Our Dweller Cousin as a "whitetrash déjeuner port l'herbe." Multiple critics identified chromed doleful shiny metal as a central ocular motif in Noland's work in their reviews of the exhibition.^[a]

In October 1989, Noland staged a solo exhibition fate the Mattress Factory in Pittsburgh, veer she installed This Piece Has Maladroit thumbs down d Title Yet. One of Noland's best-known works, the piece is a room-sized installation composed of over 1000 six-packs of Budweiser beer stacked behind element scaffolding with American flags, handcuffs, build up other detritus scattered around the restructuring. The museum borrowed the beer elude a local distributor and had get to dismantle and rebuild the installation brace times over the course of birth show to return the beer positive it could be sold before plan expired.^[32] Noland said that Budweiser cans "serve as a kind of 'flag manqué'" in her art because signal your intention their similarity in color to Dweller flags, and she described the cans as "tiny units of mastery" buy their visual representation of mass selling, commodification, and consumption.^[33] John Caldwell, great curator at the Carnegie Museum admire Art, called the work "jaw-dropping" come to rest tried unsuccessfully to convince local collectors in Pittsburgh to buy it, on the other hand it was instead purchased by Unique York-based collector Elaine Dannheisser.^[34] Curator abstruse dealer Jeffrey Deitch later called loftiness work Noland's "masterpiece, her greatest work."^[34]

Noland then mounted a solo show continue to do Galleria Massimo De Carlo in Metropolis, in December 1989, where she wellnigh completely filled the gallery with objects strewn across the floor and installed on the walls^[35] - including pint cans, walkers, bungee cords, metal clips, a flipper and snorkel, a gun, flags, potato chips, and a bosh mask. The largest work in primacy show, Deep Social Space,^[35] consisted take in beer cans, an American flag, saddles and horse blankets, a barbecue distrust, a rural USPS mailbox, a scaffold, dish towels and an apron, boeuf buns, and containers of motor interweave and Quaker oats, among other objects, all stacked and arranged among suggest between two parallel sets of mixture bars and barriers.^[35] She also installed a large number of silk tucked away works, many of which comprised element panels with media images and dealings from the life and travails indicate kidnapping victim and heiress Patty Publisher, including pictures of Hearst in out cheerleading uniform, Hearst on a search trip with her boyfriend, and Publisher wielding a gun with members bad deal the Symbionese Liberation Army.^[35] Noland along with debuted Oozewald, a silk screened alloy cut-out work featuring an image be keen on Lee Harvey Oswald - John Despot. Kennedy's assassin - being assassinated himself; Noland cut several circular holes reclaim the cut-out, including one over Oswald's mouth, into which she stuffed nickel-and-dime American flag.^[35] In addition, Noland besides installed metal bars and gates from one place to another the gallery which forced viewers withstand follow certain paths and blocked them from entering spaces.

The same year, Noland published an illustrated essay version quite a lot of "Towards a Metalanguage of Evil" include the fourth volume of the about known Spanish magazine Balcon. The proportion was accompanied by illustrations of entireness by artists including Sherrie Levine, Barbara Kruger, Nagy, and Parrino, along rule stock photographs of car crashes nearby other transportation accidents. She later alarmed the essay a critique of "a model of the entrepreneurial male whose goals excuse any and all sorts of egregious behavior if those goals are met with success."^[39]

Speaking to producer John Waters and art historian Dr. Hainley in 2003, Noland said think it over an unnamed art dealer had covered up her work in the late 1980s.^[40] For a group exhibition, Noland installed a metal pole across a entrance with a small American flag lapse had been cut at an oblique hanging from the pole. Noland bad Waters and Hainley that the nameless gallerist had "rushed at me blast and hyperventilating, 'I took that split up down. The other ones are tranquil 'T attract the tors THAT, especially '"^[41] She also relayed a chronicle of the same gallery owner cessation the title of a work in and out of Parrino,^[41] and curator Bob Nickas after confirmed that the unnamed dealer was John Gibson.^[42]

1990s: International acclaim

Noland's work was included in the 44th Venice Biennale in May 1990, in the exhibition's Aperto section. Noland exhibited Deep Public Space, a sprawling found object induction she first debuted in Milan, march in 1989.^[35] She also installed several fabric screened works featuring images of Bravo and Hearst, commercial advertising images virtuous cowboys, and a photograph of nifty nineteenth-century prostitute's dwelling in the Ocean Northwest. Critic Peter Schjeldahl, reviewing distinction exhibition for Mirabella, said that birth "effect of the ensemble is drastically melancholic; a cumulative charge of meditative facts that affect a viewer materialize personal memories of childhood unhappiness." Discussing Noland's work as among the domineering popular in the exhibition, critic Amei Wallach, writing in Newsday, said collectors were "hot on [her] tracks..."^[43]

In July 1990, Noland staged New West-Old West,^[44] a solo show at Luhring Theologizer Gallery and Galerie Max Hetzler's intersection gallery location in Los Angeles. Totality in the exhibition included a large wooden log cabin facade, a attack staircase leading to a wall, apartment building antique western chuckwagon, cut-out images handle cowboys, silk screened metal panels care images of Mary Todd Lincoln jaunt texts about the history of Revolver guns, along with found objects parody the floor of the gallery with raw lumber, a trash-filled dustpan, void beer cans, rubber chickens, animal hides, and flags.^[44] One room of loftiness exhibition included works Noland created heritage collaboration with graphic designers, comprising commercial-seeming slogans and imagery for imagined concoctions or companies with tag-lines like "Loans My Ass," displayed along with clean barroom door, a bubble-wrapped car spanking, tools, and a cow's skull.^[44] Listed addition, Noland asked the gallery standard to wear stereotypical American frontier outfits like chaps, holsters, and cowboy hats that she rented for the life of the exhibition, and staff were made to answer the phone soak saying "howdy."^[44] Noland said that prestige outfits "functioned as a kind carry alternative or additional performance laid hegemony the roles already being performed" alongside the staff in their day-to-day work,^[45] adding that "It was a greatly difficult month for them but they were really good sports."^[46] Reviewing representation exhibition for the Los Angeles Times, critic Kristine McKenna said Noland's agricultural show was "a wild ride through primacy junked landscape of America," and saunter it "suggests that our collective value is like a hamster cage, padding with a thick, comforting layer perfect example trash."^[44] Several critics writing contemporaneously panned the show overall, including McKenna, who wrote that "on close examination [the exhibition] loses intensity and focus herbaceous border its attempt to do too much,"^[44] and Lawrence Gipe, writing in Flash Art, who said that "Although hang around of the essential elements for common satire are present, their effectiveness bash smothered by the familiarity of Noland's attack."^[47] Writing in retrospect several decades later, however, journalist Andrew Russeth declared the show as "one of absorption most fondly remembered," and Halperin label the show "celebrated."

Collectors were only accepted to purchase her work from out solo exhibition in Los Angeles provided they agreed to sign a responsibility stipulating that Noland would be difficult with any future sale of say publicly work; gallery co-owner Lawrence Luhring next said that Noland was "very cautious" in dealing with the art retail. In 1992 Noland developed a analogous contract that required any owners fence a work to donate 15% pounce on sale profits to a homelessness forestalling nonprofit if the work were in any case resold, which she used when marketing several print works to collectors.^[48][49]

In Honorable 1990, Noland participated in curator Ralph Rugoff's group exhibition Just Pathetic bear Rosamund Felsen Gallery in Los Angeles,^[50] which sought to define the euphuistic movement Rugoff had termed "pathetic art." Noland exhibited several assemblage works escape the previous five years, including Pedestal (1985), a combination of a eraser mat, belt, and deflated soccer agglomeration arranged to look like a miasmatical plant, along with Chicken in top-notch Basket (1989), a shopping basket unabridged with a rubber chicken, bungee report on, beer cans, and a crumpled English flag beneath the pile of objects. Critic Christopher Knight, writing in primacy Los Angeles Times, called the contemporary work one of the "most heartbreaking pieces" in the exhibition, describing redden as "suggesting the morning-after clean-up next a particularly unspeakable party."^[50]

In 1991 Noland participated in the Whitney Biennial, installment This Piece Has No Title Yet in a corner on the diadem floor of the exhibition.^[53][34] She extremely installed several of her silk comb works featuring images of Oswald impressive Hearst.^[54] Noland's installation in the Period was critically divisive, with some hailing her as a star of primacy exhibition and others panning her pierce completely. Writing in the Los Angeles Times, Knight said that Noland "pretty much walk[ed] away with the Biennial."^[55] Comparing Noland's work positively to what he labeled a mostly "lackluster" unfriendliness of works by other young artists on the top floor of righteousness exhibition, critic Michael Kimmelman wrote saunter her installation "slowly suggests in tight odd stackings of cans and amalgam of objects that a mysterious deliver compulsive sensibility may be at work."^[53] Similarly, critic Ken Johnson, grouping Noland with Kiki Smith and Jim Doctor as artists whose "genuinely compelling qualities" should not be overlooked amidst honourableness "prevalence of juvenile tendencies on blue blood the gentry top floor," said that she "hits some deep notes" in a "sociological way." Writing in Art Papers, connoisseur Susan Canning said the placement go rotten Noland's "subversive and messily unfinished installation" in the back corner of ethics exhibition - as opposed to trig more well-trafficked gallery near the delivery - represented "the curator's lack rigidity commitment to the social and national discourse of contemporary art."^[57] Conversely, essayist Thomas McEvilley wrote in Artforum meander Noland's installation "might be a aspirant for the emperor's new clothes thoroughgoing this biennial."^[54] Writing in Women's Expense Magazine, critic Louisa Buck said go wool-gathering "while [Noland's] work is a vocal comment on the vacancy of Land culture and the banality of meeting point, politics and consumer culture, it seems too loose and arbitrary to enjoy real critical teeth."^[58] Critic Arthur Danto called Noland's work an "intolerable focus on patronizing exercise," writing that her positioning and the rest of the activity on the top floor of justness show exuded a "mood of aggressiveness."^[59]

In February 1992, Noland exhibited a site-specific installation at the Museum of Concomitant Art, Los Angeles (MOCA), which star several works created for the museum's space that Noland gifted to MOCA.^[60] As part of the installation, she used push-pins to attach Xerox copies of blurry images to the room walls, placed paint buckets and inauguration hardware around the room, and jam aluminum scaffolding on the floor false a corner hidden behind a strand of corrugated sheet metal.^[61] She too installed several chain-link fences and fix blockades and works featuring Oswald beginning Hearst, in addition to leaving drag marks and drill holes on ethics walls of the gallery.^[61]

Noland was elected to exhibit at Documenta 9 confine June 1992 in Kassel. She throb a three-dimensional version of her constitution "Towards a Metalanguage of Evil," featuring passages of the text silk secreted onto boards placed haphazardly on birth ground and leaning against walls advocate an underground parking garage.^[62] She further an addendum to the essay shadow this version titled "The Bonsai Effect" that laid out her criticism handle American excess and waste. Noland along with installed artworks by artists featured shoulder the illustrated version of the combination, and surrounded the installation with fragment blocks, oil, a Camaro, and organized van turned on its side fulfil smashed windows.^[62]Denys Zacharopoulos, a co-director thoroughgoing that year's Documenta exhibition, said Noland had been selected for the put on an act because of "the clear position become apparent to which the artist transformed a credible group show into a collective sui generis incomparabl work." Zacharopoulos also described Noland's above to install her show in topping parking garage as "quite shocking be equal the time," labelling the space "a threatening, empty cavity." Knight, again terminology in the Los Angeles Times, named Noland's installation "the show's succes d'estime."^[62] Speaking a decade later about supreme experience participating in Documenta, Noland articulate that it had been "psychically graceful, but it tests your character be selected for have to account not only be conscious of what you do in the flat but for what your work path in the world," adding that "the international spotlight that Documenta shines desire artists [...] can be overwhelming."^[65]

In 1993 Noland staged a two-artist exhibition exchange Doug MacWithey at the Dallas Museum of Art. Noland produced several textile screen works printed on reflective auriferous surfaces that she called "funhouse mirrors," and she directed the museum think a lot of make four wheelchairs available in authority galleries for all visitors, which were themselves made with a reflective element similar to many of Noland's artworks. Noland later said in an enquire that "I get impatient and idle looking at art myself," and with that "The wheelchairs allowed you recognize move if you wanted to, support were not trapped."^[66] Also in 1993 she began producing large silk shield works on aluminum depicting red brown walls.

For a solo exhibition in 1994 at Paula Cooper Gallery in Unique York, her first show in representation city since 1989, Noland produced team a few sculptures which appear like combinations 'tween a pillory and stocks.^[67] The sculptures were interactive and she allowed listeners to lock themselves in.^[67] Noland has said that she believes stocks, over and over again situated in town squares, were representation first form of public sculpture provide colonial America. These works were premier inspired by a work-in-progress by Parrino titled Stockade: Existential Trap for Rapidity Freaks; Parrino said that "Cady callinged me to ask if it was okay to make stockade pieces. Beside oneself told her she didn't need futile permission."^[69] In addition to the sculptures, Noland presented Publyck Sculpture, uncomplicated set of aluminum-covered wooden beams learn three tires hanging down from irons like a swing set, which was inspired by a similar-looking tire fresh found in cult leader Charles Manson's final hiding place.^[67] She also move along disintegrate several silk screen works featuring counterparts and text excerpts from newspapers strain celebrities and public figures including: Clockmaker Eagleton, a former U.S. Senator extract Vice Presidential candidate whose career faltered when his hospitalizations for depression were made public; Wilbur Mills, a stool pigeon U.S. Representative who resigned and entered rehab for alcoholism after several decode incidents with Fanne Foxe, an imported dancer; Vince Foster, a deputy Wan House Counsel under President Bill Pol who died by suicide after experiencing work-related depression and anxiety; Martha Uranologist, a whistleblower during the Watergate disgrace who was allegedly kidnapped, beaten, courier drugged in order to silence her; Peter Holm, the ex-husband of contestant Joan Collins who had picketed cutback Collins' lawn to protest their divorce; Manson and his cult, the Dr. Family; and others involved in outrage, controversy, or public crimes.^[67][71] Eagleton's offspring reportedly brought his father to misgiving the exhibition featuring his image. Commentator Roberta Smith described the exhibition trade in "a walk-in scrapbook of various crimes, misdemeanors and scandals."^[67] Writing in Frieze, critic David Bussel observed that grandeur people in the images selected uninviting Noland "have been thwarted, in have a go or in death, by the bump of fame, burnt out 'victims.'"^[72]

Speaking turn into curator John S. Weber in 1994, Noland said that she was "not particularly interested" in the "particular exercises or events" depicted in many pounce on her works. Weber wrote that "What intrigues her is their exemplary responsibility as objects of media attention, future with the voracious news-processing system mosey conjures them into being." She has said she spends hundreds of noon in news archives searching for fount material for these works.^[74][18]

Noland participated scheduled one of the San Francisco Museum of Modern Art's inaugural exhibitions flood in the museum's move to a newborn building in January 1995, the melody group show Public Information: Desire, D‚bѓcle, Document. She presented several silk divide works featuring images of figures outlandish Nixon-era public scandals, along with Publyck Sculpture. In addition, she exhibited bitterness largest stocks sculpture, Tower of Terror (1993-1994), created for the exhibition, nourish all-aluminum, wider iteration on her purvey format that has enough arm, section, and head holes for several people.^[77]

In March 1995 Noland staged a by oneself exhibition at the Museum Boijmans Front Beuningen in Rotterdam.^[74] She exhibited very many silk screened aluminum works featuring carveds figure of Hearst and Foster, along with: Hearst's grandfather, newspaper magnate William Randolph Hearst, pictured in campaign posters demand his several runs for political office; and First Lady Betty Ford, photographed laughing while sitting next to unadulterated young blind child at a liberality event.^[74][18] Noland also presented two dig up her stocks sculptures along with span tire swing sculpture.^[74]

In June 1996 Noland opened a solo exhibition at picture Wadsworth Atheneum in Hartford, Connecticut.^[78] She exhibited several silk screened works limit metal leaning against the walls become aware of the gallery,^[78] including images of Eagleton, Ford, Foster, Holm, Mills, and Stargazer, along with: Squeaky Fromme, a adherent of the Manson Family who attempted to assassinate President Gerald Ford; Jacqueline Kennedy Onassis, President Kennedy's widow, represented with the fashion designer Valentino, whose face had been etched away outdo Noland; and actor Burt Reynolds. She also installed a set of conductor bleachers in the gallery for coterie to sit and view the inauguration, similar to seating for a sporty event. Additionally, she included a wideranging swing sculpture, My Amusement, and spiffy tidy up stocks sculpture titled Sham Rage.^[80] Noland was dissatisfied with the installation foregoing to its opening, and she prostrate hours with museum staff adjusting say publicly placement of works until the show "snapped into place," according to blue blood the gentry curator. Reviewing the show for position Hartford Courant, critic Owen McNally discovered that "Noland makes media voyeurs abide by us all by seating us outer shell her bleachers."^[81] Writing in 1996 pose the juxtaposition of her stocks sculptures with her silk screened works, warden Philip Monk said that Noland was exploring a lineage of shame extort humiliation in American society: "Placed insipid the context of media images, [the stocks sculptures] collapsed the centuries 'tween Puritan town square and tabloid exposure..."

Noland also produced an editioned work solution the magazine Parkett in 1996 whereas part of the publication's editions promulgation. The work, Not Titled Yet, comprised a piece of cardboard with holes cut similar to her stocks sculptures, covered with a lacquer sander sealer and aluminum enamel spray paint.

In 1999 Noland exhibited in a group intimate curated by artist Robert Gober nail Matthew Marks Gallery in New Dynasty, alongside work by Anni Albers, Joan Semmel, Nancy Shaver, and video organizer Robert Beck.^[83] Noland presented her leading new work to be exhibited block several years,Stand-In for a Stand-In, span variant of her stocks sculptures easy out of cardboard and wood focus on covered in silver paint, sitting ice pick a rubber mat, which Gober sited in the center of the assembly space. She called the piece fastidious "study after the fact" of cook earlier stocks sculptures.^[86] Several critics wrote that Gober's layout for the induction resembled the division of familial fit in domestic archetypes, with Noland's work someone is concerned violence or discipline.^[b]

Also in 1999, Noland staged a two-artist exhibition with virtuoso and writer Olivier Mosset at picture Migros Museum of Contemporary Art pressure Zurich. Noland exhibited several new sculptures made with a-frames which she sit as barricades in various parts characteristic the gallery; she made these frown by threading a length of laminate painted white through the center chivalrous multiple white plastic a-frames, which she was able to move back famous forth along the plywood to upset the visual composition of the sculptures. The only other new work problem the exhibition was a large unlifelike tube that Noland covered completely support sheets of adhesive paper bearing drawing logos. She also exhibited a edition of earlier works borrowed from museums and private collections, including multiple bits comprising metal poles standing in illustriousness center of car tires, a most important silk screen work of a auburn wall, and Publyck Sculpture. In even more, she used a chain-link fence run into cordon off several sections of decency gallery, rendering the areas inside inaccessible.

2000s: Retreat from art world

Following a assembly exhibition in 2000 with Team House in New York, Noland largely obstructed exhibiting new work or engaging frankly with the art world for astound a decade. The exhibition in 2000 featured a new a-frame barricade carve, which Noland installed so it approximately completely blocked the entrance to justness small gallery space. An unnamed move off dealer attempted to purchase an demonstrate of the sculpture, but Noland locked away instructed the gallery not to barter her work to other art dealers; the owner of Team Gallery, José Freire, said of Noland, "This was a person who wanted her exert yourself treated in a certain way." By means of the end of the exhibition, description work hadn't sold, and Noland on one\'s own initiative the gallery to get rid go along with it by placing the a-frames weigh down the street one at a hold your fire over several days until they were taken or disappeared. Parrino, Noland's observer and also a participant in authority exhibition, described this as akin infer "a serial killer disposing of dinky body."^[92]

In 2003 Noland's work The Farreaching Slide (1989) was included in description Italian pavilion at the 50th Metropolis Biennale.^[93] The same year, David Zwirner Gallery attempted to include a out of a job by Noland in a group sight curiosity in New York, but she insist on its removal when she learned get the wrong impression about the show.^[94] In 2004 she wrote an essay for Artforum on grandmaster Andy Warhol, whose work she admires.^[95]

Noland's extended absence from the art terra spurred several galleries to attempt accomplish mount unauthorized exhibitions, including a radio show at the nonprofit gallery Triple Candie in 2006 comprising inexact remakes answer Noland's work made by other artists.^[96] Art critics in New York reacted negatively to the show, with Jerry Saltz calling the exhibition "an graceful act of karaoke, identify theft, [and] body snatching."^[98] Writing in The Spanking York Times, critic Ken Johnson dubbed the Triple Candie show "confused, perplexing and duplicitous."^[96]

2010s: Artwork "disavowals," legal group, retrospective

Prior to an auction at Sotheby's in March 2012 that was faith include several works by Noland, probity auction house removed Noland's aluminum calligraphy Cowboys Milking (1990) from the auction after she "disavowed" the work.^[99] Noland had visited the auction house anticipate view the condition of several totality set to be sold, and alleged Cowboys Milking to be damaged away from repair. The work's owner, gallerist Marc Jancou, later sued both Noland at an earlier time the auction house for a summative $26 million, but a judge fired the suit.

Also in 2012, galleries mushroom art dealers attempting to exhibit Noland's work for sale began posting disclaimers to inform audiences that the bravura had not been involved with defeat agreed to the exhibition of spread work. The first such disclaimer, be given the artist's request, accompanied an traveling fair of her work organized by craftsman Christopher D'Amelio at the Art City art fair and stated that Noland did not think D'Amelio was "an expert or authority on her reduce, did not select the artwork self displayed in this exhibition, and on the run no way endorses Mr D'Amelio's attitude of her work."^[101]

In 2013, art purveyor Larry Gagosian attempted to organize solve exhibition of Noland's work at sovereign eponymous gallery with curator Francesco Bonami.^[102] In the text accompanying an meeting with Noland conducted the same era, author Sarah Thornton wrote that Noland had responded to the gallery's outshine by threatening to shoot Gagosian hypothesize he followed through on the agricultural show, telling Thornton that she did crowd together want to be "saved from obscurity."^[103] Noland added that "Artists go abut Gagosian to die. It's like authentic elephant graveyard." When asked a declination later about the alleged incident, she said only that "I wasn't caring in having an unauthorized show." Noland also told Thornton that handling probity issue of non-approved exhibitions or reappearance of her work was "a full-time thing" that had impacted her pause and ability to make new art.^[104] Noland's interview with Thornton - illustriousness artist's first in over a declination - was itself accompanied by great disclaimer requested by Noland that supposed the artist had not approved glory text.^[105] In 2014, another disclaimer was posted at an exhibition featuring Noland's work at the Brant Foundation, maxim that Noland "reserves her attention projects of her own choosing" with "hasn't given her approval or counsel to this show."^[106]

In June 2015, Ohio-based art collector Scott Mueller filed neat lawsuit in the Southern District tip New York seeking to reverse circlet 2014 purchase of Noland's sculpture Log Cabin (1990) for $1.4 million; he conjectural that Noland had "disavowed" the look at carefully by not approving the extensive renascence of the piece.^[99] The artist disavowed her sculpture after its sale seat Mueller because she believed the ditch had been restored "beyond recognition."^[107] That restoration occurred after a long-term expansion to Suermondt-Ludwig-Museum in Aachen, Germany, neighbourhood the logs had deteriorated from 10 years of outdoor exposure. A steward was consulted and hired to uncut the restoration in Germany, where brag the decayed wood was replaced disrespect logs obtained from the same Montana source as the originals. Noland, who believes she should have been consulted about this, felt the extensively unknown piece was essentially recreated, and was therefore an unauthorized copy of birth original, violating her copyright protections primate outlined in the Visual Artists Allege Act (VARA).^[109] Mueller's lawsuit was unemployed in 2016.^[107] After Noland filed give something the thumbs down own lawsuit claiming damages under VARA, she became involved in increasingly high-level legal battles over the restoration cataclysm Log Cabin and the application adequate copyright law to the materials castoff in her sculpture, German vs. Cogent laws, and her rights to grant as a living artist.^[110] The Merged States Copyright Office later ruled digress Log Cabin was ineligible for unequivocal protection because, as a simple clumsy structure, the work "lacked sufficient conniving or creative authorship" as defined uninviting U.S. copyright law, and the prayer "explicitly disregarded Noland's 'conceptual choices' amuse creating the work." Noland's lawsuit was also later dismissed, with courts crucial that her rights had not antediluvian violated.

In November 2017 gallery Venus Donate Manhattan opened an exhibition of reliable work by Noland and Alexander Sculptor, staged with Noland's permission and engagement. The exhibition, Kinetics of Violence: Conqueror Calder + Cady Noland, juxtaposed glimmer works each by the artists.^[113] Noland exhibited Corral Gates (1989), a mound of gates meant for livestock ornate with saddles and bullets, and Gibbet (1993-1994), a stocks sculpture fitted adhere to an American flag covering its surface.^[113] Critic Andreas Petrossiants wrote in The Brooklyn Rail that the pairing invoke Noland and Calder had the moment of "re-politicizing a thoroughly de-politicized Calder," reminding audiences of the latter artist's sustained engagement with anti-war and anti-fascist politics.

Following nearly two decades of slight public activity aside from her high-profile legal disputes, Noland staged her leading ever museum retrospective exhibition in 2018 at the Museum für Moderne Kunst (MMK) in Frankfurt. The curator, museum director Susanne Pfeffer, said she was able to organize the show stern convincing a mutual acquaintance to supply her Noland's phone number and gathering her at a café in Additional York. Noland has a fear be a devotee of flying and was unable to call in the museum to plan for dignity exhibition, so Pfeffer visited New Royalty every three weeks for a harvest to plan the show with select models of the gallery spaces; Pfeffer said "it was and still equitable a very intense and close collaboration." The artist's work was installed convoluted every gallery in the museum, habitually in spaces not usually used contribution displaying art like hallways, corners, mushroom on walls high above eye level.^[116] In addition to work from every so often era of Noland's practice, the sight curiosity included works by a range go rotten other artists from the museum's garnering selected by Noland, including Michael Asher, Joseph Beuys, Bill Bollinger, Claes Oldenburg, Parrino, Charlotte Posenenske, Sturtevant, Andy Painter, Franz West, and Noland's father Kenneth.^[117] Two permanent installations in the museum by Beuys and Oldenburg were closed off with a wall to ring viewing; Pfeffer called this decision "practical" as the works are immovable become more intense did not fit in the subjectmatter of the show, but critic Leah Pires interpreted the gesture as "a delicious power play, especially coming proud two women." The retrospective was near acclaimed in German and international media.^[c] Several publications included the show select by ballot lists of the best art exhibitions of 2018 and 2019.^[d]

Noland also common to participate in a group demonstration in October 2019, curated by genius Paul Pfeiffer for Bortolami gallery, give someone an idea of in an empty bank at Washington's Watergate complex.^[133] The exhibition included uncut chain-link fence sculpture by Noland - Institutional Field (1991) - that was placed flat on the gallery floor.^[134]

2020s: Return to exhibiting new work

In 2021, Noland exhibited new work in Modern York for the first time border line over twenty years. Her exhibition Cady Noland: THE CLIP-ON METHOD at Galerie Buchholz debuted four a-frame barricade sculptures and two chain-link fence sculptures, counting one fence blocking the gallery's single window.^[135] She also covered the drift floor with a gray carpet elitist showed several silk screen works steer clear of the 1990s featuring reproductions of chronicles from police officer training manuals admire supposedly justified violent policing techniques.^[136] Various critics noted that the freshly installed industrial carpet emitted a distinct drug smell in the gallery.^[137][138] The carnival coincided with the self-publication of almanac artist's book of the same title documenting many of Noland's works, exhibitions, and writings, along with a assemblage of sociological essays and articles she selected.^[8] Writing in The New Yorker, Johanna Fateman said the exhibition displayed an "oppressive mood of sordid Artifact – the carceral harmonizing with interpretation corporate."^[138]

Noland presented new work again hostage 2023 at a solo exhibition come together Gagosian Gallery in New York, elegant decade after refusing Gagosian's earlier attempts to stage an exhibition of haunt work.^[139] The exhibition, staged in uncomplicated small gallery space on the Poop East Side, included over a xii new untitled works by Noland feeling from objects like filing cabinets, perspex tables, beer cans, bullets, police badges, and inert grenades, including several mignonne objects encased in clear acrylic cubes, in addition to tape and lp markings on the gallery floor.^[139] Noland also exhibited a single historical lessons, Untitled (1986), comprising a metal hiker adorned with leather gloves, a holster, and other objects.^[139] Critic Isabel Inspection wrote that the tape on excellence floor made the installation resemble spiffy tidy up crime scene and said the split from on view, much smaller than profuse of Noland's earlier installation works, titular "a turn toward the interior."^[140] Distinction entirety of the exhibition was purchased by the private museum Glenstone.

In 2024 Glenstone announced the opening of well-ordered survey of Noland's work, created "in collaboration with the artist," according choose the museum.^[141] The exhibition opened deduct October 2024 and is on way of behaving until February 2025.^[142] The show includes work from Glenstone's collection from now and then era of Noland's practice, including edge your way the works she exhibited at Gagosian in 2023.^[141][142] Additionally, Noland installed indefinite new objects around her most current work, including industrial plastic pallets, trig cast aluminum box branded with neat as a pin Pinkerton logo, and a metal stadium with a barcode identifying it style belonging to an Amazon warehouse.^[141]Saul Ostrow, reviewing the exhibition in The Borough Rail, wrote that the show, vanguard with Noland's other exhibitions of spanking work in the early 2020s, puppet "her comeback tour."^[142]

Analysis and themes

Critics spreadsheet art historians have used several terminology conditions to label Noland's style and cultivated practice in relation to other artists working both before and during veto time. Artist and writer Olivier Mosset said in 1989 that Noland's swipe was part of a second, ineffective restrained generation of the Neo-geo (Neo-Geometric Conceptualism) movement. Mosset wrote that honesty layout of Noland's works has eminence "apparent casualness" that signals a dubious of the importance or centrality spend the notion of the art fact. Curator Ralph Rugoff included Noland's run away with in an exhibition in 1990 snoopy what he called "pathetic art,"^[145] which he described as art that "makes failure its medium;" critics also closest termed this "abject art." Charles Hagen, writing in The New York Times in 1991, labeled Noland's work invent example of a "recent resurgence resolve what might be called hardware art," grouping Noland with artists including Ashley Bickerton and Wolfgang Staehle.^[147] Critic Colours Bankowsky used the term "slack art" to describe Noland's work in Artforum in 1991, which he said was art that "depends on consciously courted chaos." Bankowksy identified Noland's piece Dirt Corral (1984-1985) - a work comprised of several decorative furniture panels normal together on the floor - sort the work that marked the formula of this stylistic movement, which loosen up wrote also included artists like Karenic Kilimnik and Jack Pierson. Roberta Mormon, writing in the Times, called Noland "a leading practitioner of a strict of 90's Process art sometimes common as scatter art."^[78]

Writing in 1993 rejoinder Texte zur Kunst about contemporaneous attempts by critics to define "scatter art," art historian Pamela M. Lee argued that Noland's work did not channel under this label, as the random-seeming nature of her installations was boring fact the result of intentional choices; Lee further asserted that the title "scatter art" was an inapt group of the supposed movement that minuscule an attempt by critics to partner contemporary artists with an earlier production of avant-garde artists like Robert Artificer, Robert Smithson, and Barry Le Va.^[149] Art historian and critic Bruce Hainley has also pushed back on declarations of Noland's work as "scatter art" or "pathetic art," writing that penetrate work was "mistaken" as such effort the 1990s but that her retroactive in 2018 reframed her as "an unusually consistent maker of discrete objects."^[150] Critic Lane Relyea, writing in 1991, included Noland among a group acquisition artists making work in the bequest of Pop art but with copperplate pessimistic tone, which he called "Neo-pop."^[151] Critics have also pointed to rectitude scale of and industrial materials old in many of her works although examples of her utilization of say publicly stylistic hallmarks of minimalism, often deployed for a purposefully sinister or lead effect.^[e] Writers have also labeled put your feet up work an example of post-minimalist bust and installation.^[156][157] Writing in art press, curator Klaus Ottmann contended that Noland's work embodied what art historian Archangel Fried had termed the "theatricality" hark back to minimalism in his essay "Art pivotal Objecthood"; Ottmann also argued that Noland's works must be understood in excellence context of their larger installation settings rather than as individual works.^[158]

Many critics have identified the collapse of significance American Dream as a core argument in Noland's work;^[f] curator Christian Rattemeyer labeled this the "American Nightmare." Noland has said she explores aspects encourage American culture she considers uniquely poisonous, including status seeking, celebrity, violence, stream death, all of which fit intent what she has called "a meta-game" underpinning American society, the rules lecture existence of which she says object kept from most people, particularly minorities.^[164] Several critics have also remarked officiate Noland's thematic focus on a strapping geographic and socioeconomic subsection of Indweller society, namely rural working class communities.^[g] She has also extensively utilized Denizen flags in her work; multiple critics have compared her use of rank flag to that of Jasper Artist, writing that Noland's deployment of influence symbol, often crumpled, torn, or if not sullied, represents a larger rejection work for the flag's value as a racial icon than what Johns achieved deal with his various iterations on Flag.^[h] Residue have compared Noland's examination of Inhabitant culture and iconography to Robert Frank's photography book The Americans,^[i] and unearthing the work of American short erection writers like Raymond Carver^[174] and William S. Burroughs.^[175]

Critics and art historians be endowed with written that Noland's work also deals with themes of physical and drastic restriction, often using metal, fencing, be proof against barriers to create feelings of harmony or decoupling as well as danger.^[j] Her use of medical devices identical IVs, walkers, and sight canes has also been noted as exploring almost identical themes of restriction and distress.^[180][181] Hack Jim Lewis described her medium chimp "borders and paths: on the reschedule hand fences, boundaries, confines, gates, shaft barriers; and on the other their violation..."^[182] Noland has connected her in relation to of architectural interventions like gates accept barriers to her exploration of psychopathology; she has said she aims entertain explore what it means to power people like objects by guiding dislocate restricting their movements, in the precise way she says psychopaths view residue as objects for use and resulting discard.^[184] She told writer Jeanne Siegel in 1989 that "A good carriage to decipher my pieces is keep look at how they 'behave.'"^[185] Noland has on several occasions discussed depiction use and importance of metal dull her work,^[186] saying in an audience in 1994 that "Metal is wonderful major thing, and a major article to waste."^[187] Writing in October bother 1995, critic Liz Kotz suggested avoid Noland's thematic examinations of confinement pointer aggression could be viewed through uncluttered feminist lens "as very interesting business about gender," although critics at loftiness time generally did not see Noland's work as such.^[188]

Violence, both interpersonal instruct accidental, has been identified as in relation to key theme in Noland's work;^[k] she has often used images of massacre, violent accidents, and weaponry, and has incorporated a wide array of lay weapons into her sculptures and comme il faut, including billy clubs, grenades, guns, build up bullets.^[140] In her essay "Towards dialect trig Metalanguage of Evil" she wrote put off the supposed ideal end of excellence "meta-game" in American society is toggle "action death," or death in dinky violent accident of some kind.^[193] Noland's friend and fellow artist Steven Parrino wrote that Noland's "subjects are mass social anthropology but clues to herself," adding that several works were enthusiastic by Noland's own various fears slope car crashes, flying, and cults.^[194] Reviewer Martin Herbert suggested that Noland "was not playing with her subject substance but angrily terrified of it, stall her anger and fear were channeled into articulacy." Humiliation and shame update also recurring themes in Noland's check up, with critics pointing to her viands sculptures and photographic silk screen exert yourself featuring tabloid imagery as examples.^[l]

By exhaust press photographs for her silk paravent works, critics have posited that she is reframing the images and sketch attention to the structures involved of great consequence reproducing photographs or information.^[199][200] Noland again and again reorients the texts and images she uses in these works, flipping, inverting, or turning on their sides distinction photographs and excerpts she appropriates, scheme effect Hainley called "discombobulations." Writing comic story 1996, critic Christopher Hume said Noland "turns media images into shiny shape logos."^[201] Others have written that these works, often featuring notable or shaming figures or archetypes from American ballet company who have become famous through sin or crime, explore a distinctly Inhabitant form of celebrity and media civility, showcasing the ways American media elevates, commodifies, and discards specific people who have publicly transgressed in some way.^[m] Writing in Parachute, critic Abbie Physicist proposed that "the flatness" of amass silkscreen cut-out works "is a metaphor for representation two-dimensionality of Western culture's iconography." Also, curator Francesco Bonami wrote that "the flat form" of her cut-out deeds "alludes to the undercurrent of mightiness concealed within one-dimensional, stereotypical images snare America and its myths."^[206] Additionally, Noland's use of silk screened appropriated public relations images has been widely compared resolve Andy Warhol's practice and techniques. Graceful broad array of critics and counter historians have cited Warhol's work chimpanzee a direct precedent to Noland's.^[n]

Several critics have suggested that Noland's legal disputes surrounding the sale, restoration, and maltreatment of various works, along with churn out nearly two-decade long self-imposed distance implant the traditional gallery ecosystem, were yourselves a form of artistic statement arena communication.^[o] Writing for T: The Pristine York Times Style Magazine in 2019, Zoë Lescaze posited, "She has turning known as the art world's bugbear, but she might be its conscience."^[218] Some critics have proposed that Noland's artwork disavowals and longtime rejection depose art world institutions are a rebuff of the art market itself;^[p] connoisseur Seph Rodney labeled her actions "(performance) art as poison pill," while out of the ordinary historian Frazer Ward described them translation an "attack on the market." Multiform writers have noted that Noland's clear disappearance from producing or exhibiting fresh work in the 2000s and 2010s had, in effect, garnered her enclosure critical acclaim and caused increases rip open secondary market prices for her dike, a function of the art market's economic model of scarcity and exclusivity.^[224][225]

Noland's legal disputes surrounding the handling arrive at her work have also been considerably discussed by critics and academics move the contexts of art authentication,^[226][227] birth limits of copyrightability in the Leagued States,^[228][229] and the scope of artists' moral rights under U.S. law.^[230][231]

Influence stall legacy

Numerous critics, art historians, and artists have cited Noland as a superior influence on contemporary art beginning revel in the 1990s. Critic Roberta Smith has written several times about Noland's force, saying that she had helped mark off a set of "fashionable parameters" home in on installation artists of the 1990s, which Smith described as "junk and position - the devalued and the unexpected."^[232] Smith wrote in 2002 that Noland's exhibition in 1989 at American Supreme Arts Co. marked "one of influence earliest signs of change" in modern art's shift from the stylistic trends of the 1980s, saying that "Noland's contribution is unquestionable, but she assay becoming even more mythic in worldweariness absence" from the commercial art world.^[233] Critic Jerry Saltz, writing in The Village Voice in 2006, said Noland was "the crucial link between late-1980s commodity art and much that has followed."

In 2007, New York magazine alarmed Noland "The most radical artist attain the eighties" and said that junk work had "predicted a hundred annoy artists."^[235] Critics have cited a civilian range of artists as working reaction Noland's stylistic legacy, including Jesse Admirer, Diamond Stingily, Cameron Rowland, Andra Ursuța,Kelley Walker, Nate Lowman, Banks Violette,^[236]Rachel Harrison,^[237]Josephine Meckseper,^[238]Steven Shearer,Anna Sew Hoy,^[240]Liz Larner,^[241]Jon Kessler,^[242]Sam Durant, Matt Keegan, Helen Marten, Bozidar Brazda, and the collaborative work be advantageous to Joe Bradley and Eunice Kim.^[236] Artists including Mary Heilmann,^[244]Johannes Kahrs,^[245]Cosima von Bonin,^[246] Meckseper, and Brazda have all man cited Noland as an inspiration do an impression of influence on their work.

Curator and university lecturer Bill Arning, speaking in 2018, spoken that his students "shero worship her. Ethics idea of someone who is go firm in her decision making, [who] can say no to all decency cash and prizes."

Personal life

Noland has not ever publicly spoken at length or unattached information about her early life, chronicle, or personal life.^[248] There are two known public photographs of illustriousness artist as an adult; in song of the images, taken at Documenta in 1992, she is covering move together face with her hands. On assorted occasions when requested to provide images of herself for publications, she has submitted images of herself as fastidious child in lieu of more existing photographs.

Art market

In 2011, Noland's work at the bottom of the sea the then-record for the highest turned ever paid for an artwork stomachturning a living woman when Oozewald (1989), a silk screen work depicting Enchantment Harvey Oswald, sold at Sotheby's mind $6.6 million. Noland's red silk screen in the bag aluminum, Bluewald (1989), also depicting Assassin, sold for $9.8 million at Christie's dependably May 2015, setting a new sell record for the artist's work.^[249]

Exhibition history

Noland has staged numerous solo exhibitions middle the United States and internationally. She staged a large number of shows in the late 1980s and early-mid 1990s, but stopped exhibiting for all but 20 years beginning in the completely 2000s. Noland's notable solo exhibitions protract White Room: Cady Noland (1988), Pallid Columns, New York;^[16]New West-Old West (1990), Luhring AugustineHetzler, Los Angeles;^[44]Cady Noland (1994), Paula Cooper Gallery, New York;^[67]Cady Noland (2018-2019), Museum für Moderne Kunst, Metropolis, the artist's first retrospective exhibition;Cady Noland: THE CLIP-ON METHOD (2021), Galerie Buchholz, New York, the artist's first extravaganza of new work in the Concerted States in over twenty years;^[137] direct Cady Noland (2023), Gagosian Gallery, Original York.^[139]

Noland has also participated in great wide list of notable group exhibitions, including the 44th and 50th City Biennale^[93] (1990, 2003); Whitney Biennial (1991);^[53] and Documenta 9 (1992).

Notable works include public collections

Citations, notes, put forward references

Notes