Banks Violette

Banks Violette

Banks Violette (b. 1973 in Ithaca, NY) lives and works in Brooklyn. Violette  studied at Columbia University and the School of Visual Arts in New York, and has been well represented institutionally since the mid-2000s. The Whitney Museum of American Art in New York held a solo exhibition of his work in 2004. With his shiny black sculptures and his hyperrealist drawings – often linked to the New Gothic Art movement – he has recourse to Heavy Metal iconography on both the formal, aesthetic and the level of content. He exemplifies the symbolism of death and decay, fluctuating between beauty and cruelty, as in scenes used by the subcultures of black metal music. Here, the dark recesses and absurdities of American society provide the thematic basis of his work.

Solo exhibitions

2012


Blum & Poe, Los Angeles, CA (forthcoming January/February)


 


2011


Galerie Thaddaeus Ropac, Paris


 


2010


Gladstone Gallery, New York, NY


Museum Dhont-Dhaenens, Deurle, Belgium


 


2009


Espacio Arte Contemporáneo La Conservera, Ceutí, Spain


Team Gallery, New York


 


2008


Maureen Paley, London (forthcoming September/October)


Galerie Rodolphe Janssen, Brussels (forthcoming April)


Museum of Modern Art, Fort Worth, Texas, Focus: Banks Violette


 


2007


Galerie ThaddaeuS Ropac, Salzburg


Team Gallery, New York, NY (forthcoming, June 28-August 17)


Gladstone Gallery, New York, NY (forthcoming, June 28-August 17)


Bergen Kunsthall, Bergen, Norway


 


2006


Maureen Paley, London


gallery.sora, Tokyo (with Gardar Eide Einarsson, with catalogue)


 


2005


Galerie Rodolphe Janssen, Brussels, on black wings/six-channel bleed (with Stephen O'Malley)


The Whitney Museum of American Art, New York, NY


Mitchell Algus Gallery, New York, NY (with Walter Redinger)


 


2004


MW Projects, London (with Nigel Shafran)


Peres Projects, Los Angeles, CA, Penteholocaust/The Sixty-Sided Stone of the Androgyne (with Matt


Greene)


 


2003


LISTE, Basel, Switzerland (under the auspices of Team Gallery)


Team Gallery, New York, NY, An Enquiry into those Kinds of Distress which excite agreeable


Sensations (1773): Slater Bradley & Banks Violette


 


2002


Team Gallery, New York, NY, Arroyo Grande, 7.22.95


 


2000


Team Gallery, New York, NY


Two-Person Exhibitions:


 


Group exhibitions

2016


Golden Eggs, Team Gallery, New York, NY, USA.


Omul Negru, Galeria Nicodim, Bucharest, Romania.


 


2014


BLACKOUT, Galerie Rodolphe Janssen, Brussels, Belgium.


 


2013


DISASTER, Galerie Thaddaeus Ropac, Pantin, France.


Old Black, Team Gallery, New York, NY, USA.


Altars of Madness, Casino Luxembourg, Luxembourg.


 


2012


Givon Art Forum, Tel Aviv, Israel, Accelerating Toward Apocalypse: Works from the Doron 


Sebbag Art Collection, ORS Ltd. (curated by Tal Yahas, traveling to Daimler Contemporary, Berlin, Germany)


Galerie Rodolphe Janssen, Brussels, Belgium, Dark Garnaal


 


2011


Regen Projects, Los Angeles, CA, Black Swan (curated by the Dominic Sidhu)


Alison Jacques, London, Robert Mapplethorpe: Night Work (curated by the Scissor Sisters)


 


2010


Seattle Art Museum, Seattle, Kurt (curated by Michael Darling)


Project 176/The Zabludowicz Collection, London, The Library of Babel/In and Out of Place


Gallery Koko, Tokyo, Japan, NEW YORK The Loudest


 


2009


Museum of Modern Art, New York, Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection (organized by Christian Rattemeyer with Cornelia H. Butler)


Kunsthalle Wien, Vienna, Austria, Elevator to the Gallows (with catalogue, curated by Banks Violette and Gerald Matt)


Galerie Rodolphe Janssen, Brussels, Dark Summer


Art | 40 | Basel, Basel, Switzerland, Art Unlimited (with catalogue, under the auspices of Team Gallery and Gladstone Gallery)


The Andy Warhol Museum, Pittsburgh, The End (curated by Eric Shiner)


 


2008


Point Ephemere, Paris, Extra Light


Gagosian Gallery, Red October Chocolate Factory, Moscow, for what you are about to receive


P.S.1, New York, That was then… This is now


Frankfurter Kunstverein, Frankfurt, Germany, The Great Transformation- Art and Tactical Magic  (curated by Chus Martinez, with catalogue)


Art | 39 | Basel, Basel, Switzerland, Art Unlimited (with catalogue, under the auspices of Galerie Thaddaeus Ropac)


Galeria Filomena Soares, Lisbon, Portugal, Murder Letters (curated by David Rimanelli)


 


2007


Baltic Centre for Contemporary Art, Newcastle, UK, When We Build Let Us Think That We Build Forever


Galerie Rodolphe Janssen, Brussels, Belgium, My Sweet Sixteen Party


Sorlandets Kunstmuseum, Kristiansand, Norway, White Light


Solomon R. Guggenheim Museum, New York, NY, The Shapes of Space


Palais de Tokyo, Paris, France, Bastard Creature (forthcoming)


Vanhaerents Art Collection, Brussels, Belgium, Disorder in the House


Migros Museum für Gegenwartskunst, Zurich, Switzerland, Collection Show


Contemporary Art Center, New Orleans, LA, The Eclectic Eye


 


2006


The Royal Academy, London, England, USA Today (works from the Saatchi Collection)


P.S.1., New York, NY, Defamation of Character (curated by Neville Wakefield)


Kunstmuseum St. Gallen, Saint Gallen, Switzerland, Lifestyle (curated by Konrad Bitterli, forthcoming


Fall, with catalogue)


Yerba Buena Center for the Arts, San Francisco, CA, Cosmic Wonder (curated by Betty Nguyen, with


catalogue)


MUSAC, Museo de Arte Contemporáneo de Castilla y León, Leon, Spain, Trial Balloons (curated by


Agustín Pérez Rubio, Octavio Zaya, Yuko Hasegawa, with catalogue)


Schirn Kunsthalle Frankfurt, Frankfurt, Germany, Youth of Today (curated by Matthias Ulrich)


Museum Boijmans van Beuningen, Rotterdam, The Netherlands, DARK (curated by Jan Grosfeld)


Mary Boone Gallery, New York, NY, I Love My Scene: Scene One (curated by José Freire)


Galerie Lisa Ruyter, Vienna, Austria, The Image Is Gone


Migros Museum für Gegenwartskunst, Zurich, Switzerland, While Interwoven Echoes Drip into a


Hybrid Body - an Exhibition about Sound, Performance and Sculpture (curated by Heike Munder and


Raphael Gygax)


 


2005


Sprüth Magers Projekte, Munich, Thank You for the Music (curated by Johannes Fricke Waldthausen)


Standard, Oslo, Blankness is Not a Void (curated by Gardar Eide Einarsson)


Barbara Gladstone Gallery, New York, NY, Bridge Freezes Before Road (curated by Neville


Wakefield)


Galerie Rodolphe Janssen, Brussels, La Beauté de l'Enfer: works on paper


P.S.1, New York, NY, Greater New York


Galerie Lisa Ruyter, Vienna, Suburbia


 


2004


Maureen Paley/Interim Art, London, The Black Album


Team Gallery, New York, NY, The Ice Age


Visual Arts Gallery, New York, NY, Beginning Here: 101 Ways (curated by Jerry Saltz)


Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA, Art and Illusion: Selections


from the Frederick R. Weisman Foundation


Roth Horowitz, New York, NY, Power, Corruption and Lies (curated by Neville Wakefield)


alternative space, Paris, Noctambule (under the auspices of D'Amelio Terras Gallery, New York, NY)


The Whitney Museum of American Art, New York, NY, The Whitney Biennial (with catalogue)


Anton Kern Gallery, New York, NY, Scream (curated by Fernanda Arruda and Michael Clifton,


exhibition traveled to the Moore Space, Miami, FL)


 


2003


Deitch Projects, Brooklyn, NY, Kult 48 Klubhouse (curated by Scott Hug)


Michael Steinberg, New York, NY, Flesh and Blood (curated by Tracy Williams)


Nicole Klagsbrun Gallery, New York, NY, A Matter of Facts (curated by Clarissa Dalrymple)


Cohan Leslie and Browne, New York, NY, Back in Black


Anton Kern Gallery, New York, NY, Melvins (curated by Bob Nickas)


Kunstlerhaus Palais Thurn und Taxis Gartnerhaus, Bregenz, Austria, The Return of the Creature (The


Continuing Saga of Elementalism, … Conceptual Practice and Romanticism After Robert Smithson, …


New Quasi-Cinemas, … and Post-Punk Existentialism) (curated by Steven Parrino)


 


2001


Contemporary Arts Center, Atlanta, GA, Dirty Deeds Done Dirt Cheap


Sandroni-Rey Gallery, Venice, CA, Ghost Stories (curated by Casey McKinney)


P.P.O.W., New York, NY, Learned America (curated by Jason Murison)


Visual Arts Museum, New York, NY, Diversity Plus: Emerging Artists in a Rapid World (curated by


Jeanne Siegel, with catalogue)


 


2000


Team, New York, NY, Summer with Friends


Andrew Kreps Gallery, New York, NY, Two Friends and So On (curated by Rob Pruitt and Jonathan


Horowitz)


alternative space, Brooklyn, NY, Columbia University M.F.A. Exhibition


 


1999


Momenta Art, Brooklyn, NY, Rachel Lowther and Banks Violette


 


1998


Visual Arts Gallery, New York, NY, Group Show (curated by Jeanne Siegel)


 


1997


Visual Arts Gallery, New York, NY, Group Show (curated by Carroll Dunham)


Lower East Side Community Center, New York, NY, MX Group Show


Bibliography

2010


O’Brian, Glenn, “Banks Violette” Purple Magazine, no. 14


Smith, Roberta, “Self Fulfilling Prophecies,” The New York Times, Art in Review, April 16th


Smith, Roberta, “Swagger and Sideburns, Bad Boys in Galleries,” The New York Times, February 12 , pp.


 


2009


Carvell, Nicky, “It’s Modern Mysticism; but Where’s the Magick?,” Super Super, p. 133.


Fano, Ramon, “Glossy,” Neo2, November, pp. 136-143.


Kurian, Ajay, “Banks Violette,” Psychonauten, pp. 203-207 (with illustrations).


Lieberman, Justin, “The (Continuing) Use-Value of Mike Kelley, An Open Letter Etc. Etc.,” Nero, Autumn, pp. 44-49 (with illustration).


Sachs, Brita, “Satanischer Minimalismus: Banks Violette bei Ropac in Salzburg,” Frankfurter Allgemeine Zeitung, January 5, pp. 43 (with illustrations).


Taylor, Mary Blair, “Banks Violette,” i-D, January (with illustrations).


 


2008


Bollen, Christopher, “Banks Violette,” Interview, December, p. 160 (with illustration).


Falconer, Morgan, “Banks Violette,” Art World, October/November, pp. 76-79


(with illustrations).


Sherwin, Skye, “New Trends in Art: Black on Black,” ArtReview, January, pp. 63-69 (with illustrations).


Westcott, James, “Banks Violette,” ArtReview.com, September 15 (with illustrations).


 


2007


Rosen, Misako, "Banks & Gardar," Tokion, January, pp. 32-7, 137 (with illustrations).


 


2006


Kopsa, Maxine, "Banks Violette's Death Metal," MetropolisM, Issue 5, pp. 64-5, 101-2 (with


illustrations).


Homes, A.M., "The Way They Work," Vanity Fair, December, pp. 340, 354-7 (with illustrations).


Regan, Kai, "Studio Visit," Black Book, October/November (with illustration).


Trembley, Nicolas, "L'oeuvre au noir," Numero, October, pp.88-92(with illustrations).


Needham, Alex, "kill to get the money," i-D, September, pp.188-91 (with illustrations).


Sherwin, Skye, "Banks Violette," ArtReview, September, p.134 (with illustrations).


Schwendener, Martha, "War on 45," Time Out New York, Aug 31- September 6 (with illustration).


Smith, Roberta, "Chelsea is a Battlefield: Galleries Muster Groups," The New York Times, July 28, p. __.


Leffingwell, Edward, "Group Exhibitions at Mary Boone," Art in America, June/July, pp.198-9.


Spiegler, Marc, "American Renaissance," The Art Newspaper, June 14, p. _ (with illustration).


Turner, Luke, "Arts: Slat of the Sun," Stool Pigeon, June, p.36-7, (with illustrations).


Wilson, Michael, "Subcultural Capital," Artforum.com, June 6, (with illustration).


Abbott, Jeremy, "blackened is the end winter it will send," i-D, June, pp.128-33.


Needham, Alex, "Art: Banks Violette," i-D, June, pp.70-1 (with illustration).


Umar, Saheer, "Studio: Banks Violette," Tokion, June/July, p.122 (with illustration.)


Wray, John, "Heady Metal," The New York Times Magazine, May 28, pp.31-5.


Johnson, Ken, "I Love My Scene: Scene 1," The New York Times, February 17, p_.


 


2005


Smith, Roberta, "Spotting an Aesthetic Dispute and Embracing All Sides," The New York Times,


December 17.


Ekroth, Power, "Blankness Is Not a Void," Artforum.com, December 7 (with illustration).


Castro, Jan Garden, "Conversations with Ghosts: Banks Violette," Sculpture, December, pp. 18-9


(with illustrations.)


Cohen, Michael, "Banks Violette," Flash Art, October, p. 76 (with illustration).


Jones, Kristin M., "Bridge Freezes Before Road," Frieze, October, pp. 217-8.


Cohen, Michael J., "Banks Violette: Cryptologist," Spike, Issue 5, pp. cover, pp. 36-45 (with


illustrations).


Barliant, Claire, "Banks Violette: Whitney Museum of American Art," Artforum, October, p. 273 (with


illustration).


Egan, Maura, "School of Goul," The New York Times Men's Style Magazine, Fall, p. 76 (with


illustration).


Sonnenborn, Katie Stone, "Displaced Histories: The Art of Banks Violette," The Brooklyn Rail,


September, p. 10 (with illustration).


Violette, Banks, "Glisten Up," The New York Times Style Magazine, Fall, pp. 74, 211 (with


illustrations).


Colman, David, "A Southern Gothic Memento Mori", The New York Times, August 7th, p. 8 (with


illustrations).


Davis, Ben, "Ultra Violette," Artnet.com, August 4th (with illustrations).


Cotter, Holland, "Fanciful to Figurative to Wryly Inscrutable," The New York Times, p. E29, 31.


Smith, Roberta, "Banks Violette," The New York Times, July 1st, p.E8 (with illustration).


Kley, Elisabeth, "Burnt Churches and Salt Pillars," New York Press, June 7th, p.26 (with illustration)


Gural, Natasha, "Whitney Museum commissions first solo museum exhibition…",Newsday.com, June 3.


Kennedy, Randy, "Master of the Dark Arts," The New York Times, May 15, Section 2, pp.1, 30 (with


illustrations).


Cotter, Holland, "Walter Redinger, Banks Violette," The New York Times, May 13, E36.


Rimanelli, David, "Greater New York 2005," Artforum, May, pp. 239-40 (with illustration).


Saltz, Jerry, "Lesser New York" Village Voice, March 28, p. 77.


Kimmelman, Michael, "Youth and the Market: Love at First Sight," The New York Times, March 18,


99.E37, 39 (with illustration).


O'Reilly, Sally, "The Black Album," Time Out London, 12-19 January, p.57.


Jones, Jonathan, "The Black Album," The Guardian, January 10.


 


2004


Tumlir, Jan, "My Pop: Banks Violette," Artforum, October, p.86 (with illustration).


Garrett, Craig, "Noctambule," Flash Art, October, p.60 (with illustration).


Slimane, Hedi, "Interview with Banks Violette," Doingbird, Issue #8, pp. 80-3 (with illustrations).


Rawsthorn, Alice, "A Gothic Romance," Pop, Issue 9, pp.222-229.


Lee, Chris, "Death Becomes Them," Blackbook," Fall, pp.190-192 (with illustration).  


Slimane, Hedi, "Ritual," Dazed & Confused, August, pp.66-97 (with illustrations).


DeBeer, Sue, "Artists on Artists: Banks Violette," Bomb, Summer, pp.52-3 (with illustrations).


Heartney, Eleanor, "The well-tempered Biennial," Art in America, June-July, pp.71-77.


Corread, Stephane, "Noctambule Spectral et Decale," Beaux Arts, June, pp.35-36


Dunn, Melissa, "Whitney Biennial 2004: A Good-Looking Corpse," Flash Art, May-June, pp.63, 80.


Rothkopf, Scott, "Many Happy Returns: Subject Matters," Artforum, May, pp.176-7, 233.


Bankowsky, Jack, "Many Happy Returns: This is Today," Artforum, May, pp.160-171, 233 (with


illustration)


Kimmelman, Michael, "Touching All Bases At The Biennial," The New York Times, March 12, pp. E27,


38.


Violette, Banks, "Whitney Bound", V Magazine, Spring, pp., (with illustration).


Caniglia, Julie, "American Splendor," Travel + Leisure, March, p.60 (with illustration).


Rosenberg, Karen, "Biennial Favorites," New York, March 1, pp.37-41 (with illustration).


Johnson, Ken, "Art in Review: 'Scream'," The New York Times, February 13, p.E36.


Saltz, Jerry, "Modern Gothic," Village Voice, February 4-10, p.86.


Pearson, Jesse, "I Do This, I Do That: The Personality Artist and Heavy Metal Dandyism," Parkett,


February, pp.180-183 (with illustrations).


Violette, Banks, "Top Ten," Artforum, January, p.59 (with illustration).


 


 


2003


Iles, Chrissie, "Best of 2003," Artforum, December, pp. 122-123 (with illustration).


Harris, Jane, "Review of 'An Enquiry…'," Time Out New York, October 2, p. 63.


Schwendener, Martha, "Review of 'Back in Black'," Time Out New York, July 31, p. 53 (with


illustration).


Cohen, Michael, "The New Gothic," FlashArt International, July-September, pp. 108-110 (with


illustration).


Wysong, Brennen. "Fiend Club", Flyer, June, p.__. (with illustration).


 


2002


Jones, Jonathan, "Stop Spreading the News," The Guardian, August 28, pp. __-__.


Worth, Alexi, "Art Choice," The New Yorker, August 19, p. 38.


Johnson, Ken, "Art In Review: 'Banks Violette'" The New York Times, August 2. p. E33.


Levin, Kim, "Voice Choice," The Village Voice, July 30, p. 96.


Honigman, Ana Finel, "Review", Time Out New York, July 25, p. 54 (with illustration).


MacKenzie, Michael A., "Banks Violette: Investigations into Alienation," Visual Arts Journal, Summer, pp. 10-11 (with illustrations).


Public and private collections

The Coppel Foundation, Mexico


The Ellipse Foundation, Portugal


The Jumex Foundation, Mexico


Los Angeles County Museum of Art, Los Angeles


Migros Museum für Gegenwartskunst, Zurich, Switzerland


Musée d’Art Moderne et Contemporain, Geneva, Switzerland


Museum of Contemporary Art, Los Angeles


Museum of Modern Art, New York


The OverHolland Collection, Amsterdam, The Netherlands


The Solomon R. Guggenheim Museum, New York


Frederick R. Weisman Art Foundation, Los Angeles


Whitney Museum of American Art, New York