Objects
Ensemble
"Artists now work with what is called conceptual methods and supposedly don’t use objects. But you can’t not use objects. A TV monitor is an object, a wall with a projection on it is the wall with a projection on it—it’s very much an object. I still see the stretched canvas, and I like seeing the stretched canvas. I don’t see the painting in perspective; I don’t believe that it looks like reality, that its perspective copies nature. I don’t believe that it’s removed nature; I think it is paint on canvas with a certain trick called perspective that is just a little trick." [full text [here](http://ensembles.mhka.be/items/3194)]
Items
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Untitled (Amenemope, an E...
Jimmie Durham, Untitled (Amenemope, an Egyptian soldier, 1370 BC), 1992. Sculpture, wood, iron, bone, paper, 45 x 30 cm.
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Black Walnut
Jimmie Durham, Black Walnut, 2003. Assemblage, paper, text, black walnut wood, walnuts, variable dimensions.
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Second Life
Jimmie Durham, Second Life, 2010. Sculpture, wooden table, wooden golf club, plastic tape, a book, 73 x 60 x 110 cm.
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Untitled
Jimmie Durham, Untitled, 1992. Mixed Media, papier mâché, marble dust, wood, 38 x 25 x 11 cm.
Actors
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Maria Thereza Alves
Maria Thereza Alves was born in Brazil and moved to New York at a young age. She has worked for the International Indian Treaty Council in Ne
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Jimmie Durham
Jimmie Durham was born in 1940 in (or, as he himself says, ‘under’) the state of Arkansas in the US, into a Cherokee family. After working di
Ensembles
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Jimmie Durham 1964 - 1972
Jimmie Durham was born in Arkansas, U.S., and became involved with art and theatre in the 1960‘s. He has lived in Houston, Texas, where toget
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Jimmie Durham 1980 - 1993
In the period between 1973 and 1979 Jimmie Durham was full-time involved with the American Indian Movement and did not make art. He was the d
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Drawings, Display and oth...
This ensemble is a selection of Jimmie Durham’s works using two-dimensional support, including drawings, paintings, photographs and other art
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Performance, Video and Se...
"In general, there’s not much place for performance now. It looks like the sixties too much, it feels like the sixties did, it feels like it’