Cady Noland

• Cady Noland's America

  I don’t really see urban liberal bourgeois fetishism of Americana to be such a negative thing

• Cady Noland at Gagosian, Park and 75th

  Is it fair to use Noland’s selective participation as a detracting factor in an otherwise exciting new show? I think not.

• Why Cady Noland’s Disabling America Never Sat Quite Right With Me

  But still, she gestures at a bigger, bleaker truth: that the neoliberal state benefits from discourses of empowerment, which conveniently place responsibility on the individual rather than the government.

• Gagosian is pleased to announce an exhibition of new sculptures by Cady Noland at the gallery’s Park & 75 location in New York
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  Allen Frame, Cady Noland, phone booth, NYC 1981

• How Many Cady Nolands Do You See?

  There are classic pictures of young art dealer Lucien Terras modeling stockades at Cady Noland’s 1994 exhibition at Paula Cooper Gallery. Gibbet, above, is named after the lamppost-like cages used to starve people to death in public. It has an American flag draped over it, with carefully placed holes to allow the stockade to function as it was designed. Your Fucking Face is named after your fucking face, I guess, and is identical except for the flag.

  
• Why We Should Talk About Cady Noland

  By issuing a prescriptive manifesto of sorts, it is easy to connect Noland’s art to that of Minimalists such as Donald Judd, Robert Morris, and Robert Smithson, all prolific writers as well as sculptors. Formal connections are also present, from her use of industrial materials to her deployment of increasingly reductive visual forms over the course of her career. But her art refuses the muteness of Minimalist works.

• The Art of Cady Noland as Poison Pill

  Noland has made a post-production intervention on her own work, essentially voiding it for the machinations of the market. Hers is a speech act of incantatory power. Instead of bestowing honor or value on the work, she has taken that value away after producing it and letting it go from her hands.

  
• Moral Rights of the Artist (when Present): an Updated US Perspective

  Noland believed the conservation work done to Cowboys Milking constituted detrimental changes that prejudiced her honour and reputation as an artist; she sought to assert 'her right to prevent the use of her name as its author' Sotheby's consignment agreement with the defendant-collector allowed the auction house to unilaterally withdraw lots from sale, and, when faced with possible VARA claims, Sotheby's exercised its discretion to withdraw the lot.

• Court dismisses Cady Noland’s lawsuit against collector and dealers who conserved Log Cabin sculpture

  Noland said this was done without her consultation and the artist objected to the change, disavowed the sculpture, and filed a lawsuit.

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  Cady Noland outlines in this fax one of the possible variations for displaying her large, spray painted cardboard edition for Parkett 46.

• Journal of Contemporary Art

  In the United States at present we don’t have a “language of dissension.”

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  The artist hereby certifies that the work of art described above is an original and authentic work by her.

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  The artist wasn't consulted

• Art Dealers Strike Back at Artist Cady Noland in an Increasingly Philosophical Legal Dispute About a Restored Sculpture

  I do not think I am difficult to work with, I just do not want anyone to change, modify, or destroy my art.

• This American Life: Cady Noland’s Art Feels More Prescient, Incisive, and Urgent Than Ever

  I’m not interested in speculating about Noland’s reasons for stepping back from the art world. Only she knows them. But I am intrigued by the cascading effects of her silence. It is a way of exercising control, submitting to no questions, offering nothing new.

• An Anthology Of Cady Noland Disclaimers

  Please note the stand with which the lot is being displayed is not the stand that Cady Noland designed for this work and this stand is not included in the sale of this lot. As a result, subsequent to the sale, the buyer will be provided with a new stand, which will be in accordance with Ms. Noland’s copyrighted stand design for this lot, and which will be an integral part of the complete work.

• The Escape Hatch: On Cady Noland

  Last year marked the twentieth anniversary of the disappearance from the art world of the artist Cady Noland. ... Noland simply walked away from her craft without explanation, an artist still very much "in demand." Everyone had wanted her magic. ... During her brief career Noland's gaze would remain fixated on institutional control and the American public spectacle of cruelty, and her aesthetic would grow increasingly embittered, clinical and mean.

• Is Cady Noland as Psychotic as Richard Prince?

  We overheard paid photographers being informed that the work was not to be shot, even in the background of a picture of guests. Any images where Noland's pieces were accidentally visible were not to be posted online. Why? Because the famously reclusive artist refused to endorse the show. Brant owns the works, so there's legally not much she can do, but the show nevertheless features a plaque that reads "Because Ms. Noland have [has] not been involved with the chain of provenance with many of my [her] pieces there are more situations like this show which place demands on her time and the artist's attention to ensure proper presentation of her artwork (including its representation in photographs), than she has time or capacity to be involved with. She reserves her attention for projects of her own choosing and declined to be involved in this exhibition. The artist, or C.N., hasn't given her approval or blessing to this show."

• Cady Noland Works, and a New Disclaimer, Appear at the Brant Foundation

  Noland, for instance, required Christopher D’Amelio to hang a pretty awesome disclaimer in his booth at Art Basel in 2012, which read in part, “Ms. Noland does not consider Christopher D’Amelio to be an expert or authority on her artwork.”

  
• Cady Noland, Guggenheim Bio

  Noland believes the male psychopath is the ultimate example of Americans’ tendency to manipulate and objectify one another.

• Interview with Michèle Cone, Journal of Contemporary Art

  I also like anonymous kinds of things. To treat objects like objects is to do something to them — which is not to say necessarily to transform them — which implies a kind of ascendancy or positive motion forward. This would be a modern movement. What I'm describing is not postmodern either, though. That implies a kind of faith in various styles.

• Context and Silence: On the Art Writings of Eva Hesse and Cady Noland

  Though I search the internet, stalking Noland, I cannot find her. I find only debris, the objects of her installations: wire fences, stacks of beer cans, plastic milk crates, flags, and scaffolding. There is no monograph of her work. There is no image of Noland.

  
• The Violent Forms of Alexander Calder And Cady Noland

  Noland’s “Gibbet” (1993–94), the more forceful of her two included works, is an unambiguous synopsis of the centuries-old American propensity to discipline and punish.

  
• How a New Kind of Artist Contract Could Provide a Simple, Effective Way to Redistribute the Art Market’s Wealth

  I wasn’t sure we were onto something until I learned that in 1992 artist Cady Noland, well known for her complex portrayals of a violent and divided America, once attached a contract to the sale of two artworks that set specific terms—if the work was resold, 15 percent of the profits would be sent to Partnership for the Homeless

• Cady Noland: Museum für Moderne Kunst, Frankfurt

  Mornings are for cease-and-desist letters, afternoons for rebuffing the advances of the great museums of the world. Conspiracy theory is Cady Noland’s lifeblood, refusal her modus operandi. Difficult, reclusive, idle and industrious, forsaken by her vocation (for how long now?), yet still ferociously committed. Noland—we mythologize art’s mad widows—would be certifiable if she were not simply right

  
• Cady Noland MUSEUM MMK FÜR MODERNE KUNST

  What was she thinking? What was she thinking about Lee Harvey Oswald or Charles Manson, Betty Ford or Jackie O.? What was she thinking about the old red, white, and blue? About violence? About American history?

  
• Once Upon A Time In America: The Violence Of Cady Noland

  This show comes as a surprise because Noland has maintained a significant distance from the contemporary art world for some time. Many of the sculptures here date back to the late 1980s and early 1990s. Her reclusive stance might share a Pynchon-esque scepticism about fame and unwanted media attention.

  
• The Picture of Little Cady Noland in a Prospect of Horrors

  And let’s not be stuck in the mire of childhood I am thinking. C.N.’s solo debut at White Columns, New York, March 24–April 2, 1988, occurred during the same moment that the familial psychodrama of the Sullivan Institute for Research in Psychoanalysis went public

  
• This Piece Has No Title Yet

  “This Piece Has No Title Yet” is the title of Cady Noland’s 1989 installation with boxes, flags and hundreds of stacked Budweiser six-packs.

• COWBOYS MILKING — Formerly Attributed to Cady Noland

  “Noland decided to disavow authorship of the work. She also demanded it be withdrawn from auction. Sotheby’s complied and the collector sued for $26 million.