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	Daniel Buren - Wikipedia, the free encyclopedia
		Daniel Buren (born March 25, 1938) is a French conceptual artist.
		In 1986 he created a 3,000 m² sculpture in the great courtyard of the Palais Royal, in Paris: "Les Deux Plateaux", more commonly referred to as the "Colonnes de Buren" ("Buren's Colums").
		In the late 1960s Buren hit on the mark that connected him with ideas of space and presentation arising through deconstructionist philosophies backgrounding the May 1968 student demonstrations in France.
	en.wikipedia.org /wiki/Daniel_Buren (465 words)

	Performing the Frame: Daniel Buren, Degree Zero Painting and a Politics of Beauty
		The work of Daniel Buren, his craft both written and manual, is constituted by the dynamism of dialectical thinking, a certain to-and-fro of intellectual questioning that, while in the continual process of interrogation and the dismantling of the traditions of art history and art making, is nevertheless devoted to experiences of beauty.
		For Buren and his compatriots, the visual rhetoric of sanctity and autonomy within the realm of the museum and gallery as represented by the aseptic white walls and hollow spaces was but the means to increase the value of a given work of art within the market.
		Buren's work is thus constituted by an ontological critique of art that is fueled by his desire to reconfigure the act which is fundamental to the experience of painting: namely, seeing.
	www.stretcher.org /reviews/images/2002/symposia/performingtheframe.html (3616 words)

	village voice > art > Daniel Buren by Jerry Saltz
		The 66-year-old Buren once claimed to be "a virulent opponent of the institution." Now he says, "All artists are part of it." This doesn't mean his art has turned docile or that he's a toady.
		Buren is known primarily for his stripe paintings, which he calls "visual tools"—amalgams of Ellsworth Kelly and Frank Stella by way of Matisse and readymades.
		Buren has always wanted art to be something that is part of life but that also heightens that life while exploring it.
	www.villagevoice.com /art/0521,saltz,64223,13.html (768 words)

	The Stripes and (Nearly) Nothing but the Stripes (Site not responding. Last check: 2007-10-07)
		Buren, who actually patented the exact width of the stripes (8.7 centimeters or 3.4251968503937 inches) admitted then (some 30 years ago) that they were devoid of any intrinsic merit as visual objects.
		Buren, initially hailed as a revolutionary (at a big exhibition in Milan in 1968), gradually turned his self-imposed handicap into a decorative signature and made a brilliant career with the faithful support of French national and cultural institutions.
		Buren may argue that he is just a minimalist like any other — although naming the crime surely does not excuse it — or he may more legitimately hold that he is being entirely consistent with the above-mentioned philosophy of the age.
	www.georgetown.edu /faculty/irvinem/visualarts/NYT-Buren-Pompidou-TheStripesand(Nearly)NothingbuttheStripes-8-4-02.h (763 words)

	deborah garwood on daniel buren at the guggenheim
		deborah garwood on daniel buren at the guggenheim
		Buren had come to the conclusion that there was no such thing as an autonomous art object; it was nested within the ideology of the museum or gallery if indoors, and situated amidst the forces of police power if outdoors, in public space.
		Buren's oeuvre is ultimately rooted in both modernism and early 20th century avant garde experiments in art, graphic design, photography, architecture, and politics.
	www.artcritical.com /garwood/DGBuren.htm (1312 words)

	illy collection - illy cup - cups collection - Espresso coffee cup
		After preliminary groundwork his artistic-coming-of-age can be said to date from the mid-sixties when he conceived of a "visual instrument", a fabric sporting a pattern of coloured and white bands of equal width, the perfect expression of his pictorial ideas.
		Thanks to this outil visual that was henceforth to become his trademark, so to speak, Buren had not only hit upon the key to his future artistic work but also upon a critical standpoint from which to reconsider many of the traditional ideas around the concept of art.
		From the mid-sixties Buren has over the years been consistent and coherent in his artistic pursuit and practice, as is also reflected in the present illy collection that clearly embodies his fundamental concepts and values.
	www.illy.com /Illy_En/Art/illy_collection/2004/Daniel_Buren.htm (401 words)

	Exhibiton 90; Daniel Buren; Farbtransparenz
		Lives and works in situ." This brief piece of biographical information is what Buren himself chooses to give, something which defines the principle of his work.
		The vertical stripes, always having the same breadth, and in white and another colour, served as a means to reduce the pictures to object-like, material qualities, thus questioning the fundaments of painting.
		The walls consist of a wooden grating, the inner fields of which are covered with Plexiglass panes the same size as those of the skylight.
	www.portikus.de /ArchiveA0090.html (496 words)

	buren (Site not responding. Last check: 2007-10-07)
		Buren disputes the widely-held idea that the traditional role of the museum can be subverted by artists using non-traditional forms and materials.
		Buren notes that new, radical forms of abstraction such as Minimal and Conceptual art were seamlessly accepted into the space of the museum and, in fact, often depended on the museum for validation.
		Buren's goal is to make his work inseparable from the space where it is being shown, thereby calling both art and the structure of its presentation into question.
	members.aol.com /MenuBar/abstract/buren.htm (191 words)

	Daniel Buren -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-07)
		Daniel Buren (born March 25, 1938) is a (The Romance language spoken in France and in countries colonized by France) French (additional info and facts about conceptual art) conceptual artist.
		He was born in (additional info and facts about Boulogne-Billancourt) Boulogne-Billancourt, near (The capital and largest city of France; and international center of culture and commerce) Paris.
		In the late (The decade from 1960 to 1969) 1960s Buren hit on the mark that connected him with ideas of space and presentation arising through deconstructionist philosophies backgrounding the May 1968 student demonstrations in France.
	www.absoluteastronomy.com /encyclopedia/d/da/daniel_buren.htm (453 words)

	Daniel Buren at Art Minimal & Conceptual Only (Site not responding. Last check: 2007-10-07)
		Daniel Buren, just having flown in from France and resplendent in a fl silver buttoned velvet vest, walks to the table where his box has been placed.
		Daniel Buren is the most emotional of all the artists at this point, and it becomes apparent why when he pulls out a letter taped inside the opened box.
		Daniel Buren, his voice filled with emotion, quietly states: "My friend died three years ago".
	home.sprynet.com /~mindweb/buren.htm (426 words)

	Books Art & Photography - General: Daniel Buren (Site not responding. Last check: 2007-10-07)
		Daniel Buren consistently questions how art is conceived and perceived, and deliberately inverts the relationship that visual artworks maintain with the places where they are exhibited.
		Because an exhibition site is never neutral, Buren integrates the location's characteristics into the work itself, to prevent the work from being hijacked by its place of presentation.
		Author Guy Lelong examines the evolution of Daniel Buren's work from the advent of his famous 65-foot striped canvas in 1965 to his large-scale formal apparatuses of recent years.
	www.tocant.com /General/Daniel-Buren.html (227 words)

	The Epoch Times \| Guggenheim Welcomes Back French Artist Buren
		Buren has returned all these years later to once again capitalize, and perhaps, impose upon, Frank Lloyd Wright’s spiraling rotunda.
		As in past shows, Buren’s work addresses the framework or context in which a work of art is viewed.
		The exhibition also includes a collection of twenty of Buren’s striped canvas paintings dating from 1966-1977, as well as colored film transparencies in geometric shapes that filter the incoming light in the day, and are lit from outside in the evening.
	english.epochtimes.com /news/5-3-26/27344.html (494 words)

	A Trojan Horse of Illusions (Site not responding. Last check: 2007-10-07)
		In his 20s, the artist Daniel Buren, born in France in 1938, was inspired to paint on the striped canvases sold at Parisian textile markets at the time for ubiquitous use as café awnings.
		Over the next 35 years, Buren continued to develop simple, yet conceptually incendiary projects for innumerable public spaces, galleries and museums around the world, emblematic of his view that the autonomous art object was a fiction.
		Buren has come up with something big, appropriately named “The Eye of the Storm.” The project consists of three installations displayed in different areas of the museum, individually entitled “Around the Corner,” in the rotunda; “Wall of Paintings,” in the High Gallery; and “Color, Rhythm, Transparency, work in situ” in the Thannhauser Galleries.
	www.gaycitynews.com /gcn_415/atrojanhorseofillusions.html (1045 words)

	anaba: Daniel Buren lecture
		I have about fifteen messily written pages of notes from last week's Daniel Buren lecture so I expect this will be the first of at least two posts.
		Buren was careful to emphasize this mosaic was made of pure colored glass, maybe this colored glass relates to his later use of colored gels.
		I unfortunately missed the lecture, but the conversation b/t Buren and Olafur Elliasson in the current issue of Artforum is worth the read.
	anaba.blogspot.com /2005/05/daniel-buren-lecture.html (589 words)

	AIGA - Daniel Buren: Occupying the Page
		Daniel Buren’s current exhibit at the Guggenheim Museum, The Eye of the Storm, shows how aggressive graphics can be.
		In 1971, Buren hung a 65 x 32 foot fl-and-white striped banner from the skylight of the Guggenheim Museum to the bottom of the first ramp.
		One of Buren's stated interests was a post-studio artistic practice; and in defining such, one needs to identify the elements of studio-based practice — like the Museum and (capital P) Painting.
	journal.aiga.org /content.cfm?ContentAlias=_getfullarticle&aid=1095414 (2164 words)

	The Eye of the Storm Guggenheim Museum New York - Pressrelease
		Buren began painting in the early 1960s in a mostly abstract idiom, and after a short but prolific period of experimentation with this medium the artist discovered the striped material which would become his signature.
		Buren had a major solo exhibition, Le Musée qui n'existait pas in 2002, which challenged expectations of the conventional retrospective, at the Centre Georges Pompidou in Paris, and in 2003, he mounted an exhibition at the Municipal Museum of Art, Toyota City, Japan.
		Daniel Buren presents the New York premiere of a performance in which his signature colored stripes come alive on the stage.
	www.undo.net /cgi-bin/undo/pressrelease/pressrelease.pl?id=1111571800 (4583 words)

	The New York Times > Arts > Art & Design > Art Review \| 'The Eye of the Storm': Tall French Visitor Takes ... (Site not responding. Last check: 2007-10-07)
		Daniel Buren's site-specific installation rises from the floor of the Guggenheim Museum's rotunda, with scaffolding on one side and a mirrored corner, reflecting the circular ramp, on the other.
		Buren has been a particular darling of art theorists, beloved for what is perceived as his conceptualist élan.
		Buren gets in such precincts is in curious contrast, as the art critic Katy Siegel pointed out on a panel the other day, with the contempt that Christo and Jeanne-Claude generally receive.
	www.nytimes.com /2005/03/25/arts/design/25KIMM.html?ex=1269406800&en=1764f260145b70e6&ei=5088&partner=rssnyt (869 words)

	Daniel Buren Profile (Site not responding. Last check: 2007-10-07)
		In the latter half of the 1960's, after studying painting, Daniel Buren began producing works by using striped cloth.
		This striped cloth, which Buren calls "a seeing tool," is a fabric that is widely sold in France.
		In 1968, for example, Daniel Buren, without permission, put up 200 striped posters around Paris; in 1970, also unauthorized, he put up striped posters in 140 Metro stations.
	www.soum.co.jp /mito/art/96/buren/profile-e.html (344 words)

	Daniel Buren: Eye of the Storm
		For his major new project at the Guggenheim, Buren has designed a reflective, cube-like structure that will reach to the height of the oculus and dramatically bisect the renowned interior of the Frank Lloyd Wright-designed rotunda.
		Adorning the parapet walls, Buren’s familiar stripes will draw visitors’ attention to the powerful personality of the building as well as particular characteristics that inform its role as a space for viewing art.
		Over the years Buren has inserted his stripes in paper or cloth in a range of contexts, including billboards, signposts, park benches, hay bales, café tables, subway doors, sailboats, escalators, windows, walls, bridges, markets, galleries, and museums, among others to draw attention to what often goes unnoticed, unseen.
	www.artbook.com /089207325x.html (403 words)

	Haber's Art Reviews: Daniel Buren, Hilla Rebay, and Jorge Oteiza
		Daniel Buren has a simple answer to the museum failings: he uses his trademark stripes and a mirrored scaffolding to make it literally a pale reflection of its old glory.
		Buren can never quite live up to his own expectations or to the metaphor of art as a mirror.
		Daniel Buren ran at The Solomon R. Guggenheim Museum through June 8, 2005, Hilla Rebay through August 10, with a smaller show at D.
	www.haberarts.com /rebay.htm (2064 words)

	Artfacts.Net: The Eye of the Storm - Works in SITU by Daniel Buren
		Daniel Buren, Peinture acrylique blanche sur tissu rayé blanc et vert (White Acrylic Paint on White and Green Striped Fabric), October 1966.
		Buren first began working with the striped awning canvas that has become his signature motif in 1965; operating as a neutral sign for the practice of art, this “visual tool” works to expose the conditions surrounding its own exhibition while providing new experiences of space, movement, and perception within existing sites.
		For the Guggenheim Museum, the French-born Buren will create a site-determined installation in the main rotunda, directly addressing the space and architecture of the well-known Frank Lloyd Wright spiral and its function as a space for viewing.
	www.artfacts.net /index.php/pageType/exhibitionInfo/exhibition/17079 (195 words)

	Artnews.info New York: DANIEL BUREN at Guggenheim New York 25 Mar - 08 June 2005
		Throughout his career Daniel Buren has radically questioned the nature of art and the systems that support and manipulate it.
		Born in Boulogne-Billancourt, outside Paris, in 1938, Buren began painting in the early 1960s and after a short but prolific period of experimentation with this medium, the artist discovered the striped material that would become his signature.
		By reducing his paintings to their simplest visual and physical elements, emptying them of all illusion and subjectivity, Buren questioned the traditional expectations of the form, though he often applied acrylic to the outermost white stripes to differentiate the fabric from a found object.
	www.artnews.info /news.php?i=331 (255 words)

	Art in America: Two for the road - Arts Club of Chicago holds exhibitions of Daniel Buren and Richard Pettibone
		Buren deconstructed Mies's gridded system by inscribing a horizontal line onto each 8-by-4 panel dividing the planar surface into two large squares.
		However, Buren's critique lost some of its force because of the installation's poor execution (misaligned joints, streaky paint, fingerprinted surfaces), which unintentionally recalled Mies's famous assertion that God is in the details," a dictum central to his vision and work.
		This material shoddiness of Rigidity/Flexibility was particularly disappointing, given Buren's stature and the success of his previous Chicago installations: Up and Downs, In and Out, Step by Step, a Sculpture (1977) and Watch the Doors Please (1980-82) both at the Art Institute, and Intersectin Axes: A Work in Situ (1983) at the Renaissance Society.
	www.findarticles.com /p/articles/mi_m1248/is_n9_v83/ai_17502879 (1396 words)

	Daniel Buren Online
		Daniel Buren at the National Gallery of Art, Washington D.C. Gemini G.E.L. prints
		Daniel Buren copyright requests handled by the Artists Rights Society.
		All images and text on this Daniel Buren page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/buren_daniel.html (254 words)

	PROJECT GALLERY > DANIEL BUREN
		Daniel Buren (born 1938 in Paris, France) is living and working in situ.
		Since 1965, he uses the alternated white and colored stripes always in 8.7 cm in width, and the place where the work is created is measured by the stripes as a unit of common measurement.
		Then, the stripes which are place in the site assure visually the same function than the graduations of a ruler of measure.
	www.cca-kitakyushu.org /english/project/buren_bio.shtml (70 words)

	THE BROOKLYN RAIL - ART
		Even at first, light-dazzled glance, Daniel Buren’s “Around The Corner” clearly lacks the vaulting, utopian optimism of Tatlin’s famous tower: all mirrors and clunky plywood structure of the kind one might see during renovations, it is wholly unrevealing.
		For The Eye of the Storm, Buren has emptied all of the Guggenheim’s central galleries except one, which he has filled with Murs de Peintures, a collection of the striped canvases he began working with in the mid-1960s and for which he is best known.
		To this end, Buren and his collaborators undertook site-specific – the term he prefers is in situ—projects using pre-printed striped fabric or paper, typically hand painting a single white stripe in order to distinguish them from Duchampian readymades.
	www.thebrooklynrail.org /arts/may05/eyeofthestorm.html (1908 words)

	ArtForum: Daniel Buren
		From the opening salvo of his mammoth exhibition "Le Musee qui n'existait pas" at the Centre Georges Pompidou--a giant square of red-and-white-striped canvas hung in the entry forum--one had the feeling that, unlike the Museum that hadn't existed, this is the Daniel Buren that always was.
		For his contribution, Buren reacted by stealthily installing the panels that make up Haacke's work on top of his own striped patches of wall, in effect ceding his position within the show to Haacke.
		In this purposeful confusion Buren engendered yet one more metaphor of the culture industry: the museum removed from the notion of art as the realm of disinterest, and thus a place of retreat from a life of instrumentalized striving, and instead turned into just another competitive marketplace.
	www.findarticles.com /p/articles/mi_m0268/is_4_41/ai_95676023 (898 words)

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