Fighter Jet
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
911
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
OIL
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
WAR
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Tank
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Bomb
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Cross
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
HIV
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Swastika
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
S
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Granade
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
David Star
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Gun
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Hammer & Sickle
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Kalashvikov
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
KKK
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Knife
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Mushroom Cloud
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Crescent Star
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
Skull & Bones
From Stop The Violence Series
Archival inkjet print
38 x 50 inches
LeNoirAmer
2008
30 x 38 inches
pigmented ink print
Operational Services
2008
30 x 38 inches
pigmented ink print
Fundraise
2008
30 x 38 inches
pigmented ink print
Broken Finger
2008
30 x 38 inches
pigmented ink print
Cal Royal
2008
30 x 38 inches
pigmented ink print
I'm going to see my boyfriend
2008
30 x 38 inches
pigmented ink print
Club International
2008
30 x 38 inches
pigmented ink print
OK
2008
30 x 38 inches
pigmented ink print
Dumpster Dive
2008
30 x 38 inches
pigmented ink print
Wing
2008
30 x 38 inches
pigmented ink print
A Dollar In Change
2008
30 x 38 inches
pigmented ink print
Alta Forma
2008
30 x 38 inches
pigmented ink print
Ten Chicklets
2008
30 x 38 inches
pigmented ink print
Time of the Monsoon
2008
30 x 38 inches
pigmented ink print
Blue Nails
2008
30 x 38 inches
pigmented ink print
Eulogy
2008
30 x 38 inches
pigmented ink print
Sweet Low
2008
30 x 38 inches
pigmented ink print
Chelsea Presenting
2008
30 x 38 inches
pigmented ink print
Snow
2008
30 x 38 inches
pigmented ink print
Nikon Gallery, Zurich Switzerland, 1977 "Sequences"
Nikon Gallery, Zurich Switzerland, 1979 "Made in America"
Betsy Rosenfield Gallery, Chicago 1984 "Before & After
Nikon Gallery, Zurich Switzerland, 1986 "Before & After"
Betsy Rosenfield Gallery, Chicago 1988 "Transformation of an image"
Chicago Cultural Center, Chicago 1989 "China"
Field Museum, Chicago 1993 "Skulls"
Judith Racht Gallery Harbert, MI 1997 "Photographing the Object"
Kunsthaus, Kaufbeuren Germany 2004 "Faces"
Gewerbemuseum, Winterthur Switzerland 2006 "Faces"
Kunsthal, Rotterdam Netherlands 2007 "Faces"
Carl Hammer Gallery Chicago 2008 "Contents"
ArtsEye Gallery Tucson Arizona 2009 "Up Close"
The Visual Art House 2012, Hamburg,Germany "Stop the Violence"
Selected group show:
Photokina Germany 1972 "Sequences"
Triennal International de la Photographie, Fribourg Switzerland 1975, 1978, 1981
Centre Cultural, Neuchatel Switzerland 1976
Casa Cultural, Madrid Spain 1977 "Invitational Show"
Hyde Park Art Center, Chicago 1978 "Flowers Show"
Artemisia Gallery, Chicago 1979 "Invitational Show"
Hyde Park Art Center, Chicago 1980 "Contents"
Kunst Museum, Bern Switzerland 1980
Mervin Gallery at Illinois Wesleyan University, Bloomington IL 1981 "Photography Invitational"
Illinois State Museum, Springfield IL 1981 'Illinois Photographer"
Museum of Contemporary Photography, Chicago 1982 "Cats"
Gallery One, Forth Worth TX 1982 "Before & After"
Museum of Contemporary Arts, Chicago 1982 "The Dennis Adrian Collection"
Museum of Contemporary Photography, Chicago 1984 "A year in Chicago's Grant Park"
Artemisia Gallery, Chicago 1985 "Looking at man"
Nikon Gallery, Zurich Switzerland 1986 "A moment..for example,today"
Hayden Gallery+List Visual Art Center+Massachusetts Institute of Technology 1986 "Nude,Naked,Stripped"
Nikon Gallery, New-York 1986 "A day in the life of America"
N.A.M.E Gallery, Chicago 1987 "Dia de Los Muertos"
Betsy Rosenfield Gallery, Chicago 1987 & 1988 "Group Show"
Struve Gallery, Chicago 1989 "Dennis Adrian,a critical subject"
Gallery 400 at UIC Chicago 1990 "Nature/nature"
Ehlers-Caudill Gallery, Chicago 1992 "Flowers"
Museum of Contemporary Photography, Chicago 1999 "Ears"
Museum of Photography Winterthur, Switzerland 2004 "Im Rausch der Dinge"
Etherton Gallery, Tucson, Arizona 2011, "Flesh Bone and Spirit"
Chicago Cultural Center 2012, "Morbid Curiosity"
Illinois State Museum Gallery 2013, "Everything in Place"
STOP THE VIOLENCE
The human skeleton is a powerful visual symbol. It has come to represent the “remains” or what’s left after life has ended, after the flesh and mind cease to function. In my photographs, Robert uses the human skeleton as the formal visual element, the subject of the image. In this manner, the skeleton is both the protagonist and antagonist (the Buddhist notion about, “the duality of man” seems apt).
For each photograph the artist disassembles the modular system of the skeleton and reconfigures the elements to form a new image. These images are man made. Images of aggression, images that cause suffering, devastation and conflict. Robert intends the images to plant the notion of restraint and charity in an effort to promote peace and tolerance.
CONTENTS
When I was 13, my mother caught me taking a few coins from her visiting friend's purse. "Francois", she said, "A woman's handbag is more private than her body."
And so began the intrigue. In the Seventies, working as a photographer, I started to document what I found in people's bags and packets. Was it an excuse to undress the individual I selected that day?
Over the decades, I photographed what was inside the purses and pockets of dozens of my friends, acquaintances and friends of friends. I'd invite them to my studio for "a special portrait," not wanting to disclose my intention so I could maintain spontaneity and keep people from editing their belongings. The real challenge was to present my subjects possessions non-judgmentally, like an archeologist might catalog artifacts, freezing in thime what a certain person was carrying on a particular day in a particular year.
The result of this exploration is "Contents," a series of photographs that I tried to make both objective and revealing.
