Greenspon

Bill Bollinger

Born 1939 in Brooklyn, New York. Lived and worked in New York, New York. Deceased in 1988.

 

Education

Art Students League of New York, New York

Brown University, Providence, Rhode Island

 

Solo Exhibitions

2012

Algus Greenspon, New York, New York

Bill Bollinger: The Retrospective, Sculpture Center, New York, New York

1974

OK Harris Gallery, New York, New York

1970

Bykert Gallery, Starrett-Lehigh Building, New York, New York

1966

Bianchini Gallery, New York, New York

 

 

Group Exhibitions

2014

2013

2011

 

2010

2009

Bill Bollinger, John Divola, Magali Reus, Andrea Rosen Gallery, New York

Remaking When Attitudes Become Form, Fondazione Prada, Venedig

Bill Bollinger Die Retrospekive, ZKM Karlsruhe, D Kunstmuseum Liechtenstein

Vaduz

Form, Hausler Contemporary, Munich DE Artisimma 17, Artissima, Turn

Heavy Metal. Die unerklarbare Leichtigkeit eines Materials. Luckow, Dirk, ed. Kiel: Kunsthalle zu Kiel

2008

Revolutions 1968. Warsaw: Zacheta National Gallery of Art

Kolner Stucke 1968-1970, Hasuler Contemporary, Zurich

2007

Based on Paper. Die Sammlung Marzona/The Marzona Collection. Berlin: Kupferstichkabinett, Staaliche Museen zu Berlin

2002

Einfach Kunst.  Sammlung Rolf Ricke. Nuremberg: Neues Museum in Nuremberg

2001

(E COSI VIA) (AND SO ON). 99 artisti della Collezione Marzona. Rome: Galleria Comunale d’Arte Moderna e Contemporonea

1999

 

White Fire, Flying Man: Amerikansche Kunst 1959-1999 in Basel: Werke aus der Offtenlichen Kunstsammlung Basel  und der Emmanuel Hoffmann-Stiftung. Schmidt, Katharina and Philip Ursprung, eds. Basel: Museum fur Gegenwartskunst

1995

Die Sammlung Marzona: Arte Povera, Minimal Art, Concept Art, Land Art. Vienna: Museum Moderner Kunst Stiftung Ludwig.

Wide White Space, 1966-1976: Hinter dem Museum/Behind the Museum. Brussels: Palais des Beaux Arts de Bruxelles; Bonn: Kunstmuseum; Marseilles: MAC galleries contemporaines des Musees de Marseille

1984

Collectie Becht. The Becht Colleciton. Amsterdam: Stedelijk Museum

1975

Painting, Drawing, and Sculpture of the ‘60’s and ‘70’s from the Dorothy and Herbert Vogel Collection. Philadelphia: Institute of Contemporary Art, University of Pennsylvania; Cincinatt: Contemporary Arts Center

1974

Multiples. Ein versuch die Entwicklung des Auflagenobektes darzustellen. Berlin: Neuer Berliner Kunstverein

1973

In Spaces. Brownxville: Sarah Lawrence College

Whitney Museum Biennial 1973. New York: Whitney Museum of American Art

1971

Earth, Air, Fire, Water: Elements of Art. Boston: Museum of Fine Arts

Twenty-Six by twenty-six. Poughkeepsie: Vassar College Art Gallery, New York

Whitney Museum Annual. New York: Whitney Museum of American Art

1970

Annual Exhibition of Contemporary Sculpture. New York: Whitney Museum of American Art

Die Sammlung der Emmanuel Hoffman-Stiftung. Basel: Kunstmuseum Basel

Hanging/Leaning. Hempstead: Emily Lowe Gallery, Hofstra University

Information. New York: Museum of Modern Art

Sammlung Etzold. Cologne: Kolnischer Kunstverein

Using Walls (Indoors). New York: Jewish Museum

Zeichnungen amerikanischer  Kunstler. Cologne: Galerie Ricke

1969

Anti-Illusion: Procedures/Materials. New York: Whitney Museum of Art

Art in Process IV. Varian, Elayne H, ed. New York: Finch College Museum of Art

Between Object and Environment: Sculpture in an Extended Format. Philidelphia: Institute of Contemporary Art, University of Pennsylvania

Letters. Long Beach Island Foundation of Arts and Sciences

Live In Your Head. When Attitudes Become Form. Bern: Kunsthalle Bern

New Materials: Procedures in Sculpture. Austin: Austin Arts Center, Trinity College

Nine at Leo Castelli. New York: Castelli Warehouse

Plane und Projekte als Kunst/Plans and Projects as Art. Bern: Kunsthalle Bern

OP Losse Schroeven. Amsterdam: Stedelijk Museum

Other Ideas. Detroit: Detroit Institute of Arts

Verborgene Strukturen. Ein Beitrag zur Untersuchung. neuerWahrnehmungsformen. Essen: Museum Folkwang

557,087. Lippard, Lucy, ed. Seattle, Washington: Seattle Art Museum

1968

Cool Art. Ridgefield: Aldrich Museum of Contemporary Art, 1968

Minimal Art USA. Carl Andre, Bill Bollinger, Robert Breer, Donald Judd, Gary Kuehn, Gerald Laing, Robert Morris, Fred Sandback. Berlin: Galerie Renè. Block

1967

Decade 7. Contemporary American Art. Edwardsville: Fine Arts Division, Southern Illinois University

1966

Sound, Light, Silence: Art That Performs. Kansas City: Nelson Gallery of Art

 

Awards/Grants

1968

National Council on the Arts Grant 

 

Selected Press & Publications

2013

 

 

 

2012

 

 

 

 

 

2007

Russeth, Andrew, 10 Rediscoveries From 2012.” The New York Observer,

GalleristNY, January 2, 2013

Boccioletti, Andrew When Attitudes Become Form: Bern 1969/Venice 2013 at

Fondazione Prada Venice” Mousse Magazine, June

Ken, Johnson, “An Afterlife for a Sculptor: Bill Bollinger’s Works Resurface in Two Exhibitions” NY Times, April 26, 2012

Pollack, Maika, “Bollinger, Unchained: Long-Overdue Retrospective at SculptureCenter Proves Late Sculptor’s Influence” Gallerist NY, June

Saltz, Jerry, “Starting From Zero” New York Magazine

Kirsch, Corinna. “Bill Bollinger’s Wimpy Minimalism at the SculptureCenter,” Art F City, June

Smith, Roberta, “Material Guys: Pollock-Inspired Artists, All About the Process,” New York Times, February 1, 2007

2000

Saunders, Wade. “Not Lost, Not Found: Bill Bollinger” Art in America, March

1974

Foote, Nancy. “Bill Bollinger at O.K. Harris.” Art in America 62, no. 3 (May-June 1974), p. 102, illus.

Lubell, Ellen. “Bill Bollinger.” Arts Magazine 48, no. 6 (March 1974), pp. 64-65.

1973

“Bill Bollinger.” Artforum 72, no. 3 (March 1973), illus. p. 78.

“Bill Bollinger.  Making Things.” Art-Rite no. 1, 1973, illus. p.  6.

“Rumbles.” Avalanche, no. 7. (winter-spring 1973), p. 8.

1972

Borden, Lizzie. “Reviews” Artforum 11, no. 2 (October 1972), pp. 88-89.

Pincus-Witten, Robert. “Bill Bollinger.” Artforum 10, no. 9 (May 1972), pp. 85-86, illus. p. 87.

Ratcliff, Carter. “New York Letter.” Art International 16, no. 4 (April 1972), p. 32, illus. p 30.

Shirley, David L., “Bollinger’s ‘Ramps’ Shown Downtown” New York Times, February 19, 1972, illus.

1971

“112 Greene Street. An Interview with Alan Saret and Jeffrey Lew.” Avalanches (Winter 1971). Pp. 12-13.

Nemser, Cindy. “An Art of Frustration.” Art Education 24, no. 2 (February 1971), pp. 12-15, illus. p. 15.

Masheck, Joseph. “Sorting out the Whitney Annual.” Artforum 9, no. 6 (February 1971), pp. 70-74.

1970

Cladders, Johannes. “Land Art.” Wort und Wahrheit 25, no. 1 (January- February 1970), pp. 440-49.

Davis Douglas, “Showdown at the Annual.” Newsweek, December 28, 1970, illus. p. 65.

Glueck, Grace. “Collectible vs. Conceptual. New York Gallery Notes.” Art in America 58, no. 3 (May-June 1970), n.p.

Honnef, Klaus. “Bill Bollinger.” Das Kunstwerk 22, nos. 5-6 (February-March 1970), p. 77.

Kramer, Hilton. “Whitney Sculpture Annual Ranges Widely.” New York Times, December 16, 1970.

K.U.R. [Klaus U. Reinke]. “Bill Bollinger.” Die Zeit, January 23, 1970.

Ratcliff, Carter. “New York Letter.” Art International 14, no. 5 (May 1970), p. 20.

Schjeldahl, Peter, “Art: Anything The Artist Says It Is?” New York Times, May 17, 1970.

Tuchman, Phyllis. “American Art in Germany. The History of a Phenomenon.” Artforum 9, n. 3 (November 1970), pp. 58-69.

Vinklers, Bitite. “New York.” Art International 14, no. 3 (March 1970), p. 91.

Vitt, Walter. “Armselige Kunst. Bollinger bei Ricke in Köln.” Aachener Nachrichten, January 15, 1970.

1969

Althaus, P.F. “Wenn Attituden Form werden.” Kunst Nachrichten 5, no. 9 (June 1969) n.p., illus.

Ammann, Jean-Christophe. “Schweizer Brief.” Art International 13, no.5 (May 1969), p. 50.

Brunelle, Al. “Reviews and Previews. Bill Bollinger.” Art News 67, no. 9 (January 1969), p. 17.

Burton, Scott. “Notes on the New.” Art and Artists 4, no. 6 (September 1969), pp. 12-15.

____. “Time on Their Hands. Art News 64, no. 4 (Summer 1969), pp. 40-43.

Frankenstein, Alfred. “The Great Rock On the Anti-Illusionist’s Ramp.” San Francisco Examiner & Chronicle, June 1, 1969, p. 28.

Glueck, Grace, “Air, Hay, and Money” NY Times, May 25, 1969, p. 42.

Kozloff, Max. “9 in a Warehouse.” Artforum 7, no. 6 (February 1969) pp. 38-42, illus. p. 39.

Meadmore, Clement. “Thoughts on Earthworks, Random Contribution, Softness, Horizontality, and Gravity.” Arts Magazine 43 no. 4 (February 1969), pp. 26-28.

Meyer, Ursula. “De-Objectification of the Object.” Arts Magazine 43, no. 3 (Summer 1969), pp. 19-22, illus. p. 21.

Morris, Robert. “Notes on Sculpture, Part IV: Beyond Objects.” Artforum 7, no. 8 (April 1969), pp. 50-54, illua. P. 52.

Müller, Gregoire. “Robert Morris Presents Anti-Form, The Castelli Warehouse Show.” Arts Magazine 42, no. 4 (February 1969), p. 29.

Perreault, John. “Art: Disturbances.” Village Voice, January 23, 1969, p. 18.

­­—-. “Art: Para-Visual.” Village Voice, June 5, 1969.

Pincus-Witten, Robert. “William Bollinger. Bykert Gallery.” Artforum 7, no. 8 (April 1969), pp. 68-69.

Plagens, Peter. “557,087.” Artforum 8, no. 3 (November 1969), pp. 64-67.

Pomeroy, Ralph. “New York: Moving Out.” Art and Artists 10, no. 3 (January 1969), p. 56.

Rosenstein, Harris. “The Bollinger Phenomenon.” Art News 68, no. 5 (September 1969), pp. 48-51, 62.

Schjeldah, Peter. “New York Letter.” Art International 13, no. 7 (September 1969), p. 70.

Smith, Larry. “Flexible Constructions: Floppy and Wonderful.” Village Voice, February 6, 1969, p. 13.

Wasserman, Emily. “Process: Whitney Museum.” Artforum 8, no. 1 (September 1969), pp.56-58.

1968

Baro, Gene. “American Sculpture: A New Scene.” Studio International 175, no. 896 (January 1968), p.15.

Catoir, Barbara. “Alles ist schon an den Mann gebracht. Gartenzaune furs Hausinnere.” Kolner Stadtanzeiger, May 31, 1968.

G.,C. “William Bollinger.” Arts Magazine 42, no. 4 (February 1968), p.60.

Glueck, Grace. “A Party That Includes You Out.” New York Times, October 27, 1968.

Junker, Howard. “The New Art: It’s Way, Way Out.” Newsweek, July 29, 1968, pp. 50-63, illus. p. 60.

Leider, Philip. “’The Properties of Materials’: In The Shadow of Robert Morris.” The New York Times, December 22, 1968, p. 31.

Morris, Robert. “Anti form.” Artforum 6, no. 8 (April 1968), p. 34.

Perreault, John. “Art: A Test.” Village Voice, December 19, 1968, p.19.

Picard, Lil. “Brief aus New York.” Das Kunstwerk 21, nos. 5-6 (February-March 1968), pp. 67, 77.

Prange, Wolfgang. “Mit Krupprohr und Plastikschlauch will Bill in die Kunstgeschicht.” Neue Rhein Zeitung, May 10, 1968, pp. 70-77.

“The Avant-Garde: Subtle, Cerebral, Elusive.” Time, Nvember 22, 1968, pp. 70-77.

Wasserman, Emily. “Bill Bollinger. Bykert Gallery.” Artforum 6, no. 6 (February 1968), pp. 53,55.

1967

“Avant the Avant-Garde.” Esquire 68, no. 3 (September 1967) pp. 133-34, illus. p. 133.

Kramer, Hilton. “Bill Bollinger.” New York Times, December 9, 1967.

Pincus-Witten, Robert. “Sound, Light, and Silence in Kansas City.” Artforum 5, no. 5 (January 1967), pp. 51-52.

1966

Alloway, Lawrence. “Background to Systemic.” Art News 65,  no. 6 (October 1996), p. 32.

Waldman, Diane. “Bill Bollinger. Bianchini Gallery.” Art News 65, no. 8 (December 1966), pp.8-9.

 

Selected Collections

The Whitney Museum of American Art, New York, New York

Collection of the Dennos Museum Center, Northwestern Michigan College, Traverse City, Michigan

Emmanuel Hoffman-Stiftung, Munchenstein/Basel, Switzerland

Fondazione CRT, Castello di Rivoli, Turin, Italy

Kunstmuseum Lichtenstein, Vaduz, Former Rolfe Rick Colleciton at the Kunstmuseum St. Gallen, Kunstmuseum St. Gallen

Museum Ludwig, Cologne/long-term loan of the Freunde der Art Cologne, Germany

Museum of Modern Art, New York, New York

RISD Museum of Art, Rhode Island School of Design, Providence, Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States

Rijksmuseum Twenthe, Enschede, Netherlands

Staatliche Museen zu Berlin, Kupferstichkabinett, long-term loan Egidio Marzona

Staatliche Museen zu Berlin, Nationalgalerie, Collection Marzona

Walker Art Center, Minneapolis, Minnesota

Winterthur, Kunstmuseum Winterthur