Robert Ladislas Derr
Dribble, 2019, live performance<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled. Dribble, 2019, live performance<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled. Dribble, 2019, live performance<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled.
All This Is That, 2019, vinyl, 120 x 78, showing 1 of 33<br><br>The surfing industry is captured. All This Is That, 2019, vinyl, 120 x 78, showing 1 of 33<br><br>The surfing industry is captured. All This Is That, 2019, vinyl, 120 x 78, showing 1 of 33<br><br>The surfing industry is captured.
Ball Breaker, 2019, live performance<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I break 100 ceramic balls (100 for its connotation: self-determination, independence, and infinite potential), amplifying the palpable shattering as my own master. Yellow, installation view of Tangled, Betwixt and Between, and Take My Breath Away Tangled, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Tangled was born out of elements in Pieter Bruegel the Elder’s The Netherlandish Proverbs, in which a man is cloaked in a blue cape by a woman to illustrate him a cuckold. I am blindfolded by a blue scarf and wrapped by 100 coils of yellow rope binding my arms and legs that is tied to a palm tree. Against a foreboding sky, I unravel myself, transferring the rope onto the tree. As I work loose, the rope slowly falls, eventually tangling my ankles. The performance presents chaos and continues until I am able to free my feet and walk away.
Betwixt and Between, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I took cues from Vito Acconci's Centers (Vito struggles to keep his finger pointing center of the screen) and hold a gun pointed center. Using a curtain of invasive vine as my background to minimize depth, I aim the gun and yell bang, which prompts assault by an egg. Each bang triggers an egg progressing through 100 eggs. I made this piece in context to the theatre, gun violence, and birth and death. Betwixt and Between, 2018, color digital print, 60 x 44, lays on the floor under the video<br><br>Go to menu, click VIDEOS, to watch excerpts Take My Breath Away, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I perform with Emoji balloons to examine the reduction of language and communication to mere symbols. Entering a privy, I sit and inflate, using my breath, 100 yellow Emoji balloons. My intent was for the balloons to fill up the space around me. But like life, intention yields to reality. Unleashing each balloon, it casually floats to a new resting spot. Associations proliferate between the elements. The comical sputter of the balloons reverberates noises made by the body during waste elimination.
Take My Breath Away, 2018, color digital print, 44 x 44<br><br>I perform with Emoji balloons to examine the reduction of language and communication to mere symbols. Strong Man, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I use Thomas Edison’s 1894 film of Eugen Sandow, the father of modern bodybuilding, to humorously contextualize the representation of masculinity. Sandow sculpted his body in the likeness of classical Greek statues developing the concept of The Grecian Ideal. Eden: 4’33, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The viewer's ambient sound creates the audio for this disciplined action performed at Black Mountain College.
Amusement, 2018, color digital print, 44 x 44, showing 1 of 25<br><br>The Waterfall Action Park featured a water slide, go kart track, and minature golf until one of the owners died and hurricane Sandy. Amusement, 2018, color digital print, 44 x 44, showing 1 of 25<br><br>The Waterfall Action Park featured a water slide, go kart track, and minature golf until one of the owners died and hurricane Sandy. Amusement, 2018, color digital print, 44 x 44, showing 1 of 25<br><br>The Waterfall Action Park featured a water slide, go kart track, and minature golf until one of the owners died and hurricane Sandy.
Escaping Altamont, 2018, performance with the public<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper. Escaping Altamont, 2018, color digital print, 30 x 20, showing 1 of 10<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper. Escaping Altamont, 2018, color digital print, 30 x 20, showing 1 of 10<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper.
Express Yourself, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In recognition of Emoji Day, I express myself. Mercy Mercy Me, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>On almost a daily basis, the headlines include such news from, poachers kill nearly 90 elephants for their tusks near wildlife sanctuary in Botswana (September 2018), 300 olive ridley sea turtles found dead in fishing net off the coast of Mexico (August 2018), polar bear shot dead to allow German tourist expedition onto a remote island in Norway's Svalbard archipelago (July 2018), Indonesian villagers kill 300 crocodiles after one kills a man (July 2018), to the polar ice sheets are melting faster than ever (ongoing reports). Among the dead coastal trees, once a dense mangrove, I slip off my branch. Day In, Day Out, installation view of Seating Arrangement, The Object is the Path, and Safe Space
The Object is the Path, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>During the sunrise on a beach, I dig out the sand deep enough to erect and hold a ladder in the air and climb up and over it. Seating Arrangement, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The institutional chair is a stricture of convention I subvert as I put the object in motion. Safe Space, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The idea of a safe space for the marginalized has suffered misuse by groups attempting to suppress free speech and differing views. I address safe space through an escape to lush woodland at dusk; nineteenth century conservationist John Muir suggested, “The clearest way into the Universe is through a forest.” Performing the yoga Plow Pose for twenty minutes, the length corresponds with the suggested time for meditation. Marking time, a candle inserted in my anus burns for the duration as dusk slips into night.
Kiss The Sky, 2017, performance with the public<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>150 kisses for the sesquicentennial. Participants jump to kiss the sky revealing transparency of etiquette toward the lens. Upstream, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>According to eighteenth century historian, Edward Gibbon, The winds and waves are always on the side of the ablest navigators. During residency at Otto's Abode (Wanakena, NY), I traversed the Oswegatchie River. Generation Usurpation, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In a mash-up, combining the most influential rock song of each decade from 1950 to 2010, dinosaur movies from 1914 to 2015, and video with my childhood dinosaur collection, I highlight generation usurpation.
Extinction Extraction, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>To the eerie sound taken from several fragile ecosystems, dinosaurs pierce through the water of Key West to be stuck in the sea floor. Then suddenly, the hand that placed them in their resting spot, extracts them, causing the floor to cloud the scene. Extinction Extraction, 2017, color digital print, 20 x 17, showing 1 of 20 Extinction Extraction, 2017, color digital print, 44 x 44
Lincoln Highway, 2017, color digital print, 36 x 36, showing 1 of 50<br><br>Completed in 1913 and 3,389 miles, the Lincoln Highway was one of the first transcontinental highways. Lincoln Highway, 2017, color digital print, 36 x 36, showing 1 of 50<br><br>Completed in 1913 and 3,389 miles, the Lincoln Highway was one of the first transcontinental highways. Lincoln Highway, 2017, color digital print, 36 x 36, showing 1 of 50<br><br>Completed in 1913 and 3,389 miles, the Lincoln Highway was one of the first transcontinental highways.
Mischievousness With Malevich, 2016, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>An examination of the duplicitous and ghostly, I jump over the mirror repetitively during sunrise, supposing the quintessence of suprematism. Unidentified Flying Object, 2016, color digital print, 91 x 13 Keep An Eye On, 2016, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I explore the focus function of the camera with a box set of fifty antique prosthetic glass eyes.
Keep An Eye On, 2016, installation view Keep An Eye On, 2015, color digital print, 20 x 20, showing 1 of 50<br><br>I scan a box set of fifty antique prosthetic glass eyes. Keep An Eye On, 2015, color digital print, 72.5 x 41<br><br>I scan a box set of fifty antique prosthetic glass eyes.
Dribble at Black Mountain College, 2016, live performance<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled. Dribble at Black Mountain College, 2017, video stills, four-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled. Dribble at Black Mountain College, 2017, color digital print, 44 x 44
Aesthetic Judgment, aka Shoveling, 2014, live performance<br><br>I explore Emmanuel Kant’s The Critique of Judgment through a performance of shoveling cow manure for eight hours to surmise how aesthetic value is derived. Aesthetic Judgment, 2016, video installation, two-channel video<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I explore Emmanuel Kant’s The Critique of Judgment through a performance of shoveling cow manure for eight hours to surmise how aesthetic value is derived. Blasted Tracings, 2014, video still, two-channel split screen with digital images<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Equestrian statues have a certain interest for me, masculine symbols of a bygone era and history, their statement provides a tenuous approach. Exploring the sites of the former statues of Lord Gough (Phoenix Park), King William of Orange (College Green), and King George II (St. Stephen's Green) with my cameras in Dublin, Ireland, I examine how we experience and understand history.
Ebb and Flow, 2014, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Ebb and Flow presents the days of the week dug into the sand and the erasure of the days by the ocean tides. Ebb and Flow, 2014, diptych, color digital print, 96 x 13<br><br>Ebb and Flow presents the days of the week dug into the sand and the erasure of the days by the ocean tides. Ebb and Flow, 2014, diptych, color digital print, 96 x 13<br><br>Ebb and Flow presents the days of the week dug into the sand and the erasure of the days by the ocean tides.
What is university?, 2014, live performnace<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I ask The Ohio State University passersby to consider, using one word, what is university? What is university?, 2014, color digital print, 5.25 x 5.25, showing 1 of 32<br><br>I ask The Ohio State University passersby to consider, using one word, what is university? What is university?, 2014, color digital print, 43.5 x 44<br><br>I ask The Ohio State University passersby to consider, using one word, what is university?
Face Book, 2013, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>A component to my exhibition Face Book: A Social Experience, I consider the decline of bookstores and consequences of digitizing books. A random search of the Internet for the 100 must read books for men took me to artofmanliness.com. The computer reads the titles, mispronouncing some of the words, as I perform. Face Book (Homer), 2015, graphite on smooth paper with color digital print, 14 x 17, showing 1 of 100 Falling Gretel Dung Miss Garland Hell Spaces, 2013, live performance<br><br>A component to my exhibition Face Book: A Social Experience, each scholar in character reads one sentence from a favorite book, each in turn, creating an entirely new literary work.
Falling Gretel Dung Miss Garland Hell Spaces, 2013, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>A component to my exhibition Face Book: A Social Experience, each scholar in character reads one sentence from a favorite book, each in turn, creating an entirely new literary work. Falling Gretel Dung Miss Garland Hell Spaces, 2014, color digital print, 24 x 24, showing 1 of 7 Falling Gretel Dung Miss Garland Hell Spaces, 2014, color digital print, 120 x 24
Bewilderments of the Eyes, 2014, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Using Plato’s The Allegory of the Cave as a point of departure, I hang a white silhouette of infamous nineteenth century British escapee, William Buckley at the entrance of his hideout cave in Point Lonsdale, Australia. A structural film, every other second I sequentially pull from the end backward. Punctuating each real time visual second, I strike the piano keys successively from left to right. For the reverse seconds, I press the keys from right to left, also flipping the audio files to give the ominous sound. With the assistance of the Wathaurung Indigenous people, Buckley was presumed dead until he surrendered over three decades later. Bewilderments of the Eyes, 2014, diptych, color digital print, 44 x 55 Bewilderments of the Eyes, 2014, diptych, color digital print, 44 x 55
Attempt at a Mistake, 2013, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>There are no slips of the tongue according to Sigmund Freud in his 1935 essay, The Subtleties of a Faulty Action. Invited to create a video for 100x100=900 (100 video artists to tell a century), I perform a slip of the tongue, writing Freud's sentence that discovered parapraxis with my lips. Attempt at a Mistake, 2014, color digital print, 44 x 24<br><br>There are no slips of the tongue according to Sigmund Freud in his 1935 essay, The Subtleties of a Faulty Action. Invited to create a video for 100x100=900 (100 video artists to tell a century), I perform a slip of the tongue, writing Freud's sentence that discovered parapraxis with my lips. 
Where There’s Smoke, 2013, book, 10 x 8.5 x 1.25 , created for Chido Johnson’s Love Library, Let's Talk About Love Baby
A Rolling Stone Gathers No Moss, 2013, video stills, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>It was Sisyphus from Greek mythology who repeatedly rolled a boulder up a hill as punishment by the gods for deception. A Rolling Stone Gathers No Moss, 2013, diptych, color digital print, 43 x 44<br><br>It was Sisyphus from Greek mythology who repeatedly rolled a boulder up a hill as punishment by the gods for deception. A Rolling Stone Gathers No Moss, 2013, diptych, color digital print, 43 x 44<br><br>It was Sisyphus from Greek mythology who repeatedly rolled a boulder up a hill as punishment by the gods for deception.
No Time Like The Present, 2013, video still, five-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Since everything is confined to its own temporal existence, there is no time like the present. I spin with each word in the title at 8am on Monday, 11am on Tuesday, 2pm on Wednesday, 5pm on Thursday, and 8pm on Friday. The momentary present immediately becomes the past. No Time Like The Present, 2014, color digital print, 35 x 26<br><br>Since everything is confined to its own temporal existence, there is no time like the present. I spin with each word in the title at 8am on Monday, 11am on Tuesday, 2pm on Wednesday, 5pm on Thursday, and 8pm on Friday. The momentary present immediately becomes the past. Blue Red States, 1993, reedited 2013, diptych, color digital print, 44 x 44.5
Blue Red States, 1993, reedited 2013, diptych, color digital print, 44 x 44.5 58 Kisses, 2012, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>One kiss for each year of James Joyce’s life. This performance of admiration acknowledges his sentient observations of everyday dramas and understanding of what it meant to be modern. 58 Kisses, 2014, color digital print, 53 x 36<br><br>One kiss for each year of James Joyce’s life. This performance of admiration acknowledges his sentient observations of everyday dramas and understanding of what it meant to be modern.
Stroking Wilde, 2012, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>As I watched the tourists line up to snap a picture of Oscar Wilde’s crotch above their heads in Merrion Square Park (Dublin, Ireland), my mind filled with thoughts of mischief. Hunting the Wren, 2012, installation view of three two-channel split screen video<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Based upon the antient Irish custom of hunting the wren during the winter solstice, I endeavor to find a wren across the terrain in Ireland. Hunting the Wren, 2013, color digital print, 40 x 42<br><br>Based upon the antient Irish custom of hunting the wren during the winter solstice, I endeavor to find a wren across the terrain in Ireland.
Out Here in the Fields, 2012, color digital print, 37 x 24, showing 1 of 14<br><br>On the 30th anniversary of The Who concert stampede killing eleven people, I photographed the doors around the Riverfront Coliseum, Cincinnati, OH. Out Here in the Fields, 2012, color digital print, 87.5 x 39<br><br>On the 30th anniversary of The Who concert stampede killing eleven people, I photographed the doors around the Riverfront Coliseum, Cincinnati, OH. Discovering Columbus, Part I: Cities, 2011, installation view of four-channel video<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.
Discovering Columbus, Part I: Cities, 2011, video still from four-channel video<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia. Discovering Columbus, 2012, installation view of color digital prints, 36 x 36, showing 5 of 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia. Discovering Columbus, Cancer (Washington, District of Columbia), 2012, color digital print, 36 x 36, showing 1 of 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.
Discovering Columbus, Pisces (Columbus, Indiana), 2012, color digital print, 36 x 36, showing 1 of 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia. Discovering Columbus, Part II: Parks, 2011, video still<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia. Discovering Columbus, Part II: Parks, Cancer (Washington, District of Columbia), 2012, color digital print, 48 x 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.
Prestidigitation, 2011, video still<br><br>A sleight of hand, I veil and unveil the copy with a copy. Across the Dotted Line, 2010, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Departing from special relativity, I slow the time of the video down at the point where I hop between the center hay bales. Across the Dotted Line, 2010, color digital print, 150 x 16
In My Shoes: Urbana, Illinois, 2011, live performance<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment. In My Shoes: Urbana, Illinois, 2011, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment. In My Shoes, 2011, installation view<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.
In My Shoes: Urbana, Illinois, 2011, color digital print, 32 x 16, showing 1 of 31<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment. In My Shoes: Dublin, Ireland, 2012, color digital print, 32 x 16, showing 1 of 7<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment. In My Shoes: Turku, Finland, 2009, color digital print, 32 x 16, showing 1 of 9<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.
From There to Here and Here to There, 2010, video still, two-channel split screen<br><br>I depart from Henri Bergson’s assertion about movement, There are 2 distinct kinds of movement: there is the traversed space, and the act by which the space is traversed. In one case a spatial order is established and in the other case, qualities within a temporal sequence are distinguished. Sun Sunset Set, 2011, video still, three-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Panning back and forth with the two end cameras reifies the past/future dichotomy of the sunset on Florida's gulf. Sun Sunset Set, 2011, color digital print, 46 x 17.75
There are tears in the very nature of things, 2010, color digital print, 66 x 44 There are tears in the very nature of things, 2010, color digital print, 66 x 44 There are tears in the very nature of things, 2010, color digital print, 66 x 44
Perverted into Tyranny, 2010, video still, four-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>On a Norwegian farm, I attempt to herd sheep and experience their free will as an inherent instinct. Faced with a perceived threat, life escapes or fights. Perverted into Tyranny, 2011, color digital print, 44 x 44 video<br><br>On a Norwegian farm, I attempt to herd sheep and experience their free will as an inherent instinct. Faced with a perceived threat, life escapes or fights. The World Isn't Always Round, 2010, video stills, three-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Even though the viewer sees and hears me blowing the sails (my attempt to distract the viewer from the real), I pull the ship using transparent line.
The World Isn't Always Round, 2010, installation view of color digital prints, 36 x 36, showing 5 of 6 The World Isn't Always Round, 2010, installation view of color digital prints, 36 x 36, showing 4 of 6 The World Isn't Always Round, 2010, color digital print, 36 x 36, showing 1 of 6
Building Tolerance, 2010, video still, three-channel split screen<br><br>Set in the Gulf of Bothnia, nature’s entropy presages the eventual topple of the cairns. Abandon Ship, 2010, video still<br><br>I animate a retired lifesaving boat dry docked on a sidewalk in Turku, Finland. When a ship is going down, the captain orders abandon ship. Conservation of Momentum, 2009, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Departing from conservation of momentum, water is flowed between two people. However, communication does not flow so easily. There is a complex code to communication regulated not just by the meaning of spoken words, but also by the gesture and tone of voice.
Monumental Walk, 2009, video still, thirteen two-channel split screen with embedded digital images<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Equestrian statues have a certain interest for me, masculine symbols of a bygone era and history, their statement provides a tenuous approach. With my cameras, I explore the thirteen equestrian statues throughout Washington, D.C. Hitting a Rock in the Road, 2009, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Noticing the skeleton of a bicycle locked to a rail on the side of a road in Frankfurt, Germany that I walked past for several days, resonated with me and seemed full of potential. Communication with Nam June Paik, 2009, video still, two-channel split screen with embedded digital image<br><br>After exploring Pre-Bell-Man at the Museum for Communication Frankfurt, I applied Final Cut Pro’s visual filters one after the other until the video circles back to the unfiltered scene.
I don’t give a shit about the masses, 2008, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In a durational performance, I struggle to hold a headstand against a tree. I don’t give a shit about the masses, 2008, color digital print, 36 x 36, showing 1 of 8<br><br>In a durational performance, I struggle to hold a headstand against a tree. In Play (Dan Graham), 2009, video stills, two two-channel split screen, showing 1 of 18<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)
In Play (Vito Acconci), 2007, color digital print, 43 x 14.125 , showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015) In Play (Erwin Wurm), 2007, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015) In Play (Olaf Breuning), 2015, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)
In Play, 2008, installation view<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015) In Play, 2008, installation view<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015) In Play, 2007, acrylic on canvas, 72 x 53, showing 1 of 2<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)
Oil City, 2007,  video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>This video captures a vista perspective of Oil City, PA, birthplace of the petroleum industry, through a curtain of oil. Sitting on a hilltop with my video camera peering over the city and focusing on the largest building, the Oil City Bank, I pour a quart of oil over the lens of the camera clouding the view. Oil City, 2007, video installation<br><br>This video captures a vista perspective of Oil City, PA, birthplace of the petroleum industry, through a curtain of oil. Sitting on a hilltop with my video camera peering over the city and focusing on the largest building, the Oil City Bank, I pour a quart of oil over the lens of the camera clouding the view. Manholes, 2007, video still, four-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Once I reached a certain depth, I could no longer kick the sand with my feet.
Horizon Line, 2007, video still, three-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The action directs the eye to the center, where the yellow rope bisects the horizon line. Horizon Line, 2007, color digital print, 35.5 x 11.5 Six of One – Half a Dozen of Another, 2007, video stills, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Extending the boundaries of the picture plane, I dig at the edge of the frame to escape view. While in the alternate act of covering my head from view, the accumulation of the sand from the piling spills off of the frame.
Man in Relation to Men, 2006, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras. Man in Relation to Men, 2006, color digital print, 11 x 14, showing 1 of 69<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras. Man in Relation to Men, 2006, color digital print, 11 x 14, showing 1 of 69<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras.
Man in Relation to Men, 2006, color digital print, 11 x 14, showing 1 of 69<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras. Man in Relation to Men, 2008, color digital print, 55.5 x 44<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras. Calling, 2006, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The experience of the ephemeral art action is paramount to the materialization of the art object.
Labor, 2006, live performance<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed. Labor, 2006, video still, four-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed. Labor, 2006, color digital print, 60 x 16, showing 1 of 9<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed.
Labor, 2006, color digital print, 60 x 16, showing 1 of 9<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed. Formalism, 2006, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I tie 30 neckties around my neck according to the formal structure of ROY G BIV. Formalism, 2006, color digital print, 20 x 16, showing 1 of 32<br><br>I tie 30 neckties around my neck according to the formal structure of ROY G BIV.
Formalism, 2008, color digital print, 44 x 49.5<br><br>I tie 30 neckties around my neck according to the formal structure of ROY G BIV. Scanning, 2006, reedited 2008, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>During my travels, I let the video camera record the journey of being scanned through airport x-ray machines. Scanning, 2008, color digital print, 36 x 39<br><br>During my travels, I let the video camera record the journey of being scanned through airport x-ray machines.
One Minute Spin in the Spectacle, 2006, video stills, four-channel<br><br>Standing in the middle of the bustle of New York City’s Times Square, I spin with four cameras attached to my person capturing one New–York–Minute. This Union Must and Shall be Preserved, 2005, installation, two-channel video projected with color digital print, 60 x 44<br><br>Walking through the frenzy of tourism as I explore the statue of Andrew Jackson, I think about his astute statement carved on the base, This union must and shall be preserved, and wonder: Are Americans preserving or consuming the union? To Helen, 2005, live performance with video<br><br>For Provflux, I traced the footsteps Edgar Allan Poe might have taken as he wrote the poem written to his beloved Helen Whitman, resident of Providence. From the Athenaeum (where Poe wrote), I moved through the dark night passing the John Brown and Nightingale Brown houses looking for the roses Poe says, grew in an enchanted garden, to the Point Street Bridge where I met according to Poe, the mossy banks and the meandering paths.
Chance, 2005-2014, live performances, 33 cities worldwide<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls. Chance: Vancouver, Canada, 2007, video installation, four-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls. Chance, 2015, installation view, showing 8 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.
Chance: Canberra, Australia, 2013, color digital print, 24 x 77.5, showing 1 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls. Chance: Miami, Florida, 2009, color digital print, 24 x 69, showing 1 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls. Chance: Rosario, Argentina, 2006, color digital print, 24 x 99, showing 1 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.
Massaging the Modernist Myth, 2004, color digital print, 73 x 44<br><br>I explore Jean Dubuffet’s public sculpture, Monument to the Phantom in Houston, TX with video and photography. Void, 2004, video still sequences, size varies<br><br>For four days, I retraced with video, the sites Leopold Bloom encountered in Ulysses chapter 10, Wandering Rocks in Dublin, Ireland. Roll, 2003, color digital print, 11 x 14<br><br>During Pre/amble: Festival of Art and Psychogeography, I partake in a dizzying roll down a hill.
Rational Structures/Broken Conventions, 2003, color digital print, 14 x 11<br><br>During Pre/amble: Festival of Art and Psychogeography, I embark on a process of breaking conventions. Rational Structures/Broken Conventions, 2003, color digital print, 14 x 11<br><br>During Pre/amble: Festival of Art and Psychogeography, I embark on a process of breaking conventions. Self, 2003, installation view, video projected beside a color lambda print, 30 x 23<br><br>I contemplate the theory of self.
First Night, 2003, live performance<br><br>On February 1, 2003, the Columbia space shuttle exploded above Texas. That night in Nacogdoches, for each of the seven astronauts, we chalked a silhouette and then recited from Jean-Paul Sartre’s Essays in Existentialism, When we say that man chooses his own self, we mean that every one of us does likewise; but we also mean by that in making this choice he also chooses all men. Existential Dilemma, 2003, video installation, two-channel, red box 11 x 11 x 11.5<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Peek inside the box to find us continuously flipping inside a box that imposes laws of constraint. Existential Dilemma, 2003, video installation, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Peek inside the box to find us continuously flipping inside a box that imposes laws of constraint.
Existential Dilemma, 2003, video installation, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Peek inside the box to find us continuously flipping inside a box that imposes laws of constraint. Existential Dilemma, 2003, color digital print, 36 x 36, showing 1 of 6 Concrete Intervention, 2003, video stills<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I crawl, circling through two side-by-side culverts to illustrate the monotony of daily life.
Concrete Intervention, 2008, diptych, color digital print, 58 x 43.5 Concrete Intervention, 2008, diptych, color digital print, 58 x 43.5 Intellectual Economy, 2002, installation view<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>To gain entry into a new space, I bust my head through a wall.
Intellectual Economy, 2002, installation view<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>To gain entry into a new space, I bust my head through a wall. Intellectual Economy, 2002, diptych, color digital print, 60.25 x 44<br><br>To gain entry into a new space, I bust my head through a wall. Intellectual Economy, 2002, diptych, color digital print, 60.25 x 44<br><br>To gain entry into a new space, I bust my head through a wall.
Leap, 2002, streaming video installation between the Rhode Island School of Design's Sol Koffler Gallery, Brown University, University of Rhode Island, Northeastern University, and Parsons School of Design's Blur Conference<br><br>Leap necessitated cooperation to uncover the mediated presence of a viewer at another location. Special thanks to OSHEAN for setting up the network. Leap, 2002, telepresented viewer, streaming video installation between the Rhode Island School of Design's Sol Koffler Gallery, Brown University, University of Rhode Island, Northeastern University, and Parsons School of Design's Blur Conference<br><br>Leap necessitated cooperation to uncover the mediated presence of a viewer at another location. Special thanks to OSHEAN for setting up the network. Leap, 2002, streaming video installation between the Rhode Island School of Design's Sol Koffler Gallery, Brown University, University of Rhode Island, Northeastern University, and Parsons School of Design's Blur Conference<br><br>Leap necessitated cooperation to uncover the mediated presence of a viewer at another location. Special thanks to OSHEAN for setting up the network.
If this window could see, 2002, installation at 50 Murray Street for the Lower Manhattan Cultural Council’s Looking In exhibition, two surveillance cameras, two black and white security monitors, red eyeglass template<br><br>The installation inverted the voyeuristic relationship of the viewer and the building. Discipline, 2001, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>After examining Abstract Expressionism in Ideology, I experience Minimalism. Discipline, 2001, color digital print, 24 x 30
Museum Preservation, 2001, installation view, cyanotype and gum bichromate prints, rusted fuse boxes, lights, 50 x 40<br><br>I overlay classical Greek and Roman sculpture imagery with museum visitor and collection data to examine the blurred interests between preservation and commoditization. Ideology, 2000, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Ideology recontextualizes the modernist myth of the heroic artist’s masculinity. I have taken the action and angst from Jackson Pollock, and incorporated it utilizing the Pollockian Performative to subvert the process of action painting and this myth. Chronos, 2000, installation view, color transparencies, 10 halved fifty-five gallon barrels (light box), 240 x 240<br><br>I illustrate Ouranos, who covered and copulated with Gaia until their son Kronos became angered and castrated him, separating sky from earth, and becoming known as the creator of time. The color transparencies overlay male and female figures with ten influential cathedrals and Arman clocks.
Your Litter Invades Your Space, 1998, installation view, C-Print, 29 x 18, granite, 33 x 22, collected trash<br><br>Viewers collect the trash outside the gallery and place around a photograph of verdant grass on granite. Eger, 1998, installation view, showing 4 of 8<br><br>Each photograph captures an empty burial vault in an unostentatious cemetery located just outside of Eger, Hungary. The austerely plain burial structure was constructed out of cement forming a grid of boxes. Many of the empty burial vaults served as shrines in remembrance of loved ones entombed in an adjoining vault. The lit antique magic lantern slides characterize a storyboard. Eger, Angels, 1998, C-Prints, antique magic lantern slides (light box), 44 x 30 x 9, showing 1 of 8<br><br>Each photograph captures an empty burial vault in an unostentatious cemetery located just outside of Eger, Hungary. The austerely plain burial structure was constructed out of cement forming a grid of boxes. Many of the empty burial vaults served as shrines in remembrance of loved ones entombed in an adjoining vault. The lit antique magic lantern slides characterize a storyboard.
How to Support a Religious Organization, 1998, installation view, C-Prints, antique film holders, found objects, 120 x 96 Retinal Stain, Voyeur, 1996, color transparencies, wood light box, 38 x 8 x 7.5, showing 1 of 6 Contained Geographies=Urban Blight, 1994, installation view, C-Prints, maps, jars, shelf, 72 x 72<br><br>I cut out the impoverished area of 21 US cities from the maps, place in a jar, and set on the shelf.
Contained Geographies=Urban Blight, 1994, installation detail<br><br>I cut out the impoverished area of 21 US cities from the maps, place in a jar, and set on the shelf. Connections, 1994, installation view, gelatin silver prints, C-Prints, 84 x 72 Contained, Man’s Future, 1993, C-Prints, antique film holders, text tape, found objects, 14 x 12, showing 1 of 15
Contained, Exposed, 1998, C-Prints, antique film holders, 21 x 16, showing 1 of 15 Contained, Eye Am, 1993, C-Prints, antique film holders, text tape, found objects, 12 x 17, showing 1 of 15 Jar Your Mind, 1993, installation view, C-Print, cow brains, wood light box, x-rays, jars, lights, chains, 72 x 96 x 60
Doctor on Call, 1993, gelatin silver prints, C-Prints, staggered shadow box, 12 x 57 x 3, showing 1 of 3 Fax Art, 1993, C-Prints, 42 x 8, showing 1 of 10 Get on the Soap Box, 1992, installation view, C-Prints, gelatin silver prints, wood light box, video, hay bale, flags, found objects, 48 x 96 x 36
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About

Robert Ladislas Derr is a visual artist known for performances from live to intervention, and multimedia installations. He has exhibited and performed widely at venues, including the SomoS Art House (Germany), Black Mountain College Museum + Arts Center (US), Canberra Contemporary Art Space (Australia), Mendel Art Gallery (Canada), Schirn Kunsthalle Frankfurt (Germany), Wexner Center for the Arts (US), and Irish Film Institute (Ireland). His works have been funded by such organizations as the Urbana Public Arts Commission, Lower Manhattan Cultural Council, and Ohio Arts Council. Some of the permanent collections holding his work include Loyola University Museum of Art, Miami-Dade Public Library, and Indiana University Art Museum. Derr earned his MFA from the Rhode Island School of Design, attended the Photography Institute National Graduate Seminar at New York University, and BFA from the Art Academy of Cincinnati.

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© 1992 – Robert Ladislas Derr.   All rights reserved.