Banks Violette, Anthem (to future suicide), 2004, fluorescent bulbs, steel, hardware, sandbag, 96 x 144 x 34 inches (photo courtesy of: http://www.teamgal.com)
Banks Violette, SunnO))) / (Repeater) Decay / Coma Mirror, 2006 Steel, hardware, plywood, paint, fibreglass, tinted epoxy, salt, resin Dimensions variable (photo courtesy of: http://www.saatchi-gallery.co.uk)
Banks Violette, SunnO))) – (black stage/coma mirror) steel hardware, plywood, paint, fibreglass, tinted epoxy dimensions variable 2006 (photo courtesy of: http://www.maureenpaley.com)
Banks Violette, as yet untitled, mixed media installation dimensions variable While Interwoven Echoes Drip into a Hybrid Body, migros museum, Zurich 2006 (photo courtesy of: http://www.maureenpaley.com)
Banks Violette, Installation view at Art | 37 | Basel | Unlimited, June 14th – 18th 2006 (photo courtesy of: http://www.teamgal.com)
Banks Violette, Untitled '07, 2007, exhibition view, Team (gallery, inc.)2007 (photo courtesy of: http://www.teamgal.com)
Banks Violette, Frozen Speaker Cable, 2007 Road Case, refrigeration unit, 50 feet of coiled copper tubing 366 x 269 x 104.3 cm (144 x 106 x 41 in) (photo courtesy of: http://www.ropac.net)
Banks Violette, exhibition view, Bergen Kunsthall as yet untitled fabricated steel, hardware, road casting, electrical wiring, fluorescent tubes steel construction: 121.9 x 101.6 cm, dimensions variable 2007 (photo courtesy of: http://www.maureenpaley.com)
Banks Violette, ZODIAC (F.T.U.)/74 ironhead SXL 2008-09 cast salt and resin, loose salt, metal support rods 23 x 95 x 52 inches edition of two (photo courtesy of: http://www.teamgal.com)
Banks Violette, Not Yet Titled (Light Spill) 2006-07 florescent light fixtures, plexiglas, epoxy, polyurethane, aluminum, hardware 100 x 408 x 168 inches presented in at Art Unlimited by Team Gallery and Gladstone Gallery (photo courtesy of: http://www.teamgal.com)
Banks Violette, Flag, 2007 Aluminium, fluorescent tubes, electrical wiring (photo courtesy of: http://www.ropac.net)
Banks Violette, exhibition view at Modern Art Museum of Fort Worth, 2008 (photo courtesy of: http://www.teamgal.com)
Banks Violette, 2010, steel, lighting, electrical components, assorted hardware, 95 x 98 x 12 inches (photo courtesy of: http://www.teamgal.com)
Banks Violette, Not Yet Titled (Flag Edition) fluorescent tubes, road cases, aluminium, electrical wires, assorted hardware 170.2 x 91.4 x 76.2 cm 2010 (photo courtesy of: http://www.maureenpaley.com)
Selected Interview: Banks Violette
By CHRISTOPHER BOLLEN, Interview Magazine,
CHRISTOPHER BOLLEN: I noticed on your Team Gallery CV that you list 1993 as the year you got your GED. [Violette laughs] That’s a wonderful inclusion.
BANKS VIOLETTE: Yeah, I kind of insisted on that.
CB: Your TriStar horse is an homage to Goldstein’s MGM lion. But you’ve also used horses in previous works.
BV: Like a lot of the images that I’ve used, it’s iconography that’s just kind of exhausted and overmined. It’s the visual equivalent of strip-mining.
CB: You also have a whole set of images that are hardcore punk and metal. Is there some corollary between subculture and overused images?
BV: There’s an absolute corollary. One of the things I’m interested in, insofar as subcultures are concerned, is how subculture really traffics in overexhausted iconography, especially with aggression and morbidity. Most subcultures keep notching up the irony levels. That’s the paradox-that the chosen images are things that have been completely strip-mined and that all value has already been leached out. And then you try to update them so people invest that much more belief into them.
CB: Does art do that, too? Is art a place where you artists just take the same old clichéd images and reinvent them like everyone else?
BV: That’s the thing I’m interested in, especially in the instance of Jack Goldstein. He is a perfect case in point. He took a critical distance from culture when he was alive. But in the end, he’s become a part of the very culture that he was trying to break from. This sounds horrible, but it’s a parody of the romantic artist who disappears, dies, and is brought back and picked up in the broader public conversation. Now his work sells for a lot of money.
CB: Music seems to be a major touchstone in your work. You’ve collaborated with a number of musicians.
BV: I definitely get a lot of ideas from music and from musicians I’ve worked with. In the instance of Stephen O’Malley-who plays with the band Sunn O)))-he’s involved with a lot of low-frequency kind of sub-audible compositions, things that are really less auditory and more physiological. That seems like a perfect complement to the idea of sculpture-it has weight, gravity, it extends itself into space, etc. How do you take a discrete object that is placed pretty much on a pedestal and make it radiate out into the environment? We fill it up with the sound equivalent of the sculpture.
Interview Source: http://www.interviewmagazine.com/art/banks-violette/