Yesterday afternoon, the Brant Foundation Art Study Center in Greenwich, Connecticut, unveiled its latest exhibition, “Deliverance,” a characteristically blue-chip four-person affair with Larry Clark, Richard Prince, Christopher Wool, and Cady Noland, whose work, as is often the case these days, appears with a fairly intriguing asterisk, which I will get to in a minute.
As is by now well-known, Noland effectively disappeared from the art world about 20 years ago, which is when she last had a one-person exhibition. Since then she has shown very, very few new works (the Walker in Minneapolis has one from 2008), and she has been notoriously meticulous in controlling how her work is handled and presented.
Noland, for instance, required Christopher D’Amelio to hang a pretty awesome disclaimer in his booth at Art Basel in 2012, which read in part, “Ms. Noland does not consider Christopher D’Amelio to be an expert or authority on her artwork.” She also forced Sotheby’s to withdraw a work from auction because it was slightly damaged. And she allegedly threatened to shoot Larry Gagosian when he was considering a solo presentation of her work, as Sarah Thornton writes in her new book.
The Brant Foundation show also comes with a disclaimer, which is printed on a little placard that sits near the entrance on the museum building’s ground floor. A security guard standing right next to it wouldn’t allow photos of the card (photos are banned in the museum), but he was kind enough to let me record it. It follows in full below. (The brackets were included in the text.)
Cady Noland has requested the Brant Foundation Art Study Center post the following disclaimer:
“Because Ms. Noland have [has] not been involved with the chain of provenance with many of my [her] pieces there are more situations like this show which place demands on her time and the artist’s attention to ensure proper presentation of her artwork (including its representation in photographs), than she has time or capacity to be involved with. She reserves her attention for projects of her own choosing and declined to be involved in this exhibition. The artist, or C.N., hasn’t given her approval or blessing to this show.”
Regardless, Noland’s works—a handful of her classic scatter and metal cut-out pieces—of course look great.
Update, 1 p.m.: An earlier version of this post stated that Cady Noland had installed her work at the Foundation, citing an unnamed source. The publicity agency for the exhibition has stated that Noland, in fact, did not install the work.