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Nineties", Jen Budney). His work has been discussed in numerous anthologies such as: L'Ivresse du Reel: L-Objet dans l'art du XXè siècle, 1993; Return of the Real, 1996; Art of the 20th
Century, 1998; Art Since 1940 – Strategies of Being, 1995; Conceptual Art, 1998; and Modernism in Dispute, 1993. Publications devoted to his work accompanied one person exhibitions as follows: capc Musee d'Art Contemporain de Bordeaux, 1998; Castello di Rivoli, 1995; Museum Moderner Kunst Stiftung Ludwig, Vienna, 1997; Neuer Berliner Kunstverein, Berlin; Haus der Kunst, Munich, 2000 and the Serpentine Gallery, London, 2014.
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Moderne de la Ville de Paris in 1995; NowHere, at the Louisiana Museum of Art Humblebeak in 1996; CittĂ Natura, at the Botanical Gardens and the Palazzo delle Esposizioni in Rome, and Passato, Presente, Futuro XLVI Venice Biennale, in 1997; Pop/ Abstraction at the Museum of American Art, at the Pennsylvania Academy of the Fine Arts, Philadelphia in 1998; Dinge in der Kunst des XX. Jahrhunderts, Haus der Kunst, 2000; Partage d'Exotismes, Biennale de Lyon, 2000; Shopping, Schirn Kunsthalle, 2002.
94:, Amsterdam, and "A Forest of Signs", at the Museum of Contemporary Art, Los Angeles, 1988. He also had numerous solo shows at important galleries, such as Sonnabend Gallery, New York; Rhona Hoffman Gallery, Chicago; Margo Leavin Gallery, Los Angeles; Galleria Lia Rumma, Naples; and Galerie Yvon Lambert, Paris.
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In 1995, a major survey of Haim
Steinbach's work took place at the Castello di Rivoli Museum of Contemporary Art in Turin, Italy. Other important one person museum shows followed at the Art Gallery of York University, Toronto, 1996; Museum Moderner Kunst Stiftung Ludwig, Vienna, 1997; Neuer Berliner
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By the second half of the decade, Steinbach's work gained increasing attention in both
America and Europe, and was included in various international shows: "New Sculpture", at the Renaissance Society of Chicago and "Prospect 86", at the Kunstverien in Frankfurt, in 1986; "El arte y su doble", at the
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Throughout the 1990s, his work has been included in many important shows, for example
Metropolis, at the Martin-Gropius Haus, Berlin in 1991; Documenta 9, Kassel and The Boundary Rider, Ninth Sydney Biennale in 1992; Viaggio Verso Citera, XLV Venice Biennale in 1993; Passions privée at the Musée
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Since the late 1970s
Steinbach's art has been focused on the selection and arrangement of objects, above all everyday objects. In order to bring them to light, he has been conceiving structures and framing devices for their presentation. Steinbach presents objects, ranging from the natural to the
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Haim
Steinbach's work has been the subject of discussion in numerous publications, such as Artforum, 1988 ("Haim Steinbach's Wild, Wild, West", Germano Celant); Artscribe, 1988 ("The Consumption of Everyday Life", John Miller); and Flash Art International, 1996 ("Haim Steinbach: Naked in the
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ordinary, the artistic to the ethnographic, giving form to art works that underscore their identity and inherent meanings. Exploring the psychological, aesthetic, cultural and ritualistic aspects of objects as well as their context, Steinbach has redefined the status of the object in art.
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in the New York, Steinbach's interest in the world of objects made him a significant figure in the creative discourse of
Eighties' New York. In 1983 Steinbach worked as a guard and caretaker of
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He lives and works in New York with his partner, Gwen Smith and son.
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Haim Steinbach, Edited by Ida Gianelli, Published by Charta, 1999
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Dreher, Thomas: Haim Steinbach. Exotic of the Familiar
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Haim Steinbach, Published by Ritter Klagenfurt, 1995
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226:http://www.liarumma.it/artists/haim-steinbach/
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