Art Institute of Chicago

Crazy Otto

Robert Irwin · 1962

Provenance

Ownership history

The artist; sold through Irving Blum Gallery, Los Angeles to private collection. Sold, Sotheby Parke-Bernet, Los Angeles, Feb. 27, 1974, lot 351, to Pace Gallery, New York; Sold through Pace Gallery, New York, to private collection, Columbus; sold through Pace Gallery, New York, to the Art Institute of Chicago, Apr. 8, 2025.

Recorded by Art Institute of Chicago.

Exhibitions

Exhibition history

New York, The Pace Gallery, Group Exhibition, June 1–Sept. 1, 1974, no cat.
Chicago, Museum of Contemporary Art Chicago, Robert Irwin, Nov. 8, 1975–Jan. 4, 1976, no cat. no.
New York, Whitney Museum of American Art, Robert Irwin, Apr. 16–May 29, 1977, no cat. no.
Boston, Institute of Contemporary Art, The Reductive Object: A Survey of the Minimalist Aesthetic in the 1960s, Mar. 7–Apr. 29, 1979, no cat. no.
Annandale-on-Hudson, NY, Edith C. Blum Art Institute, Bard College, The Maximal Implications of the Minimal Line, Mar. 24–Apr. 28, 1985, no cat. no.
Los Angeles, The Museum of Contemporary Art, Robert Irwin, June 20–Aug. 15, 1993, no cat. no.; Cologne, Kölnischer Kunstverein, Apr. 10–June 20, 1994, cat. 21; Paris, Musée d'Art Moderne de la Ville de Paris, July 9–Oct. 16, 1994, not in cat.; Madrid, Museo Nacional Centro de Arte Reina Sofía, Feb. 7–Apr. 10, 1995, cat. 21.
New York, PaceWildenstein, Robert Irwin: A Selection of Works 1958 to 1970, May 1–
July 24, 1998, cat. 2.
Los Angeles, PaceWildenstein, Robert Irwin: Line Paintings, 1962–64, Oct. 8–31, 1998, no cat.
Paris, Centre Georges Pompidou, Los Angeles 1955-1985, Mar. 8–July 17, 2006, no cat. no.
New York, L & M Arts, Elemental Form, Oct. 19–Dec. 9, 2006, no cat. no.
San Diego, Museum of Contemporary Art, Robert Irwin: Primaries and Secondaries, Oct. 21, 2007–Apr. 13, 2008, no cat. no.

Literature

Published references

Ira Licht, Robert Irwin, exh. cat. (Chicago: Museum of Contemporary Art, 1975), 16.
Robert Irwin and Richard Marshall, Robert Irwin, exh. cat. (New York: Whitney Museum of American Art, 1977), 51.
Stephen S. Prokopoff, The Reductive Object: A Survey of the Minimalist Aesthetic in the 1960s, exh. cat. (Boston: Institute of Contemporary Art., 1979), n.p. (ill.)
Linda Weintraub, The Maximal Implications of the Minimal Line, exh. cat. (Annandale-on-Hudson, N.Y: Edith C. Blum Art Institute, Milton and Sally Avery Center for the Arts, Bard College Center, 1985), 64 (color ill.), 87.
Russell Ferguson, Richard Koshalek, and Kerry Brougher, Robert Irwin, exh. cat. (Los Angeles: Museum of Contemporary Art, Los Angeles, 1993), 96-97, 99, 100 (color ill.), 106, 191.
Marianne Stockebrand, Sabine Müller, and Lawrence Weschler, Robert Irwin, exh. cat. (Cologne: Kölnischer Kunstverein, 1994), 7, 20-21 (color ill.), 40.
Enrique Juncosa and Lawrence Weschler, Robert Irwin, exh. cat. (Madrid: Museo Nacional Centro de Arte Reina Sofía, 1994), 150, cat. 21.
PaceWildenstein, Robert Irwin: A Selection of Works 1958 to 1970, exh. cat. (New York: PaceWildenstein, 1998), n.p., cat. 2 (color ill.).
Catherine Grenier, Los Angeles 1955-1985: Birth of an Art Capital, exh. cat. (Paris: Panama Musées, 2006), 98, 99 (color ill.), 372
Robert Storr, Elemental Form, exh. cat. (New York: L&M Arts, 2006), 11, 34, 35 (color ill.), 93.
Hugh M. Davies, Robert Irwin: Primaries and Secondaries, exh. cat. (San Diego: Museum of Contemporary Art, 2007), 136, 137 (color ill.), 218.
Kristine McKenna, The Ferus Gallery: A Place to Begin (Göttingen, Germany: Steidl, 2009), 56.

Comparables