Born in St. Louis, MO, 1956
Currently resides in Los Angeles, CA
Education
Yale University, MFA., Photography 1982
Pomona College, BA 1979
Solo Exhibitions
Vector Portraits, Angles Gallery, Los Angeles, CA, 2002
Prop Portraits, Society for Contemporary Photography, Kansas City, MO, 2001
Prop Portraits, Julie Saul Gallery, New York, NY, 2000
Envelopes, Robert Klein, Boston, MA, 1998
Fifteen Year Survey, Julie Saul Gallery, New York, NY, 1998
Envelopes, Jackson Fine Art, Atlanta, GA, 1998
Portraits--Business Cards, Julie Saul Gallery, New York, NY, 1996
Envelopes, Angles Gallery, Santa Monica, CA, 1995
Envelopes, Julie Saul Gallery, New York, NY, 1995-94
Bonnettstown, California Center for the Arts, Escondido, CA 1993
Envelopes, Fraenkel Gallery, San Francisco, CA, 1993
Vector Portraits, Lieberman & Saul Gallery, New York, NY, 1992
Vector Portraits, Department of Motor Vechicle Buildings, Los Angeles, CA, 1992-91
Bonnettstown, Glen/Dash Gallery, Los Angeles, CA , 1991
Bonnettstown, Blue Sky Gallery, Portland, OR, 1990
Bonnettstown, Chenango Council of the Arts, Norwich, CT, 1990
Bonnettstown, Roger Ramsey Gallery, Chicago, IL, 1990
Bonnettstown, Greenberg Gallery, St. Louis, MO, 1986
Bonnettstown, Lieberman & Saul Gallery, New York, NY, 1986
Group Exhibitions
Poul Kjaerholm and Selected Art Works, Sean Kelly Gallery, NYC, NY, 2004
Surrounding Interiors: Views Inside the Car, Davis Museum and Cultural Center, Wellesley, MA, 2002
Ich Bin Mein Auto: Die Maschinalen Ebenbilder der Menschen, Statlich Kunsthalle, Baden-Baden, 2002
Text/Textile: Words and Weaving in Contemporary Art, Deutsche Bank Lobby Gallery, West 52nd St., NYC, NY, 2002
Sand/Pavement: Beach Photographs/Car Culture, Nassau Community College, Firehouse Art Gallery, Garden City, NY, 2001
Reconsidering the Renaissance, Bridgewater/Lustberg & Blumenfeld, New York, NY, 2001
Avant-Premiere 6, Galerie Claude Samuel, Paris, FR, 2001
Show Me the Money - the Dollar as Art, Trust for Museum Exhibitions, 2001
Photography Now: An International Survey of Contemporary Photography, The Contemporary Arts Center, New Orleans, LA 2000
Rearview Mirror: Automobile Images and American Identities, California Museum of Photography, University of California. Riverside, 2000.
SoCal Car Culture, The Irvine Fine Arts Center, Irvine, CA 2000
Breathless! - Photography and Time, The Canon Photography Gallery at the V&A, London, UK, 2000
MoneyMaking: the Fine Art of Currency at the Millenium, Federal Reserve, Washington, D.C., 2000
Summer Reading, Yancey Richardson Gallery, New York, NY, 1999
Duration and Whenever, Angles Gallery, Santa Monica, CA, 1999
A Survey of Interior Imaging from X-ray to MRI, Julie Saul Gallery. 1999.
Interiors, Champion International Corporation, Stamford, CT 1998
A Thin Line, Bard College, Annadale-on-Hudson, NY, 1998
Figure and Landscape, Montgomery Glasoe Fine Art, Minneapolis, MN, 1997
Recent Acquisitions, San Francisco Museum of Modern Art, San Francisco, CA, 1996
Photographics, Cleveland Center for Contemporary Art, Cleveland, OH, 1996
Portraits, 1991-1996, Julie Saul Gallery, New York, NY, 1996
Verisimilitude and the Utility of Doubt, White Columns, NYC, NY 1995.
Blind Spot Photography: The First Four Years, Paolo Baldacci Gallery, NYC, NY 1996
P.L.A.N.: Photography Los Angeles Now, LA County Museum of Art, Los Angeles, CA, 1995
The Joy of Painting, HERE, NYC, NY, 1995
Recent Acquisitions, LA County Museum, Los Angeles, CA, 1995
Megan Fox Gallery, Santa Fe, NM, 1995
Champion International Corporation, Stamford, CT, 1994
Fraenkel Gallery, San Francisco, CA, 1995-94
Serial/Images, Angles Gallery, Santa Monica, CA, 199
Lousy Fear, Randolph Street Gallery, Chicago, IL 1994
Commodity Image, International Center of Photography Midtown, New York, NY, 199
Vector Portraits, Julie Saul Gallery, New York, NY, 1993
Metropolitan Museum of Art, New York, NY, 1991
MetLife Gallery, New York, NY, 1991
Off the Beaten Track, Security Pacific Bank, Cost Mesa, CA, 1991
Didactics--Aspects of Photography, Victoria & Albert Museum, London, UK, 1990
Gardner Arts Center, University of Sussex, UK, 1990
Recent Acquisitions, Art Institute of Chicago, Chicago, IL, 1989
Art at Pomona College, Claremont, CA, 1988
Rice University Media Center, Austin, TX, 1986
The Parrish Museum, Southampton, NY, 1986
Lieberman & Saul Gallery, New York, NY, 1985
Daniel Wolf Gallery, New York, NY, 1985
Photographs of Flowers from the Collection of Sam Wagstaff, Detroit Museum of Art, Detroit, MI, 1985
The Photographers' Gallery, London, UK, 1985
"Color Photographs - Recent Acquisitions, Museum Of Modern Art, New York, NY, 1984
Olympus Camera Gallery, London, UK, 1984
Publications and Reviews
Kennedy, Marla Hamburg, Looking at Los Angeles, New York: Metropolis Books, 2005.
Siegel, Katy and Mattick, Paul, Money, London: Thames and Hudson, 2004.
«The Metropolitan Museum of Art - The Collection: Photographs", www.metmuseum.org June 2003.
Bush, Andrew Nest, Final nest: Bonnettstwown Hall, Summer, 2003.
Rearview Mirror: Automobile Images and American Identities, (Editor, Kevin Jon Boyle) California Museum of Photography, UC Riverside/CMP, 2000.
Loke, Margaret, "Paying Homage to Books (Those With Covers)", The New York Times, August 1999.
Saltz, Jerry, «Andrew Bush» , Time Out, March 26, 1998.
Voice Choices, March 10, 1998.
Walcott, Ellison Austen, «Andrew Bush, A Fifteen Year Survey», March 15, 1998.
Loke, Margarett, «Andrew Bush», The New York Times, March 27, 1998.
Blind Spot, Issue 7, 1996.
Schwendener, Martha, "Andrew Bush at Julie Saul", Art in America, December, 1996.
Hagen, Charles, «Andrew Bush», The New York Times, December 9, 1994.
Grunstein, Raoul, «Ajovaylien Asukkaat», Image, November 1995.
«Recent Acquisitions - A Selection: 1993-1994", The Metropolitan Museum of Art Bulletin, Fall 1994.
Hagen, Charles, «The Camera as a Weapon to Assault Modern Ills» , The New York Times, June 11,1993.
Bush, Andrew, Driving Through the Museum, Not To the Museum", The Los Angeles Times, May 10, 1993.
«Days of Getting, Spending and Photography, Too», The New York Times, May 30, 1993.
Hagen, Charles, «People in Their Cars, Driving Along», The New York Times, March 27,1992.
«Man at his Best» , Esquire, July 1992
Aletti, Vince, «Photo», The Village Voice, April 14,1992.
«Best Photos in the Metropolitan», Marie Claire (Japan), September 1992.
«Personalien», Der Spiegel (Germany), April 06, 1992.
Front and Back Covers, Publicsfear, Vol. 1, No. 1, 1992.
Nilson, Libet, "Art Notebook", Los Angeles Times, March 31,1991.
Aletti, Vince, «Summer Selection - Metropolitan Museum» , The Village Voice, July 16,1991, Ill.
Russell, John, «There's Something New Under the Sun at the Met», The New York Times,July 14, 1991.
Lorenzelli, Tiziana, «Los Angeles: Vita Sulle Freeways», Domus Magazine, October1991.
"Reviews: Books", Photo District News, October,1989.
"Books", Time Magazine, December 18th, 1989.
Publishers Weekly, March 3, 1989.
Malcolm, Janet, «Books, Pink Roses» , The New Yorker, June 26, 1989.
Bush, Andrew, Bonnettstown: A House in Ireland, New York: Abrams,1989.
Grundberg, Andy, «Critic's Choice,» The New York Times, May 25, 1986
LaRouche, Robert, «The Looks, Life of an Irish Manor» , St. Louis Post - Dispatch, June30, 1986.
Grainick, Herbert, «Irish Home's Ambience Captured in Photos» ,St. Louis Globe - Democrat, July 12-13,1986.
O'Reilly,The Village Voice«Review», June 10, 1986.
Public Collections
Metropolitan Museum of Art, New York, NY
Victoria & Albert Museum, London, UK
Bibliotheque Nationale, Paris, FR
Los Angeles County Museum of Art, Los Angeles, CA
Art Institute of Chicago, Chicago, IL
St. Louis Art Museum, St. Louis, MO
Yale University Art Gallery, New Haven, CT
Museum of Modern Art, New York, NY
International Center of Photography, New York, NY
George Eastman House, Rochester, NY
San Francisco Museum of Modern Art, San Francisco, CA
Museum of Fine Arts, Houston, TX
"L'automobile et la photographie sont, sans aucun doute, deux révolution de notre société contemporaine. L'invention de l'automobile découle naturellement de celle de la roue et aura mis plus de 500 ans à aboutir. La photographie, elle, nait peut être du miroir dont on connait l'existence depuis 7000 ans.
Arrivées ensemble au XIXème siècle, l'industrialisation naissante va leur donner l'opportunité de se développer jusqu'à atteindre l'ampleur que nous connaissons aujourd'hui."
Vincent Boned
Drive My Car
7 Septembre - 20 Octobre 2012
Drive my Car ouvre le cycle expositif de Galeria Tagomago à Paris avec thématique autour de la voiture regroupant le travail d&#...
The classic American rites of summer: blasting music, preening teenagers and fast cars are the subjects of a pop culture infused Jackson Fine Art photography exhibition from June 24-TK. This thematically-unified show features some of contemporary documentary photography's enduring stars exhibiting some of their most compelling subject matter. Andrew Bush's Vector Portraits focus on Southern California car culture, Joseph Szabo offers haunting teenage portraits of Long Island kids from the Seventies to the Nineties on Jones Beach and Lyle Owenko's hip, savvy technological portraits capture vintage “ghetto blasters” in The Boombox Project.
Jones beach : Teaching high school in suburban Long Island from 1972-1999 has given photographer Joseph Szabo a front row seat on the fascinating rites and...
Avec The Americana, M+B et Colette présentent une exposition qui célèbre l'Amerique, avec des artistes dont le travail va de la photo documentaire, mettant en lumière des moments-clés du 20ème siècle, à des œuvres contemporaines plus conceptuelles. En creux, l'exposition montre donc l'évolution de la photographie et de l'art américain depuis les années 1950.
Les travaux de Lisa Jack, Le Roy Grannis, Hugh Holland, Joseph Szabo et Hunter S. Thompson sont une vitrine des mouvements des années 1960-70. Grannis et Holland ont choisi comme forme de rebellion le surf et le skate, symboles de la côte Ouest américaine. Szabo, leur homologue de la côte Est, et son travail sur la Jonas Beach des 70s, i...
Lyon Septembre de la photographie, dans sa thématique, ajoute au panorama français
un nouveau point de vue sur la photographie, à côté de manifestations d’importance comme
Visa pour l’image de Perpignan qui traque l’actualité et les clichés comme objectivation de
problèmes sociaux ; Les Rencontres d’Arles qui rendent compte d’une actualité, ou encore
Paris Photo qui s'inscrit dans le cadre du marché de la photographie.
La spécificité de Lyon Septembre de la photographie est de trouver et de pratiquer le
lien entre la photographie documentaire et l’art contemporain. Elle interroge la praxis de la
photographie documentaire créative qui confronte la subjectivité du photographe à ...
TOKYO PHOTO 2009 endeavors to be the foremost art fair of photography in Japan. The venue is located in the heart of international business and culture in Tokyo. To be held from September 4 to 6, Tokyo Photo 2009 will provide visitors with a unique opportunity to see and buy a wide range of photographic works from vintage prints to cutting-edge digitally enhanced images.
With the support of the US Embassy and in collaboration with the Museum of Photographic Arts in San Diego, Tokyo Photo will mount a special exhibition entitled Photo America. Featuring over 50 historical works spanning the 19th century to the present, Photo America will present a panoramic overview of American photographic expression. Virtually all of the works will be displayed for the first time in Japan.
PROGRAMMING
Lectures and seminars will...
Artist's Reception and Book Signing: Thursday, April 23, 6:00 - 8:30 pm
Yossi Milo Gallery is pleased to announce an exhibition of color photographs by Andrew Bush, entitled Vector Portraits. The exhibition will open on Thursday, April 23 and close on Saturday, June 27, with a reception and book signing by the artist on Thursday, April 23 from 6:00 to 8:30 pm. This will be the artist's first solo exhibition at the gallery.
Begun in 1989, Andrew Bush's series Vector Portraits was taken while the artist drove the city streets and freeways of Los Angeles. Either stopped in traffic or traveling at speeds of 20 to 70 miles per hour, the artist took portraits of other drivers using a medium-format roll-film camera and flash attached to the passenger side door of his car. Extended titles note p...
Andrew Bush’s series Vector Portraits was taken while the artist traveled the city streets and freeways of Los Angeles. Either stopped in traffic or traveling at speeds of 30 to 70 miles per hour, the artist took portraits of other drivers using a medium-format camera attached to the passenger side door of his car. The series explores American car culture and raises questions regarding personal privacy and the definition of public space.
Exhibitions of the series will run concurrently at Yossi Milo Gallery and Julie Saul Gallery.
Andrew Bush was born in 1956 in St. Louis, and he currently lives and works in Los Angeles. His work is held the collections of institutions such as the Victoria & Albert Museum; the Museum of Fine Arts, Houston; and the Museum of Modern Art, New York. In...