TOM HOLMES Born in 1975, Ozona, TX Lives and works in Liberty, TN EDUCATION

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1 GALERIE CATHERINE BASTIDE Rue Vandenbrandenstraat 1 - B-1000 Brussels T F TOM HOLMES

2 TOM HOLMES Born in 1975, Ozona, TX Lives and works in Liberty, TN EDUCATION 2002 MFA, Studio Art, University of California Los Angeles 1999 BFA,Studio Art, University of Texas at Austin SOLO EXHIBITIONS Part of This Complete Breakfast : objects for a wake, Galerie Catherine Bastide, Brussels, BE Tom Holmes, Kunsthalle Bern, CH Painted Bones - some reliquaries, Bureau, New York, USA Solo project for LISTE, Basel, Switzerland (June) 2010 Burial Shroud, Tom Holmes at Bureau, NADA Projects, Miami, USA Silly Rabbit: a gravestone and an urn, Dispatch, New York, USA 2009 Noisy Bottom, Exile, Berlin, DE 2002 Bamboo, GREIGE, Berlin, DE Glas ist eine zahfliessende Flussigkeit or That Joke Isn t Funny Anymore, Galerie fuer, Berlin Gegenwartskunst Barbara Claasen-Schmal, Bremen, DE Singing the Smiths to Learn Spanish, La Panadería (artist-in-residence), Mexico City, MX (Catalog) Kund: the new generation chooses freedom, curated by Per Hüttner, HOOD, Los Angeles The Horrible True Story of How White Boys Got No Soul..., Parkhaus, Düsseldorf, DE Catalog SELECTED GROUP EXHIBITIONS 2009 I Know Nothing of the Weather..., Pacific Northwest College of Art, Feldman Gallery, Portland, OR. (Catalog) 2008 Subject Index, curated by Gabrielle Giattino, Malmö Konstmuseum, SW (Catalog) Useful Gestures/Useless Gestures, Dispatch, NY 2007 Undone, curated by Howie Chen and Shamim Momin, Whitney Museum at Altria, NY 2005 Put it in Your Mouth / I ll see you on the dark side of the prune, curated by Darren Bader, Rivington Arms, NY, USA Maurizio Couldn t Be Here, with VOY, Apex Art, NY, USA Kicking Rocks, Champion Fine Art, Los Angeles. (Catalog) 2003 LA s Illest Artists, with VOY, Los Angeles South Pasadena is 4 Lovers, Sone Studio, Los Angeles. (Catalog) 2002 #1 Sabado de CHYG S, Chyg s, Mexico City, MX With Pleasure Wickedness and Finesse, The Basement, Los Angeles, USA 2001 Sharing Sunsets, Museum of Contemporary Art, Tucson, AZ

3 The Evening School/Kvällskurserna/Aftenskolen, Signal, Malmö, SW. Catalog Ars Moralis-Timeo danaos et dona ferentes, Galerie fuer Gegenwartskunst Barbara Claasen-Schmal, Bremen, DE Battle for the Best Drawing in the Universe Title, Black Dragon, Los Angeles, USA SELECTED PRESS AND PUBLICATION 2010 Anne Doran, Tom Holmes, Time Out New York, Feb John Motley, I know nothing of the weather, Portland Mercury, Mar Gabrielle Giattino, Subject Index, Malmö Konstmuseum exh. catalog Internationalistiske Ideale, Copenhagen, DK 2007 Leah Modigliani, Undone at the Whitney at Altria, Artnet.com Pipilotti Rist, Congradulations! 2005 VICE photo issue, July La Panadería , Per Hüttner, Reflection, Mare Articum, 2002, p82 Inken Steen, Sag einfach mal Sorry, Bremen, May 1, 2002

4 TOM HOLMES Burial Shroud, Bureau/ NADA Projects, Miami, USA, 2010

5 Captions : Day 1: Shroud (Trix) 2010 Wool, ink and acrylic, plywood, steel wire 55 x 82 in. Day 2: Shroud (Froot Loops) 2010 Wool, fleece, dye, plywood, ink x 34 x 30 in. Day 3: Shroud (orange flavor) 2010 fleece and yarn, plywood, mesh bag, silver lamé, Nerf ball 88 x 36 in. Day 4: Shroud (Pops) 2010 Ply, watercolor, xerox 72 x 27 in. Days 3+4: Shroud (Zel) inkjet, water color, galvinized steel x 24 in. Pile of Drawings - various 2D media

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16 TOM HOLMES Burial Shroud Solo Project for the NADA Art Fair Bureauew York, Booth P-1 December /2 Songs (for Joe), a performancesaturday December 4, 3:15 p.m. TOM HOLMES Burial Shroud+1 1/2 Songs (for Joe), a performancesaturday December 4, 3:15 p.m. Bureau is pleased to announce its participation in the NADA Art Fair in Miami this December. The booth will feature a new solo project by Tom Holmes, Burial Shroud. The image of an inverted and severed male nude torso, shrouded in white cotton fabric, will reside in the booth for the duration of the fair. Every day a different large textile sculpture will be installed, each Burial Shroud subtitled to refer to a different candy-colored flavor of children s sugar cereal. Two of the new textile works use hand-dyed alpaca and wool fleece that is tufted onto different surfaces: mixtures of found fibers, foams, wool pile and mesh. Consistent in all four shrouds, as well as the transposed portrait, is the icon of a flat wooden bulletin pole. Part gallows or crucifix, part agitprop placard bearer, the repeated support allows for a multitude of readings, conjuring images of sacrifice, protest, buttress. Building on his exhibition earlier this year, Silly Rabbit - a gravestone and an urn, the artist advances his proposals for the contemporary grave monument - in part a reinvestigation of the historical role of the artist as designer of ceremonial burial object and a response to his own experience of his community s grief and commemoration. Holmes s new textile pieces and works on paper, however, depart from an explicit use-value allowing for an investment in a frenzied abstraction, one that is based on a mixture of the hard-edge graphic design of children s marketing. The hysterics of cereal-box characters in day-glow colors are abstracted with a quirky softness of textile and soft sculpture. Often borrowing from the language, color and motif of popular advertising, Holmes effortlessly combines a staggering array of references, images and techniques. With an omnivorous appetite for references drawn from fine art and wider visual culture, Holmes has a unique sensibility for aesthetics. Vernacular images are abstracted into strange amalgams, mixing photography, drawing, painting and collage. His pieces, however, resist the hierarchy of medium. His attention is often focused on the consideration of support - or how an image and combination is presented - in this case the rectangle echoes the form of a painting but is, in fact, conceived as a shroud.

17 TOM HOLMES Solo Exhibition : Painted Bones - some reliquaries Bureau, New-York, USA, 2011

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25 Untitled Program (feathers red yellow green blk), 2011

26 acrylic ply, wire, feathers 12 x 24 in. Tom Holmes : Painted Bones - some reliquaries/ September 7 - October 23, 2011 Bureau is proud to announce a solo show by Tom Holmes, Painted Bones - some reliquaries, featuring new large-scale sculptural work. The exhibition will run from September 7 through October 23 at 127 Henry Street, between Rutgers and Pike streets, in the Lower East Side. Following his 2010 exhibition Silly Rabbit - a gravestone and an urn at Dispatch, Holmes presents several new large-scale pieces showing a continued interest in borrowing from funerary objects. Far less attached to the function of these objects than in his earlier work, these new sculptures are made from a mix of industrial materials and textiles including steel, cinder blocks and burlap. An arc describing a thin section of a cone, provides the formal anchor of the new works. This substrate, draped and bent, is adorned with hand-painted human bones. While the work clearly shows a preoccupation with impending death and the fear of insignificance, it also refuses clear interpretation as memorial. Though the pieces are in fact grounded in the form of the reliquary a decorative container that traditionally houses scraps of bone, cloth or debris belonging to a holy person, becoming a locus for the worship of the subject there enshrined the works themselves reject instrumentalization or functionality. For Holmes the formal object and its component parts is primary, the holy subject subverted by his use of anonymous relics procured as he would any other material, be it a vintage textile or an oversized cereal box. Holmes may work with a heavy hand for subject matter but he also has an exquisitely light touch and sensitivity for abstract form. His materials and compositions are deeply rooted in minimalism and abstraction, while the overall project is one of reclaiming popular motifs for their abstract component parts. Holmes proliferates throw away pop culture with the same rigor he applies to the consideration of abstraction, combining a matter-of-fact embrace of this ubiquitous cultural material with a focus on commemorative and funerary forms. That tension is where we find the potency of his work: a will to oscillate between extremes, from pop and profane to hallowed and transcendent. Tom Holmes was born in 1975 in Ozona Texas. He received his BFA from the University of Texas at Austin in 1999 and his MFA from UCLA in His works have been widely exhibited in private galleries and public institutions such as the Whitney Museum at Altria, NY; the Malmö Konstmuseum, Malmö Sweden; Pacific Northwest College of Art, Portland OR; Exile, Berlin; Dispatch, New York. In 2012 he will present a major solo show at the Kunsthalle Bern in Switzerland.

27 TOM HOLMES Solo Exhibition, 8 Rue Saint Bon, Paris, France, 2011 Galerie Catherine Bastide

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29 untitled (from El Camino Real), 2011 Inkjet transfer, ink, acrylic, nylon, tyvek 105 x 59 inches (267 x 150 cm

30 Letter for JoJo in Latin and El Camino Hearse, 2011 offset print in open edition, grey metal folding chair Edition 1/3

31 untitled interior (from El Camino Real), 2011 Inkjet transfer, ink, acrylic, nylon, tyvek 60 x 57 inches (152 x 145 cm)

32 8, RUE SAINT BON Paris +33 (0) / +33 (0) Tom Holmes Exposition du 28 mai au 25 juin 2011 PRESS RELEASE El Camino Real Holmes s latest sculptures and works on paper show a continued interest in proliferating proposals for contemporary funerary monuments and ephemera. The works do, however, easily depart from an explicit use-value allowing for an investment in frenzied abstraction based on a mixture of hard-edge graphic design of children s marketing and a real investment in form, color and composition. Often borrowing from the language and motif of popular advertising, Holmes effortlessly combines a staggering array of references, images and techniques. With an omnivorous appetite for material drawn from fine art and wider visual culture, Holmes has a unique aesthetic sensibility. Vernacular images are abstracted into strange amalgams, mixing photography, drawing, painting and collage, resisting the hierarchy of medium. His attention is often focused on the consideration of support, or how an image and combination is presented. Soft sculpture and textiles take the form of shrouds. Large, rectilinear forms stand in as proposals for concrete or stone grave markers. Thin, bent metal torques to support complex floral arrangements and commemorative wreaths. For El Camino Real, Holmes takes the form of the Chevrolet El Camino ( ) as a ready-made Hearse, or a vehicle in which to transport a body. He builds upon singular elements of the car steering wheel, floor mat, flat bed as supports on which to play out a conflation of a frenzied and high-key abstraction and the anxiety of the inevitable. Gabrielle Giattino L'espace d'exposition est ouvert les vendredis et samedis de 11h à 19h et sur rdv. 8, RUE SAINT BON regroupe les structures suivantes : Les Presses du réel, Galerie Catherine Bastide, Anna Sanders Films, Macula et JRP Ringier Sa programmation opérée par Catherine Bastide est liée aux activités de ces structures. / / / / A special thanks to DispatchBureau and Sarah Dornner

33 Stand Fiac 2011, Paris, FR

34 Tom Holmes Sketches for Funeral Shrouds 2010

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37 Tom Holmes Silly Rabbit a gravestone and an urn 2010 The exhibition takes the form of a showroom for funeral monuments. Comprised of two floor models, the show features a gravestone of yellow cinder blocks and an inverted Trix cereal box urn filled with human remains. A selection of sketches and works on paper depicting other available models and possibilities for funereal monuments are available for review. Following pages: Artist text from Silly Rabbit Installation View Urn from Silly Rabbit TRIX (tm) cereal box, human ashes, wire 2010 Gravestone from Silly Rabbit Cinderblocks, Acrylic Paint 2010 Untitled (From Silly Rabbit) works on paper - inkjet monoprint transfer, pencil, water color dimensions variable

38 My Dearest Kings, This town sux and so doos u. This town sux and so do me. I barely remember watching the cartoons (The Bible in Pictures for Little Eyes) and taking the pills, pill, pills, one by one. Ug, the fucking embarrassing ug of the neighbor lady (she s a real cunt full) found finding me, couldn t wake me up - but I was just foolin. I ve been tryin to take more pleasure in my confusions but all signs and psychics point to getting out - until there is a final twist and it snaps and I spend the rest of my life in some state run snake pit. I couldn't open my eyes or move, but I heard everything. I remember the lady shake tickling me and saying, "Oh, my God. Oh, my fuckin G (but, God was a spotty giraffe, of sorts.) I remember a November ambulance, probably vitamin-piss yellow, and people taking off my clothes and puke - warm at first, acid hot, spilling across my chest and into my armpits. There were long long spokes extending from one side of me, a shoulder. They variegated from green to flashing yellow or maybe it was a yellow to scaly green green. A perpetual falling backwards in space, into a grand urgency - the modern kind. An urgency to get back to that cinder tile building that was for the mex kin kids - smelled. It had rained for five weeks str8 when a cloud glob split and spot lit that god-awful Architectonica building and I turned to Mr. T and I said, a fuckin billboard is just as abstract as a Frankenthaller (knowing that used to be an insult.) And, it wasn t even till the end of the block that I stepped in what I thought was cow shit but turned out to be an ol slave s cement pile grave. I tried to push a couple of seashells into it while it was still wet but, they didn t stick - cause of the rain, probably. And then, just then, the wa wa of the drugs in your head before your eyes go wood. Litho greeny screeny Frankenberry counterfeit lines as all 44 baby tooths snap and chip on the gravel gravel puffs. Silly Faggot, Dicks are for Chicks. (Then cut to me. Shot in a hospital room.) Walkin around in a hospital gown lots of places won t hire you. Knock knock. Whose there? Full-blown AIDS! (heard through curtains) I need a job just to breathe in my breathey parts. Meeting w the bankruptcy lawyer on Mon. I m getting out of this shitty game, scrapin for chump change. Y all have at it for me - up up w confetti confetti, the rich kids are eatin everything in the fridge. They get all the daylight. The rich kid babies were stealin all my glamour and that s why I got arrested. Arrested for punchin those babies in their lil baby skulls. You know the difference btw a baby and a table, right? They ll elbow you, tack up wood over your windows, tell you its the rules, if you try to even get on, just gettin by, cryin for a living. Listen, I tell u that Rock Paper Scissors used to be called Concrete Paper & Steel. Sterling, BTW, Mojo - douches all, pieholes sick to death of impotence. - can t skull-fuck a table. My mind is on the Mount. Literally, I z walkin out of this shitty, cross Jersey, south bound and down. I use to hear my daddy mumble Live and learn, die and forget it all. You go on for me you count all those black spots on the sidewalk, every Bubbliciouslly tarry one. Fuck You, New York fufufuck to pieces. You re gonna atomize. You re gonna atomize just like those ugly new buildings comin down in a forest fire. Punch fuck, dead broke. If I knew more of the death drive I d go on and on and on about those fruity flavors - raspberry red, lemony lemon, orangey orange, wildberry blue, grapity purple and [niggery] watermelon. I only tell my lovers I can t read - what do they care. Yours in Christ, (the very last of his molecules) Bobby Wilson

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47 Tom Holmes The Most American Problem, or Something about Reducing One to Zero 2007 Installation Views Undone at the Whitney Museum at Altria, New York

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49 Tom Holmes Text works Ikebana TexTiles: SkillSet, digital sketch for textile SkillSet, 2008, woven textile, 6 x 6 ft. SkillSet Installation View - Malmö Konstmuseum, Sweden, 2008 Installation View - Pacific Northwest College of Art, Portland OR, 2008 JesusPieces, 2008, inkjet print textile proposal, 12 x 16.5 in. ICanCallMyMotherThatButYouCan tcallmymotherthat, 2008, inkjet print textile proposal, 12 x 16.5 in. Deaf Dog: Too Old To Live, 2007, inkjet print, 11 x 17 in. Make Stuff Up, 2007, inkjet print, 11 x 17 in. Deaf Dog Series: Installation View - Pacific Northwest College of Art, Portland OR, 2008

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58 Tom Holmes Landscape and Portrait Photographs Untitled (bow green) c-print 16x9in Untitled (bows yellow and blk), c-print, 16x9 in untitled (from Faggots and Their Friends Btw Revolutions) c-print, 16x16 in.,

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BUREAU 127 Henry Street New York NY 10002 bureau-inc.com TOM HOLMES. Gabrielle Giattino giattino@bureau-inc.com

BUREAU 127 Henry Street New York NY 10002 bureau-inc.com TOM HOLMES. Gabrielle Giattino giattino@bureau-inc.com BUREAU 127 Henry Street New York NY 10002 bureau-inc.com TOM HOLMES Gabrielle Giattino giattino@bureau-inc.com TOM HOLMES b. 1975, Ozona, Texas Lives and works in Brooklyn and Liberty TN EDUCATION 2002

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