The Chittendens

Contemporary Art

2005

Catherine Sullivan in collaboration with Sean Griffin
American, born 1968; American, born 1968

Status: Currently Off View
Department: Contemporary Art

Artist: Catherine Sullivan
Title: The Chittendens
Place: United States (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 2005
Medium: Five-channel digital video projection (transferred from 16mm film), black and white, color, sound, 104 min.
Edition: 1 of 4, with no artist's proofs
Credit Line: Gift of Metro Pictures
Reference Number: 2021.271

Ken Johnson, “Art in Review; Catherine Sullivan” New York Times, Dec. 9, 2005, E 41.
Annette Südbeck, Catherine Sullivan: The Chittendens, exh. cat. (Vienna: Secession, 2005).
Catherine Wood, “An Actor Prepares,” Frieze, no. 95 (Nov./Dec. 2005): 108, 109 (ill.), 110.
Collection Lambert, Figures de l’acteur: le paradoxe du comdien, exh. cat. (Paris: Gallimard, 2006), 46–47 (color ills.).
Melissa Friedling, Flash Art International, 39 (Jan./Feb. 2006): 101, 102, (ill.).
Tim Griffin and Catherine Sullivan, “1000 Words: Catherine Sullivan,” Artforum 44, no. 6 (Feb. 2006): 174 (color ill.), 175, 176-77 (color ills.).
Cynthia Nadelman, ART News, 105, no. 4 (Apr. 2006): 142 (color ill.).
Melanie Gilligan, “The Beggar’s Pantomime,” Artforum, 45, no. 10 (Summer 2007): 432 (ill), 433.
Nikolai Molok and Lida Abdul, 2 Moscow biennale of contemporary art: footnotes on geopolitics, market, and amnesia, exh. cat. (Moscow: ArtChronika, 2007), 204 (color ill.), 222.
Herbert Martin, “The World as a Stage,” Artforum, 46, no. 7 (Mar. 2008): 353.
Whitney Museum of American Art, Whitney Museum of American Art at Altria: 25 Years, (New York: Whitney Museum of American Art; New Haven: Distributed by Yale University Press, 2008), 188.
Thom Donovan, “Virtuosity and the Survival of the Subject: On Catherine Sullivan,” Afterall 26 (Spring 2011): 112, 116-17.
Catherine Wood, “Fixed Explosive: Catherine Sullivan’s Choreography of Stasis,” Afterall 26 (Spring 2011): 100-02 (color ills.), 103-04, 108 (color ill.).
Timothée Chaillou, Thomas Clerc, Boris Groys, Pierre Even, and John Miller, Seuls quelques fragments de nous tourcheront quelques fragments d’autrui/Only parts of us will ever touch part of others, exh. cat. (Paris: Galerie Thaddaeus Ropac, 2012), 86-87 (color ill.),144 (color ill.), 145.

Vienna, Secession, Catherine Sullivan: The Chittendens, July 7-Sept. 4, 2005, no cat. no.; Tate Modern, Nov. 19, 2005 Jan. 8, 2006 (nine-channel version).
New York, Metro Pictures, Catherine Sullivan: The Chittendens, Nov. 19–Dec. 23, 2005 (extended to Jan. 21, 2006), no cat.
Brussels, Galerie Catherine Bastide, Catherine Sullivan: The Chittendens, Catherine Sullivan: The Chittendens, Jan. 20–Mar. 9, 2006, no cat.
Avignon, Collection Lambert, Figures de l’acteur: le paradoxe du comdien, July 8–Oct. 15, 2006, no cat. no.
Milan, Gió Marconi, Catherine Sullivan: The Chittendens, Sept. 9–Oct. 10, 2006, no cat.
New York, Whitney Museum of American Art at Altria, Repeat Redux: Screenings and Performance Series, Nov. 18-22, 2006, no cat. no.
Centre for Contemporary Art, Glasgow, Catherine Sullivan, Dec. 2, 2006–Jan. 27, 2007, as The Resuscitation of Uplifting (a single-channel installation derived from The Chittendens), no cat.
Second Moscow Biennale of Contemporary Art, Mar. 1–Apr. 1, 2007, no cat. no.
Tokyo, Nichido Contemporary Art, Catherine Sullivan: The Chittendens, July 27–Sept. 1, 2007, no cat.
Seoul, Arko Art Center, Catherine Sullivan: The Chittendens, Mar. 26–May 2, 2010, no cat.
Paris, Galerie Thaddaeus Ropac, Only Parts of Us Will Ever Touch Parts of Others, Nov. 30, 2012–Jan. 19, 2013, no cat. no.
Screenings:
Aspen Art Museum, The Chittendens, April, 24, 2008.

The artist; sold to Metro Pictures, New York, Mar. 26, 2006; given to the Art Institute of Chicago, Nov. 9, 2021

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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