Jimmie Durham: At the Center of the World Audio Guide Playlist
Narrator: Durham found the materials for this sculpture on the streets of New York, where he lived for most of the 1980s. He thought of the work as a kind of collaboration with the animal itself, a process of discovering how it felt to be dead, and interpreting those feelings through sculpture. Durham’s art often involves this kind of imaginative effort, almost a form of empathy with his materials.
Jimmie Durham: I know it sounds romantic and silly, but that was my idea.
I don't remember where I got it, but in one of these crazy ways, I was just getting a skull and there was every kind of garbage. There was a fur district down in the 20’s. They put out every kind of fur scraps: mink, chinchilla, wolf, everything.
His eyes, one is turquoise and the other must be this kind of stone called pyrite stone from Peru, from the Andes. I had been in Lima when I was in the American Indian Movement and several other places in Peru.
Jimmie Durham (b. 1940), Tlunh Datsi, 1984. Puma skull, shells, turquoise, turkey feathers, metal, sheep and deer fur, pine, acrylic paint. 40 ½ × 35 ¾ × 31 ¾ in. (103 × 91 × 81 cm). Private collection, Belgium
- 500 Introduction
- 501 On Loan from the Museum of the American Indian, 1985
- 502 Pocahontas’ Underwear, 1985
- 503 Types of Arrows, 1985/86
- 504 Tlunh Datsi, 1984
- 505 Bedia’s Stirring Wheel, 1985
- 506 Self-Portrait, 1986
- 507 Choose Any Three, 1989
- 508 I Forgot What I Was Going to Say, 1992
- 509 Malinche and Cortez, 1988-1992
- 510 Caliban Codex, 1992
- 511 St. Frigo, 1996
- 512 Something...Perhaps a Fugue or an Elegy, 2005
- 513 Self Portrait Pretending to be a Stone Statue of Myself, 2006
- 514 Works from Wood, Stone and Friends, 2012
- 515 Arc de Triomphe for Personal Use, 1996