Tim Rollins + K.O.S., Temptation of St. Antony XXXVI â The Sun, (spit bite aquatint, etching and xerograph with animal blood and alcohol on chine collĂŠ), 1990 [MoMA, New York, NY. Š Tim Rollins and K.O.S.]
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Tim Rollins + K.O.S., Temptation of St. Antony XXXVI â The Sun, (spit bite aquatint, etching and xerograph with animal blood and alcohol on chine collĂŠ), 1990 [MoMA, New York, NY. Š Tim Rollins and K.O.S.]

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Tim Rollins & K.O.S. An Index
Edited by Alessandro Rabottini
Texts by Nicholas Cullinan, Nikola Dietrich, Suzanne Hudson, Alessandro Rabottini, Andrea Viliani
Jrp/Editions, Zurich 2011, 224 pages, 21x24,7 cm., ISBNÂ 978-3037642412
euro 40,00
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Tim Rollins and K.O.S. (Kids of Survival) have been collaboratively drawing and painting on book pages since 1982. The publication has been conceived as a guide to this work, analysing the group's artistic method from its inception through to today. The aim is to set up an index that gathers together all the books on which the group has worked: each one is discussed based on the reasons for its selection, alongside images of the work itself. The book contains critical essays by Nicholas Cullinan, Curator of Contemporary Art at Tate Modern in London, and Suzanne Hudson, Associate Professor of Art History at the Center for the Study of Modern Art at the Phillips Collection in Washington, DC, as well as a conversation between Tim Rollins and Alessandro Rabottini, Nikola Dietrich, Curator of the Museum fĂźr Gegenwartskunst in Basel, and Andrea Viliani, Director of the Fondazione Galleria Civica in Trento.Tim Rollins was an artist, teacher and activist who began his career as the assistant of the conceptual artist Joseph Kosuth. In 1979, he founded Group Material in New York. In the early 1980s, he taught âat risk' students with learning disabilities at Intermediate School 52 in the Bronx and went on to create the Art & Knowledge Workshop. His highly acclaimed collaboration with the members of K.O.S. (Kids of Survival) continued for many years. Rollins combined lessons in reading and writing with making artworks. The source material laid out and studied by the students generally related to literary or musical classics, such as works by William Shakespeare, George Orwell, Ralph Ellison or Franz Schubert, but can also include comics or legal documents. Their collaborative work took the form of drawings, photographs, sculptural objects and paintings on canvas and paper. The backgrounds of works are often comprised of pages of books pasted into a grid. The results blend elements of Minimalism with an interest in the revival of painting that took place in the 1980s and in art that is socially and politically engaged. Tim Rollins was born in 1955 in Pittsfield and died in 2017 in New York. The original K.O.S. members dispersed and now live in several different American cities. Some have gone on to become artists in their own right. Tim Rollins and K.O.S. have been involved in numerous solo and group exhibitions including the Whitney Biennale in New York in 1985, 1991 and 2006 and Documenta in Kassel in 1987.
20/03/22
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Kim Jong Un by Tim Rollins and K.O.S.
Tim Rollins and K.O.S. / Galerie Eva Presenhuber. Stefan Altenburger Photography ZĂźrich
We are deeply saddened to hear of the passing of contemporary artist Tim Rollins. Starting in the 1980s, Rollins created collaborative work with Kids of Survival (K.O.S.), a group of teenage students in New York's South Bronx, that brought together activism and art.
âAmerika VII,â 1986â87, by Tim Rollins and K.O.S. (Kids of Survival)Â

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I'm saddened by the news that Tim Rollins has died at the far too young age of 62. His work with Kids of Survival (and before that, with Group Material) was always something to think about, celebrate, challenge, and wrestle with. A big regret I have from undergrad was being invited to a dinner with him by one of my professors and saying no, because I hadn't done the work to learn who he was and I'm not even sure I attended his lecture. So stupid. Later I was at least fortunate enough to hear him speak a couple times in Chicago. Â Today I am at Harold Washington Library, where their Chicago Authors Room features thirty-two works on paper by Tim Rollins and K.O.S. The piece is titled "AMERIKA - FOR THE AUTHORS OF CHICAGO" (1990-91). I gave a lecture on Public Collectors in this room several years ago. It's a special space. You can see into it through the glass doors, but it's normally kept locked. I approached the security guard that is stationed at a desk just outside the room and asked if it was open. He said no. I said, "The artist that made the artwork in this room just died, and I'd like to pay my respects. Is it possible to unlock it for just a few minutes?" Still the answer was a quick no. He could have at least checked with someone, and the library couldn't possibly be less busy on this freezing day, but he didn't. I was angry. I walked away, but didn't want to let this pass. I walked around the room and took a photo through the glass doors on the other side, but was still irritated. After taking a minute to chill out, I went back to the 7th floor and approached a friendly and receptive librarian named Sandra. I explained the situation, and the importance of Harold Washington Library having this work permanently installed. We looked at Tim Rollins' obituary which is up on Art News' website and the example they chose to illustrate his work looks very similar to the smaller works in the library's collection. After consulting with someone else on staff, Sandra returned, grabbed the key, and was kind enough to unlock the door for me and let me have about ten minutes with the work by myself. I was a little sorry that the guard had moved from his post during this time - not because I felt like I wanted to rub it in (okay, maybe a little bit), but because he should know that this work is treasured and this life and collaboration should be celebrated. My hope is that now that I've made a couple librarians aware of Tim Rollins' passing, they'll be able to keep the room open for public viewing beyond the sporadic events that are held in this space. It's a beautiful thing to see, and one of the more considerable art projects in a building that is filled with art on every floor.
Tim Rollins + K.O.S., Temptation of St. Antony XXXVI â The Sun, (spit bite aquatint, etching and xerograph with animal blood and alcohol on chine collĂŠ), 1990 [MoMA, New York, NY. Š Tim Rollins and K.O.S.]
Tim Rollins and K.O.S., In the Beginning, from the portfolio The Creation, 2004, screenprint with chine collĂŠ on paper, 21 1â2 x 15 in. (54.6 x 38.1 cm), Smithsonian American Art Museum, Gift of Anne and Ronald Abramson, 2008.37.1.2