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David Schafer (born 1955) is an American visual and sound artist based in Los Angeles. His practice integrates aural, textual, graphic and sculptural elements to create installation art, public art and individual works that critics describe as immersive, spatial experiments.Tumlir, Jan. "Multiple Choice: On 'Separated United Forms,'" in Separated United Forms, David Schafer (author), Milan/New York: Charta Art Books, 2011. Retrieved June 3, 2019.Ollman, Leah. "A Heady Jumble of a Show by David Schafer," Los Angeles Times, February 13, 2015. Retrieved May 17, 2019.Wholey, M.A. "David Schafer Finds Male Hysteria Simmering Beneath the Surface of Art History," Artsy, February 9, 2015. Retrieved June 3, 2019. Schafer's approach combines self-consciously formalist aesthetics, a Pop Art sensibility, and Postmodernism intent, often appropriating and reframing cultural motifs in order to investigate systems of historical and cultural memory, built space, and language.Tanguy, Sarah. "'Body Space' Baltimore Museum of Art," Sculpture Magazine, December 2001.Tumlir, Jan. "Models of Disorder," Artforum, June 2015. Retrieved June 3, 2019.Gopnik, Blake. "Pure and Simple: Art That Causes a Sensation," The Washington Post, February 25, 2001. Retrieved June 3, 2019.Frank, Peter. "Oskar Fischinger, David Schafer," LA Weekly, December 6–12, 1996. Los Angeles Times critic Leah Ollman describes his work as a "heady jumble" producing collisions, contradictions and convergences involving architecture, sound, sculpture, language and theory in order to "disrupt communication intentionally, incisively, through strategies of fragmentation and interruption."
Schafer has exhibited at the Whitney Museum,Krapp, Peter. Noise Channels: Glitch and Error in Digital Culture, Minneapolis: University of Minnesota Press, 2011. Retrieved June 3, 2019. MoMA PS1,Brenson, Michael. "'Engaging Objects', Audience Participation in Cultural Zoo." The New York Times, May 30, 1986. Retrieved June 3, 2019. The Drawing Center, MASS MoCA, Baltimore Museum of Art,McNatt, Glenn. "BMA’s BodySpace," The Baltimore Sun, February 18, 2001. Long Beach Museum of Art,Lombino, Mary-Kay. "A Model Experience," ReModeling, Catalog Essay, Long Beach, CA: California State University Long Beach, The University Art Museum, 2004. SculptureCenter, and Vleeshal Middelburg (the Netherlands). Artweek.LA. "David Schafer: Models of Disorder,". Retrieved June 3, 2019.Chang, Jade. "Q&A: David Schafer," Metropolis Magazine, December 2012. He has received awards from the Pollock-Krasner FoundationPollock-Krasner Foundation. "Pollock-Krasner Foundation announces 2018-2019 grants totaling over $3 million," Press Releases, April 17, 2018. Retrieved June 3, 2019. and National Endowment for the Arts, and commissions from the Public Art Fund and Los Angeles County Arts Commission.Clark, James M. "Liberty Prop," Quarterly Newsletter of the Public Art Fund Inc., Fall 1991.Benson, Melissa. "Pastoral Mirage, David Schafer," Pastoral Mirage, Exhibition publication, New York: City of New York Parks and Recreation, Prospect Arts Alliance Commission, 1993. He has taught sculpture, art theory, digital media and sound on the East and West coasts since 1985, and is currently at ArtCenter College of Design in Los Angeles.Schou, Solvej. "Psychic Liberation: Fine Art’s Sound Lab Makes Waves of Noise," DOT Magazine, Art Center College of Design, August 8, 2017. Retrieved June 3, 2019.ArtCenter College of Design. "David Schafer,". Retrieved June 3, 2019.
Schafer began to receive public recognition in the late 1980s, including an NEA award and the first of three Public Art Fund commissions (1988–93). While in New York, he exhibited at PS1, Artists Space, White Columns and Art in General, and began teaching at the School of Visual Arts (1985–96) and Parsons School of Design (1994–6).McCracken David. "Serra, Other Artists Enliven Season`s End," Chicago Tribune, August 18, 1989. Retrieved June 3, 2019.
In 1996, he moved to Los Angeles and expanded into sound works and performances.Noriyuki, Duane. "Perception, Deception: Beyond Model Homes," Los Angeles Times, March 18, 2004. Retrieved June 3, 2019.Smith, Jeffrey P. "Vital Victuals: A (Post)Modern Remix," The Brooklyn Rail, September 5, 2011. Retrieved June 3, 2019.Frank, Peter. "Beyond Music Sound Festival," LA Weekly, May 7–13, 1998, p. 116. He taught at Otis College of Art and Design (1996–2000), Cal Arts (2002), and ArtCenter College of Design (1998–2007), where he developed a sculpture program bridging fine arts, digital media and environmental design. After a return to New York and positions at Parsons and Cornell, he went back to ArtCenter in 2013, where he founded and developed the school's Sound Lab in Fine Art program and curriculum. In 2024, he received ArtCenter's part-time Great Teacher Award.ArtCenter College of Design. "Faculty members recognized as "Great Teachers" at ArtCenter College of Design summer commencement," August 16, 2024. Retrieved July 1, 2025.
In the mid-1990s, Schafer incorporated digital printing and fabrication processes into works exploring social space, social control, consumption, cultural memory and everyday objects.Johnson, Ken. "Photasm," The New York Times, November 10, 2000. Retrieved June 3, 2019.Johnson, Ken. "Adam Ross and David Schafer," The New York Times, September 28, 2001. Retrieved June 3, 2019. Mother Mall (1996) was a large modular sculpture that resembled a quasi-organic space vessel or shopping mall model (including Muzak accompaniment) and referenced science-fiction and suburban . It was set on a ring of sawhorses surrounded by wall works appropriating banal, consumer-culture ephemera that critic Peter Frank deemed "suffused with the relentless cheesiness and ravenous narcissism of various verbal symptoms of our alienated stupefaction."Morgan, Margaret. "David Schafer," Art/Text, 57, 1997, p. 91.Kandel, Susan. "Images of the Past and an Uncertain Present," Los Angeles Times, November 21, 1996.
Cluster 38 (1997) and Stepped Density (1999–2001) reworked the ergonomics of fast-food furniture design and rules of public space, creating what The Washington Post called "Pop-artish, tongue-in-cheek" sculptures of geometric rigor and high finish "hovering in a perfect middle ground between high formalist aesthetics and low commercial culture."Sozanski, Edward J. "Trolling For Clarity on The Future," The Philadelphia Inquirer, 1999. How High Is Up? (2003–4) took on architectural models, transforming a Three Stooges episode still of an improbable structure made out of chaotically arranged I-beams into a gleaming, Anthony Caro-like abstract sculpture; with detailed computer renderings and posters comically referencing Frank Gehry-style, Deconstructivism architecture, Schafer enacted a cultural leveling, imbuing an object meant to represent human error and chaos with authority and rationality.
Spoken-word soundtracks and digital prints came to the fore in Schafer's work in the 2000s (much of it gathered in the retrospective exhibition, Models of Disorder, 2015). This later work investigated established history, language and truth through the lenses of patriarchy, modernism and pop-culture.Zellen, Jody. "David Schafer," Visual Art Source, February 16, 2015. Retrieved June 3, 2019. What Should a Museum Sound Like? (2010, Whitney Biennial) presented a digitally fabricated, sound-equipped museum sculpture playing an actor's recording of text by the museum's architect, Marcel Breuer, distorted with sounds created by transcoding the site's floor plans and drawings with a sound design program. What Should a Painter Do? (2011) referenced a Barnett Newman painting series with text works, audio of Newman explaining his ideas, and a bare-bones, De Stijl-like sculptural installation. In both cases, the grand formalist theories referenced by the structures and recordings are undermined by garbled, chaotic soundtracks, suggesting alternative perspectives for assessing such claims to truth. Four Letters to Mahler (2013) explored similar strategies based on letters written by Arnold Schoenberg to Gustav Mahler.Mattern, Shannon. "Aesthetic Bounty—Or, Binging on Artstuffs," Words in Space, November 29, 2013. Retrieved June 3, 2019.
In 2025, Schafer presented "Forum" (Phase Gallery), a solo exhibition of immersive environments merging sound, sculpture and visual elements. Referencing ancient Roman architecture (in the installations Pantheon and Colosseum), the show examined how contemporary social structures are shaped by coded signs, corporate spectacle and institutional influence.Phase Gallery. "David Schafer: Forum," 2025. Retrieved July 1, 2025.
Pastoral Mirage (1993) was a multi-site installation of fourteen large, yellow signs in Brooklyn's Prospect Park displaying enigmatic quotes from the park's designer, Frederick Law Olmsted, regarding the park as a work of art and vision.Gertner, Jon. "Future Prospects for the Park," Metropolis Magazine, 1993.Kahn, Eve M. "Power of the Word?" Landscape Architecture, January 1994. Challenging in their 19th-century form and bold, utilitarian design—as opposed to typical, decorative signage—the signs sought to restore the hidden narratives in Olmsted's vision, revealing the gap between his lofty intentions and present-day park usage.Holloway, Lynette. "Olmsted Fails as Sound Bite," The New York Times, September 12, 1993. Retrieved June 3, 2019.Butler, Connie. "Reading the Park: The Staging of Public Pleasure," Pastoral Mirage, Exhibition publication, New York: City of New York Parks and Recreation, Prospect Arts Alliance 1993. Critic Arlene Raven situated the work in the Community Arts tradition, observing that it "invites reflections on the future possibilities of peace embedded in an enduring heritage of past ideals," while also partaking in the "stormy entanglements" of contemporary public life—specifically, resistance and confusion among park-goers.Raven, Arlene, "Common Ground," The Village Voice, January 25, 1994.
Schafer's later public works demonstrate a growing embrace of technology, sampling culture and sound. For Separated United Forms (2009, Huntington Hospital, Pasadena), he used a hand-held, 3D body scanner to appropriate forms from a Henry Moore marble work, Reclining Form (1966), which were digitally reconfigured and remixed into a final, biomorphic image that was cast without a physical prototype as a monumental pair of 1,500-pound bronze sculptures.Schafer, David. "Where Does It Hurt?" in Separated United Forms, David Schafer (author), Milan/New York: Charta Art Books, 2011. Retrieved June 3, 2019. The work's production and restaging of organic form outside the convalescent facility alludes to the colonization of the body in both art (e.g., Moore's abstract, biomorphic notion of "Vitalism") and the medical industry's technological gaze.Williams, Janette. "Sculptures Placed at Huntington Pavilion Have a Unique Back Story," Pasadena Star-News, July 27, 2009. The five-day, interdepartmental The Schoenberg Soundways (2015, USC) sought to recover the lost campus legacy of composer and former USC teacher, Arnold Schoenberg, whose archives there were moved to Vienna.Engel, Allison. "Mobile music a la carts coming to University Park Campus," USC News, February 26, 2015. Retrieved June 3, 2019. In addition to live events, it featured campus delivery trucks outfitted with amplified speakers and informative signage, each playing a dedicated, repeated Schoenberg composition and intersecting randomly on indeterminant routes to create John Cage-like chance moments of sound.WQXR. "Ice-Cream Truck Plays Schoenberg on College Campus," WQXR Radio, March 21, 2015.
In 2025, Schafer created the public work, Reflected Terrain, a 101-foot-long, polished stainless steel contour line representing the topography of a portion of the San Gabriel mountains, a commission for Artists and Makers Studios in San Gabriel Valley, CA.David Schafer. Reflected Terrain, 2025. Retrieved July 1, 2021.
Schafer has performed sound at LACE, Human Resources and David Kordansky Gallery in Los Angeles, and Printed Matter, Inc., Silent Barn, The Invisible Dog Art Center and Roulette in New York, among other venues. His sound performance for the 2010 Whitney Biennial is included in the book Noise Channels: Glitch and Error in Digital Culture (2011), and his sound works have been included in curated radio programs in Lisbon, Paris, Glasgow, and Berlin. He staged Soundtrack for a Seascape, a public performance responding to a Barry Schwabsky poem, on the coast of Santa Monica in 2023.David Schafer. Soundtrack for a Seascape, 2023. Retrieved July 1, 2025.
For his two-CD collection, x10R.1–x1-R.2, Schafer re-sequenced ten easy-listening records and superimposed them on top of one another to create a dense, cacophonous blanket of non-stop sound that reviewers described as a disorienting, "seething musical Frankenstein"Goldsmith, Kenny. "Music Reviews: x10R.1-x10R.2", New York Press, V. 15, Issue 36, 2003. revealing the repressive and coercive side of Muzak.Hemptinne, Pierre. " x10R.1-x10R.2 Listening Note," The Anti-Fun Magazine (Media Library of the French Community in Belgium), November 2002.Lau, Andrew K. "The Transparency Label Refuses to Flinch," Crawdaddy, 2010.Min, Susette. "Soothe Operator: Muzak and Modern Sound Art," Cabinet Magazine, Summer 2002. In 2013, he released DSENOISE, a limited-edition boxed set of 12 CDs. His composition "Binary Complex"—a work generated from a permutation based on the colors of a sculpture it was designed to accompany—was included in a The Wire magazine compilation CD in April 2025; in 2021, members of the Isaura String Quartet performed a musically scored version of that work, Tonal Duet, in Los Angeles. The Wire. "Binary Complex," The Wire Tapper 67, April 2025. Retrieved July 1, 2025.David Schafer. Tonal Duet, 2023. Retrieved July 1, 2021.
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