Billy Apple


BILLY APPLE was born Barrie Bates in Auckland, New Zealand in 1935. He left New Zealand in 1959 to study Graphic Design at the Royal College of Art in London. After graduating in 1962, he changed his name to Billy Apple. In 1964 he moved to New York where he produced pop-related paintings and objects before developing a body of neon sculptures. By 1969 Apple had shifted to a more conceptual and process-oriented practice. A major survey of Apple’s work, which brought together his pop and conceptual works from 1960 to 1974, was staged at the Serpentine Gallery in London in 1974. Apple exhibited regularly at various venues in New York’s alternative art scene and remained in New York until 1990, continuing to exhibit his work in various venues, including Leo Castelli Gallery. He also made two extended tours to New Zealand in 1975 and 1979-80, producing a string of site-specific installations in dealer and public galleries throughout the country.

Since the early 1980s Apple has complemented his installation practice with text-based works that draw attention to the art system and highlight the network of relations that operate between artist, dealer, and collector. Billy Apple became a registered trademark in 2007 to formalise his art brand status and continues to develop projects that address this, for example working with apple growers over the production and branding of a new apple cultivar and a collaborative art/science project, The Immortalisation of Billy Apple®, in which cells from his blood have been virally transformed to create a cell line that will live outside the body for cultural and biomedical research purposes.

A large scale public art work by Apple was commissioned for the city of Auckland for the 2011 IRB Rugby World Cup which lies outside Eden Park, Kingsland. Based in Auckland since the 1990s, Apple exhibits regularly in dealer, public and artist-run galleries throughout New Zealand and in Australia, and his works have been included in major international and national touring exhibitions. These include: Toi Toi Toi: Three Generations of New Zealand Artists (Kassel & Auckland, 1999); Global Conceptualism: Points of Origin (New York, 1999); Kronos + Kairos: die Zeit in der Zeitgenössischen Kunst, (Kassel, 1999); Shopping: A Century of Art and Consumer Culture (Frankfurt & Liverpool, 2002-3); American Supermarket (Pittsburgh, 2002), and Art of the ’60s from Tate Britain (Auckland, 2006). In 2009 a second major survey exhibition of Apple’s work was staged in two parts at Witte de With, Center for Contemporary Art in Rotterdam (Billy Apple®: A History of the Brand and Revealed/Concealed). In 2015 Apple’s works have been featured in International Pop at the Walker Art Centre (Minneapolis, 2014–15). In New Zealand aspects of his career have been reevaluated in exhibitions such as Billy Apple: New York 1969-1973 (Wellington 2009), Billy Apple®: The Artist Has to Live Like Everybody Else (Auckland Art Gallery, 2015), and Billy Apple: Further Alternations (Govett–Brewster Art Gallery, New Plymouth, 2017).

Billy Apple is represented in public and private collections throughout New Zealand and Australia as well as the Tate Britain, London; the Solomon R. Guggenheim Museum, New York; Detroit Institute of Arts, Detroit; The Chrysler Museum of Art, Norfolk, Virginia; and the Corning Museum of Glass, New York, and Ta Papa Tongarewa Musuem of New Zealand, Wellington.

  • Billy Apple
    Motion Picture Meets the Apple
    Offset photo-lithography on paper
    58.7 x 46 cm
  • Billy Apple
    Acrylic on canvas
    76.5 x 57 cm
  • Billy Apple
    Relation of Aesthetic Choice to Life Activity (Function) of the Subject
    1961 - 1962
    Lithograph on primed canvas with neon gas tube
    95.1 x 74.9 cm
  • Billy Apple
    Billy Apple Bleaching With Lady Clairol Instant Crème Whip, November 1962
    Uniquely toned silver gelatin print with screen print text
    40.8 × 57.5 cm
  • Billy Apple
    Xerogrpahy on fabric in 49 parts
    142 x 213.5 cm (55 7/8 x 84 in)
  • Billy Apple
    Negative Condition Situation: Cleaning Windowpane, Saturday 28 April 1973
    35mm colour slide, photograph by David Troy
  • Billy Apple
    A Requested Subtraction, 10 April 1974
    1971 - 1974
    Silver gelatin print, printed paper with handwritten annotations
    57 × 83 cm
  • Billy Apple
    Addendum To ‘Subtraction.’ The Given As An Art-Political Statement
    silver gelatin print and screen print on card
    89.5 × 126.3 cm
  • Billy Apple
    Apple's Blend - the divine proportion
    millers blended and roasted coffee beans, foil bag
    8 x 8 x 4 cm each
  • Billy Apple
    Trademark Classes 16, 25, 31 & 44
    2010, first 4 of series of 8
    UV impregnated ink on canvas
    100 x 61.8 cm
  • Sept:Oct 2015_ArtAsiaPacific- Mercurial Consistency | PDF
  • 8 April 2015_Where Apples Come From | The Big Idea | PDF
  • 10 April 2015_OUTPOST- Robert Ellis and Billy Apple | PDF
  • 14 March 2015_Portrait of an artist as an Apple – Greg Dixon, Canvas magazine | PDF
  • 01_NOV_2012_Brand_New_Frieze | PDF
  • Nov:Dec. 2009_ArtAsiaPacific- Billy Apple | PDF
  • 1980 Autumn_Art New Zealand | PDF
  • 1981 Winter_Art New Zealand | PDF