Donna Conlon and Jonathan Harker

Donna Conlon  b.1966 Atlanta, Georgia. Resides in Panama.
www.donnaconlon.com
www.vimeo.com/donnaconlon

Jonathan Harker  b.1975 Quito, Ecuador. Resides in Panama.
www.vimeo.com/conlonharker
www.diablorosso.com

The Voice Adrift, film still, courtesy Donna Conlon, Jonathan Harker, and Diablo Rosso, Panamá.

The Voice Adrift, film still, courtesy Donna Conlon, Jonathan Harker, and Diablo Rosso, Panamá.

While they also maintain individual practices, Donna Conlon and Jonathan Harker have collaborated since 2006. Their videos playfully explore the intrinsic properties of found objects to generate incisive and poetic social criticism.

Conlon and Harker have exhibited their collaborations widely, in solo shows at Diablo Rosso Gallery, Panama (2015); Washington Project for the Arts (2015); Despacio, Costa Rica (2014); Neuberger Museum of Art, Purchase College, NY (2014); El Nuevo Museo de Arte Contemporáneo, Guatemala (2014); TEOR/éTica, Costa Rica (2009); Samson Projects, Boston (2007); as well as group shows at the Pérez Art Museum, Miami (2017); Utah Museum of Contemporary Art (2017); South London Gallery (2016); Museum of Contemporary Art, Detroit (2015); Solomon R. Guggenheim Museum, NY (2014); Prefix Institute of Contemporary Art, Toronto (2013); Queensland Art Gallery, Brisbane (2012); El Museo del Barrio, NY (2012); y Palais du Tokyo, Paris (2009). They have also participated in events such as Pacific Standard Time: LA/LA (2017); Bienniale of the Americas, Denver (2015); The Asunción Bienniale (2015); the 43rd Salón (Inter)Nacional de Artistas, Medellín (2013); the 8th Mercosur Biennale, Porto Alegre (2011); Pontevedra Biennale (2010) and the 10th Havana Biennale (2009).

In 2010, Conlon and Harker received a production grant from the Harpo Foundation. Their collaborations are included in public collections including the Solomon R. Guggenheim Museum; the Tate Modern; Queensland Art Gallery; the Kadist Art Foundation; and the Centro Galego de Arte Contemporáneo.

Abbas Akhavan

b. 1977 Tehran, Iran
Resides in Toronto, Canada

http://abbasakhavan.com/

Abbas Akhavan, Study for a Monument (2013-16) Bronze on cotton sheets. Size Variable Photo credit: Toni Hafkenscheid Courtesy of Mercer Union, Abraaj Group Art Prize and the Family Servais Collection

Abbas Akhavan, Study for a Monument (2013-16)
Bronze on cotton sheets. Size Variable
Photo credit: Toni Hafkenscheid
Courtesy of Mercer Union, Abraaj Group Art Prize and the Family Servais Collection

Abbas Akhavan’s practice ranges from site-specific ephemeral installations to drawing, video, sculpture and performance. The direction of his research has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in his practice. More recent works have shifted focus, wandering onto spaces and species just outside the home – the garden, the backyard, and other domesticated landscapes.

Akhavan is the recipient of Kunstpreis Berlin (2012), The Abraaj Group Art Prize (2014), the Sobey Art Award (2015), and the Fellbach Triennial Award (2016).

Alfredo Jaar

b. 1956 Santiago, Chile
Resides in New York, NY

www.alfredojaar.net
www.galerielelong.com

Alfredo Jaar, One Million Points of Light, 2005,
Projection, Dimensions variable, Courtesy the artist, New York

Alfredo Jaar is an artist, architect, and filmmaker who lives and works in New York City. Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002). Important individual exhibitions include The New Museum of Contemporary Art, New York; Whitechapel, London; The Museum of Contemporary Art, Chicago; The Museum of Contemporary Art, Rome; and Moderna Museet, Stockholm. Major recent surveys of his work have taken place at Musée des Beaux Arts, Lausanne; Hangar Bicocca, Milan; Alte National galerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Berlin; Rencontres d’Arles, Arles and Kiasma, Helsinki. Jaar has realized more than sixty public interventions around the world. Over fifty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000.

 

Andrea Chung

b. 1978 Newark, NJ
Resides in San Diego, CA

www.andreachungart.com

Andrea Chung explores themes of labor and materials and their relationships with post-colonial countries. Chung is interested in the imbued histories that materials carry and how they also carry with them the stories of human transmission and the long lasting effects of colonialism on tropical ‘post-colonial’ societies such as the Caribbean and the Indian Ocean. She received a BFA at Parsons School of Design and a MFA at the Maryland Institute College of Art. Chung has participated in several residencies including the Skowhegan School of Painting and Sculpture, the Headlands, Vermont Studio Center, the McColl Center for Visual Arts and the Joan Mitchell Center.

Chung was the recipient of a Fulbright Scholarship, 2014 Art Matters Grant and a Joan Mitchell Award. Her work has been published in ARC, Small Axe, Harvard’s Transitions and Representations and the Huffington Post.

Andrea Chung has exhibited nationally and internationally in institutions such as Syracuse University, McColl Center for Visual Arts, National Gallery of Jamaica, Arthouse, Medulla Gallery in Trinidad, apexart, Deutsche Bank, MoCADA, Royal West of England Academy, Punkt Ø F 15 in Norway and the 2017 Jamaican Biennial.

Chung debuts her first solo museum show, You broke the in ocean in half just to be here… at the Museum of Contemporary Art San Diego in May 2017, and will be featured at the Chinese American Museum and the California African American Museum as part of the 2017 Pacific Standard Time and Prospect New Orleans triennial.

Andrea Chung lives and works in San Diego, CA.

Barkley L. Hendricks

b. 1945 Philadelphia, PA
d. 2017 New London, CT

www.barkleyhendricks.com
www.jackshainman.com

Barkley L. Hendricks, Self Portrait, 1977
oil and acrylic on linen canvas, 16 x 12 inches
©Estate of Barkley L. Hendricks. Courtesy of Jack Shainman Gallery, New York.

Barkley L. Hendricks was a painter and photographer best known for his realist and post-modern portraits of people of color living in urban areas beginning in the 1960s and 70s and continuing to the present. Trevor Schoonmaker, the organizing curator for Hendricks’ traveling exhibition Barkley L. Hendricks: Birth of the Cool said, “His bold portrayal of his subject’s attitude and style elevates the common person to celebrity status. Cool, empowering, and sometimes confrontational, Hendricks’ artistic privileging of a culturally complex black body has paved the way for today’s younger generation of artists.”

Janet Koplos wrote in a 2008 Art in America feature of Hendricks, “Almost without fail, Hendricks catches such sensitive indications of character in his portraits, and often with very mixed messages. His 1977 Brilliantly Endowed (Self-Portrait) presents him partly—strategically—undressed (the title, the catalogue notes, both touts and mocks a phrase from a Hilton Kramer review of his work). This is not a classical nude but a man with only the most central of his clothes off, which thus contradicts the conventions of heroic or romanticized figures. Hendricks is willing to violate his own privacy; the “undressed” quality is emphasized by the amount of personal ornament he still wears.”

“Fashion is a situation we all find ourselves in every day, when we wake up and have to put on clothes,” Hendricks said in a Women’s Wear Daily article about his (2013) exhibition Heart Hands Eyes Mind.

Hendricks was born in Philadelphia, Pennsylvania, and lived and worked in New London, Connecticut. He earned both his BFA and MFA from Yale University and was the subject of a large-scale traveling exhibition, Barkley L. Hendricks: Birth of the Cool, organized by Trevor Schoonmaker at the Nasher Museum of Art, Duke University, Durham, North Carolina (2008), which traveled to the Studio Museum in Harlem, New York (2008-2009), Santa Monica Museum of Art, California (2009), Pennsylvania Academy of the Fine Arts, Philadelphia (2009-2010) and the Contemporary Arts Museum Houston, Texas (2010).

His work is included in numerous public collections both within the United States and abroad, such as The Whitney Museum of American Art, New York, NY; The National Portrait Gallery, Washington, DC; The National Gallery of Art, Washington, DC; The Tate Modern, London, UK; Studio Museum, Harlem, NY; Philadelphia Museum of Art, Philadelphia, PA; Rubell Family Collection, Miami, FL; Nasher Museum of Art, Durham, NC; Columbus Museum of Art, Columbus, OH; and the Fogg Art Museum, Harvard University, Cambridge, MA.

Jack Shainman Gallery has represented Hendricks since 2009. His solo exhibitions at Jack Shainman Gallery include Heart Hands Eyes Mind (2013) and Barkley L. Hendricks (2016).

Beatriz Santiago Munoz

b. 1972 San Juan, Puerto Rico
Resides in San Juan

www.fabricainutil.com

The work of Beatriz Santiago Muñoz arises out of long periods of observation and documentation, in which the camera is present as an object with social implications and as an instrument mediating aesthetic thought. Her films frequently start out through immersion in specific social structures, or encounters with individuals or within events, which she transforms into performance and moving image. Santiago Muñoz’s recent work has been concerned with post-military land, Haitian poetics, and feminist speculative fictions. Recent exhibitions include: Song, Strategy, Sign at the New Museum, A Universe of Fragile Mirrors at the Pérez Art Museum of Miami, MATRULLA, Sala de Arte Público Siqueiros, México City; Under the Same Sun, Guggenheim Museum of Art;  Post-Military Cinema, Glasgow International; The Black Cave, Gasworks, London. Her work is included in public and private collections such as the Solomon Guggenheim Museum, Kadist and the Bronx Museum. She is the recipient of a 2015 Creative Capital Grant in Visual Arts and a 2016 United Artists Fellowship.

Brad Kahlhamer

b. 1956 Tucson, AZ  
Resides in Brooklyn, NY

http://www.bradkahlhamer.net/

http://www.jackshainman.com/

Brad Kahlhamer, Super Catcher III, 2015 wire and bells, 60" diameter x 6 inches width ©Brad Kahlhamer.  Courtesy of the artist and Jack Shainman Gallery, New York.

Brad Kahlhamer, Super Catcher III, 2015
wire and bells, 60" diameter x 6 inches width
©Brad Kahlhamer.  Courtesy of the artist and Jack Shainman Gallery, New York.

Brad Kahlhamer was born in Tucson, Arizona and currently lives in New York City. His work has been exhibited extensively in the United States as well as internationally. Bowery Nation was shown at the Nelson Atkins Museum of Art, Missouri, 2013 and the Aldrich Contemporary Art Museum, Connecticut in 2012. Recent group exhibitions include One Must Know The AnimalsThe Old, Weird America: Folk Themes in Contemporary Art, Contemporary Arts Museum, Houston, Texas, (2008). He was the recipient of the Joan Mitchell Award, 2006 and the Louis Comfort Tiffany Foundation Award in painting, 2001. 

Cauleen Smith

b. 1967 Riverside, CA
Resides in Chicago, IL

www.cauleensmith.com
www.corbettvsdempsey.com

Rebecca Belmore Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother, (1991) Presented by the Walter Phillips Gallery as part of the exhibition ‘Bureau de Change’, July 12-September 28, 2008. Banff National Park, Johnsons Lake, July 26th, 2008. Photo: Sarah Ciurysek.  

Rebecca Belmore Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother, (1991)
Presented by the Walter Phillips Gallery as part of the exhibition ‘Bureau de Change’, July 12-September 28, 2008.
Banff National Park, Johnsons Lake, July 26th, 2008. Photo: Sarah Ciurysek.

 

Cauleen Smith (born Riverside, California, 1967) is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth- century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Her films, objects, and installations have been featured in group exhibitions at the Studio Museum of Harlem; the Contemporary Art Museum Houston; Yerba Buena Center for Art; the New Museum, New York; D21 Leipzig and Decad, Berlin. She has had solo shows for her films and installations at The Kitchen, the Museum of Contemporary Art Chicago, and Threewalls, Chicago. Smith’s In The Wake banners are included in the current Whitney Biennial and she will have a solo exhibitions at the Art Institute of Chicago (2017) and the ICA Philadelphia (2018). She is represented by Corbett vs. Dempsey, Chicago and Kate Werble Gallery, New York. Smith is the recipient of several grants and awards including the inaugural Ellsworth Kelly Award from the Foundation for Contemporary Art in 2016, the 2016 Herb Alpert Award for Film/Video, Rockefeller Media Arts Award, Creative Capital Film /Video, Chicago 3Arts Grant, the Foundation for Contemporary Arts, Artadia, and a Rauschenberg Residency in 2015. Smith was born in Riverside, California and grew up in Sacramento. Smith earned a B.A in Cinema from San Francisco State University in 1991 and an M.F.A. from the University of California, Los Angeles in 1998. Smith studied with Trinh T. Minh Ha, Angela Davis, and Lynn Hershman-Gleeson at San Francisco State University. She attended the Skowhegan School of Painting and Sculpture in 2007. Smith lives in Chicago and is a Visiting Assistant Professor in the Department of Art and Art History at the University of Illinois-Chicago.

Dario Robleto

b. 1972 San Antonio, TX
Resides in Houston, TX

www.dariorobleto.com
www.inmangallery.com

Dario Robleto was born in San Antonio, Texas in 1972 and received his BFA from the University of Texas at San Antonio in 1997. He lives and works in Houston, TX. 

The artist has had numerous solo exhibitions since 1997, including the Menil Collection, Houston, TX (2014); the Baltimore Museum of Art (2014); and the New Orleans Museum of Art (2012). His work has been profiled in numerous publications and media including Radiolab, Krista Tippet’s On Being, and the New York Times. In 2008 a 10-year survey exhibition, Alloy of Love, was organized by the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, New York and traveled to the Frye Art Museum in Seattle, Washington. 

Notable group shows include Explode Every Day: An Inquiry into the Phenomena of Wonder, MASS MoCA, North Adams, MA (2016); SITE: 20 Years/20 Shows, SITE Santa Fe, NM(2015); Nouveau Festival 5th Edition, Centre Pompidou, Paris, FR (2014); The Old, Weird America, Contemporary Arts Museum, Houston, TX (2008); and Whitney Biennial, Whitney Museum of American Art, New York, NY (2004). 

In 2015 he joined a distinguished team of scientists as the artistic consultant to “Breakthrough Message”—a multi-national effort that aims to encourage intellectual and technical debate. He is currently serving as an Artist-in- Residence in Neuroaesthetics at the University of Houston’s Cullen College of Engineering and at the SETI Institute in Mountain View, CA. In 2016 he was appointed as the Texas State Artist Laureate.

Darryl Montana

b. 1955 New Orleans, LA    
Resides in New Orleans, LA

Ben Arnon Big Chief Darryl Montana on Carnival Day I, February 28, 2017, New Orleans, LA, Color photograph, Image courtesy of Ben Arnon Photography Inc., © 2017 Ben Arnon Photography Inc.

Ben Arnon
Big Chief Darryl Montana on Carnival Day I, February 28, 2017, New Orleans, LA, Color photograph, Image courtesy of Ben Arnon Photography Inc., © 2017 Ben Arnon Photography Inc.

Darryl Montana is the Chief of the Yellow Pocahontas “Hunters” Black “masking” Indian Tribe. In the late 1800’s, the New Orleans indigenous Black Indian movement of “masking Indian” on Carnival Day began in the Montana family. Hailing from a prominent family of Black masking Indians and son of the Chief of Chiefs Allison “Big Chief Tootie” Montana, he uses sequins, beads, pearls, marabou, feathers and stones to create multi-dimensional Mardi Gras costumes for each year’s carnival in New Orleans. The techniques and use of materials have been passed down to him from his father. He began learning how to string beads at age six and made his first suit when he was eleven using a used vinyl raincoat as his canvas. His suits can take up to 5000 hours to complete and they are in response to themes like metamorphosis and evolution. He says the on Carnival day, “he is in full regalia representing a culture that unites the community around the tradition of masking and simply being the prettiest.” In addition to creating these massive pieces, Montana passes his techniques on to children and teaches them how to construct sculptural costumes. Montana’s work is in the public collections of the International Folk Art Museum and the Joan Mitchell Foundation and private collections of the late John Scott, Diego Cortez, Ron Bechet, and Mapo Kinnord-Payton, to name a few.

Dave Muller

b. 1964 San Francisco, CA
Resides in Los Angeles, CA

https://www.blumandpoe.com/

Dave Muller Installation at Contemporary Arts Center for Prospect.4: the lotus in Spite of the Swamp, 2017 photograph by Mike smith

Dave Muller Installation at Contemporary Arts Center for Prospect.4: the lotus in Spite of the Swamp, 2017
photograph by Mike smith

Dave Muller was born in 1964 in San Francisco, California. He received a BA in chemistry and art from the University of California at Davis in 1989 and briefly studied at the School of Visual Arts in New York from 1990 to 1991 before earning an MFA from the California Institute of the Arts in Valencia in 1993. From 1994 to 2000, Muller became known for nomadic social art events, known as Three Day Weekends. During that time, he also made watercolor announcements for exhibitions of his contemporaries as well as artists of earlier generations such as Jackson Pollock, made in 1999, and Andy Warhol, made in 2000. As DJ, curator, and artist, Muller examines with wit and irony the formation of an individual's identity through the amassing of cultural references. For his series Top Tens (2004), Muller created symbolic portraits in the form of delicately rendered acrylic paintings of album sleeve spines; the artist has since extended this practice to include books, cassettes, and CDs. Since 2004 Muller has also poked fun at identity-definition and categorization in his acrylic star paintings of genre headings as they appear in magazines like The New YorkerTime Out, and New York Times. Muller has also created several versions of auditory self-portraits in the form of extensive playlists broadcasted into the gallery. In 2008 Muller installed a mural of a massive timeline chronicling the evolution of rock n' roll since 1955 entitled As Below, So Above in the lobby of the Institute of Contemporary Art in Boston; the mural is one of several works Muller has created since 2003 based on this timeline. Parallel to his works directly related to music, since 1999 Muller has engaged with pictorial renderings of landscapes (both urban and natural) and the sky (both day and night). 

Solo exhibitions of Muller's work have been held at Blum & Poe Gallery (1998, 2001, 2002, 2004, 2006, and 2009), St. Louis Art Museum (2001), Bard Center for Curatorial Studies in Annandale-on-Hudson (2002), San Francisco Museum of Modern Art (2004), and Institute of Contemporary Art in Boston (2008). His work has also been included in major group exhibitions such as Made in California: Now at the Los Angeles County Museum (2000), Lyon Biennale (2003 and 2005), Whitney Biennial (2004), and Sympathy for the Devil: Art and Rock and Roll Since 1967 at the Museum of Contemporary Art in Chicago (2007). Muller lives and works in Los Angeles.

Dawit L. Petros

b. 1972 Asmara, Eritrea                                                                                                              
Resides in New York, NY and Chicago, IL

www.dawitlpetros.com
www.tiwani.co.uk

Dawit L. Petros, Act of Recovery (Part I), Nouakchott, Mauritania, Archival color pigment print, 20 x 26”  Image courtesy of The Artist and Tiwani Contemporary, London

Dawit L. Petros, Act of Recovery (Part I), Nouakchott, Mauritania, Archival color pigment print, 20 x 26” 
Image courtesy of The Artist and Tiwani Contemporary, London

Born in Asmara, Eritrea. Lives and works Montreal, Chicago, and New York, Dawit L. Petros investigates boundaries in artistic, geographical and cultural contexts. Working with installations, photography, research and extensive travels, his practice centers around a critical rereading of the relationship between African and European modernisms. His current research investigates historical and contemporary narratives of mobility. Petros studied Art as a Fulbright Fellow at Tufts University/School of the Museum of Fine Arts, Boston; Photography at Concordia University, Montreal and History at The University of Saskatchewan. Recent exhibition venues include The Kansas City Art Institute’s H&R Block Artspace, Kansas City, MO; Huis Marseille Museum of Photography, Amsterdam, NL; The Kennedy Museum of Art at Ohio University, Athens, OH; The Studio Museum in Harlem, NYC. He has been awarded an Independent Study Fellowship at the Whitney Museum of American Art, an Art Matters Fellowship, and Canada Council for the Arts Production Grants. His works are in institutional collections including The Studio Museum in Harlem, The Royal Ontario Museum of Art, and The Saskatchewan Arts Board.

Dawit L. Petros is represented by Tiwani Contemporary, London.

Derrick Adams

Derrick Adams, Crossroads, 2012
(archival pigment print), 42 in. x 36 in.
Courtesy of the artist & Tilton Gallery

Derrick Adams is a multidisciplinary New York-based artist whose practice focuses on the fragmentation and manipulation of structure and surface, exploring self-image and forward projection. Adams received his MFA from Columbia University, BFA from Pratt Institute, and is an alumni of the Skowhegan School of Painting and Sculpture, and the Sharpe-Walentas Studio Program, as well as the recipient of the Joyce Alexander Wein Artist Prize, Louis Comfort Tiffany Award, S.J. Weiler Award, and Agnes Martin Fellowship. He’s exhibited and performed at MoMA PS1, Brooklyn Museum of Art, PERFORMA, Studio Museum in Harlem, Brooklyn Academy of Music, and The Metropolitan Museum of Art, among many others notable galleries and institutions. Adams’ work is in the permanent collections of Studio Museum in Harlem, Virginia Museum of Fine Arts, Birmingham Museum, and the Metropolitan Museum of Art in New York, and is available in at Rhona Hoffman Gallery, Chicago; Tilton Gallery, New York; Vigo Gallery, London; and Galerie Anne de Villepoix, Paris.

Edgar Cleijne & Ellen Gallagher

Edgar Cleijne and Ellen Gallagher Highway Gothic, 2017 (detail) 16 mm film installation with 70 mm film cyanotype banners Courtesy of the artists and Hauser & Wirth and Gagosian

Edgar Cleijne and Ellen Gallagher
Highway Gothic, 2017 (detail)
16 mm film installation with 70 mm film cyanotype banners
Courtesy of the artists and Hauser & Wirth and Gagosian

Edgar Cleijne

b. 1963, Eindhoven, Netherlands                                                                                                              
Resides in New York and Rotterdam, Holland. 

https://www.hauserwirth.com/

Edgar Cleijne is a Dutch artist working in photography and film. He lives in Rotterdam and New York.
Merging the opposite ends of traditional and digital imaging, Cleijne looks at the effects of our anthropocene in the crossing points of nature and culture.

Ellen Gallagher

b. 1965, Providence, RI                                                                                                               
Resides in New York and Rotterdam, Holland. 

https://www.hauserwirth.com/

Ellen Gallagher  brings together non-representational formal concerns and charged figuration in paintings, drawings, collages, and films that reveal themselves slowly, first as intricate abstractions, then later as unnerving stories. The tension sustained between minimalist abstraction and image-based narratives deriving from her use of found materials gives rise to a dynamic that posits the historical constructions of the “New Negro”—a central development of the Harlem Renaissance—with concurrent developments in modernist abstraction. In doing so, she points to the artificiality of the perceived schism between figuration and abstraction in art. Selecting from a wealth of popular ephemera—lined penmanship paper, magazine pages, journals, and advertising—as support for her paintings and drawings, Gallagher subjects the original elements and motifs to intense and laborious processes of transformation including accumulation, erasure, interruption and interference. Like forensic evidence, only traces of their original state remain, veiled by inky saturation, smudges, staining, perforations, punctures, spills, abrasions, printed lettering and marking, all potent evocations and emanations of time and its materiality. This attained state of “un–knowing” fascinates Gallagher and is one of the primary themes in her work.

 

Evan Ifekoya

b. 1988, Iperu, Nigeria
Resides in London

www.evanifekoya.com

Evan Ifekoya is an interdisciplinary artist, exploring the politicisation of culture, society and aesthetics. Appropriated material from historical archives and contemporary society make up the work. By ‘queerying’ popular imagery and utilising the props of everyday life, Ifekoya aims to destroy the aura of preciousness surrounding art. Ifekoya’s current work investigates the possibility of an erotic and poetic occupation using film, performative writing and sound, focused on co-authored, intimate forms of knowledge production and the radical potential of spectacle.  Their ongoing project 'A Score, A Groove, A Phantom' explores archives of blackness, sociality and inheritance as they diffract through queer nightlife and trauma in the present moment. Ifekoya is an Art Foundation Fellow in Live Art for 2017. Ifekoya’s recent work has been presented at: Wysing Arts Centre, Cambridgeshire; New Art Exchange, Nottingham (2017); Transmission Gallery, Glasgow;Serpentine Galleries, London; Stevenson Gallery, Cape Town and Whitstable Biennial     (016). Upcoming exhibitions include ‘A Net Made Of Individual Knots’ at Embassy Gallery, Edinburgh in May 2017. Collaborative projects include Collective Creativity: Critical reflections into QTIPOC creative practice and Network11.

Gauri Gill and Rajesh Vangad

b. 1970 New Delhi, India; b.1975 India                                                                                          
Reside in New Delhi & Ganjad, India

www.gaurigill.com

In Fields of Sight, Gauri Gill collaborates with renowned Warli artist Rajesh Vangad to present this recent—and ongoing—body of work. The series began in early 2013 in Ganjad, Dahanu, an Adivasi village in coastal Maharashtra. A new visual language emerged symbiotically from Gill’s initial experiences of photographing the landscape. Looking at her contact sheets, she perceived that although the camera was capturing the distinct ‘chamelon-like’ skin of the landscape, it was missing vital aspects of what was not apparent to the eye, yet was vividly relayed in the great stories narrated to her by Vangad. The photographs by Gill, inscribed by drawings by Vangad, reconfigure the photographic site both formally as well as conceptually, to arrive at new documents of multiple truths and knowledge systems.In the act of viewing the landscape through the eyes of Vangad, Gill rekindles the need to challenge the way we see things today, what our eyes capture and what may elude them. ‘As though one were photographing an old home, and the resident of the house came out, and began to speak’.

“We see here a photographer of and from contemporary, urban India (though of a land-centered community herself), and an artist/painter of the Adivasi community from Maharashtra, whose visual narratives work together to tell stories that demand to be heard as equally contemporary, and not as relics of a traditional, or “tribal” past, a term that the British as well as independent India have called Vangad’s communities. He is not a ‘lost” figure of what Renato Rosaldo called “imperial nostalgia,” asking us to mourn what we ourselves have destroyed. He is not destroyed, but there, producing a language and art practice that uses the modern medium – the photograph, the motorcycle – to assert presence rather than provide the possibility of mechanical replication of that which is lost. Gill’s own photographic practice of collaboration and presence (see her work 1984, for instance) uses the photograph as a memory practice that asserts that the moment of photographic capture can prevent closure of stories of violence and suffering. Her characters challenge us to remember that their stories are not over, much remains to be done, whether it is redress, reparation, or in this case, recognition that identities of those deemed to be un-modern remain to challenge the politics of the neo-liberal state that denies that minority communities have a stake in the country’s future.”

Excerpted from Inderpal Grewal’s essay: Gauri Gill and Rajesh Vangad, Fields of Sight, 2014.

Genevieve Gaignard

b. 1981 Orange, MA                                                                                                                           
Resides in Los Angeles, CA

www.genevievegaignard.com                                                                           
www.shulamitnazarian.com                                                                                    

Copyright Genevieve Gaignard and Courtesy of Shulamit Nazarian, Los Angeles.

Copyright Genevieve Gaignard and Courtesy of Shulamit Nazarian, Los Angeles.

Genevieve Gaignard’s work exists in a space of in-between. Gaignard, who is mixed-race, uses a range of character performance, self-portraiture and sculpture to explore blackness, whiteness, femininity, class, and intersections therein. The daughter of a black father and white mother in a Massachusetts mill town, Gaignard’s youth was marked by a strong sense of invisibility. Was her family white enough to be white? Black enough to be black? Gaignard interrogates notions of “passing” in an effort to address these questions. She positions her own female body as the chief site of exploration—challenging viewers to navigate the powers and anxieties of intersectional identity.

Influenced by the soulful sounds of Billy Stewart, the kitschy aesthetic of John Waters, and the provocative artifice of drag culture, Gaignard uses low-brow pop sensibilities to craft dynamic visual narratives. From the identity performance ritualized in ‘‘selfie” culture to the gender performance of hyper-femme footwear, Gaignard blends humor, persona, and popular culture to reveal the ways in which the meeting and mixing of contrasting realities can feel much like displacement.

Hank Willis Thomas

b. 1976 Plainfield, NJ
Resides in Brooklyn, NY

www.hankwillisthomas.com
www.jackshainman.com                                                                                     

Hank Willis Thomas, Raise Up, 2013 bronze, 9.84 x 112.2 inches (25 x 285 cm) Courtesy of the artist and Jack Shainman Gallery, New York.


Hank Willis Thomas, Raise Up, 2013
bronze, 9.84 x 112.2 inches (25 x 285 cm)
Courtesy of the artist and Jack Shainman Gallery, New York.

HANK WILLIS THOMAS is a photo conceptual artist working primarily with themes related to identity, history and popular culture. Thomas’ monograph, Pitch Blackness, was published by Aperture. He has exhibited throughout the U.S. and abroad including, The International Center of Photography, Public Art Fund, The Guggenheim Museum Bilbao, Studio Museum in Harlem, Musée du quai Branly, and the Cleveland Museum of Art among others.

Thomas’ work is in numerous public collections including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, The Brooklyn Museum, The High Museum of Art and the National Gallery of Art in Washington DC. Collaborative projects include Question Bridge: Black Males and In Search Of The Truth.

In 2015 Thomas cofounded For Freedoms, the first artist run super PAC, which was awarded the 2017 Infinity Award for New Media and Online Platform. Thomas is a member of the Public Design Commission for the City of New York. He received a BFA in Photography and Africana studies from New York University and his MFA/MA in Photography and Visual Criticism from the California College of Arts. He also received an honorary doctorate from the Institute for Doctoral Studies in Visual Arts and the Maryland Institute College of Art. Thomas is represented by Jack Shainman Gallery in New York City, Ben Brown Gallery in London, Maruani Mercier in Belgium and Goodman Gallery in South Africa.

Hồng-Ân Trương

b. 1976 Gainesville, FL
Resides in New York, NY & Durham, NC

http://www.hongantruong.com

To Speak A Language (2012) Angle iron, electric wires, public address speakers, metal boxes, found book, neon light, amplifier, sound 168 “ x 120” x 24” Installation view at Agape Enterprise Courtesy the artist 

To Speak A Language (2012)
Angle iron, electric wires, public address speakers, metal boxes, found book, neon light, amplifier, sound
168 “ x 120” x 24”
Installation view at Agape Enterprise
Courtesy the artist 

Hồng-Ân Trương uses photography, video, sound, and performance to examine histories of war as well as immigrant, refugee, and decolonial narratives. Her work engages with the concept that politics is the struggle for equal recognition within society, with aesthetics at the core of this battle. Starting with the premise that memory is political, her projects examine structures of time, memory, and the production of knowledge by engaging with archival materials, individual and collective narratives, and histories that span cultural and national borders.

Her work has been shown at the International Center for Photography, NY; Art in General, NY; Smack Mellon, NY; the Nasher Museum of Art, Durham, NC; and The Kitchen, NY, among others. In 2013 she was recipient of an Art Matters Grant, a Franconia Sculpture Park Jerome Fellowship, and a Socrates Sculpture Park Emerging Artist Fellowship. She was an artist-in-residence at the Irish Museum of Modern Art in 2015. Recent exhibitions and projects include a two-person show at Nhà Sàn in Hanoi, Vietnam and at the Irish Museum of Art in 2016, and a presentation of a collaborative project with Hương Ngô, Jina Valentine, and Heather Hart called All Rise at the Museum of Contemporary Art Chicago. In 2017 she was awarded a Foundation for Contemporary Arts Emergency Grant for a solo show at Lump Gallery in Raleigh, NC. She will be included in Being: New Photography 2018, the latest edition of MoMA’s New Photography series.

She was a studio art fellow in the Whitney Independent Study Program and is currently an artist in the Open Session Program at The Drawing Center in New York, where she will exhibit in two group shows this year. She is an Associate Professor of Art and Director of Graduate Studies in the MFA Program at the University of North Carolina at Chapel Hill