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.

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.

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.

Ellen Gallagher and Edgar Cleijne

Ellen Gallagher

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

Credit to Ellen Gallagher, Edgar Cleijne, Gagosian ,and Hauser & Wirth.

Credit to Ellen Gallagher, Edgar Cleijne, Gagosian ,and Hauser & Wirth.

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.

Edgar Cleijne

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

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

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.