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 Installation View at the New Orleans Museum of Art Prospect.4: The Lotus in Spite of the Swamp Photo © Mike Smith

Barkley L. Hendricks
Installation View at the New Orleans Museum of Art
Prospect.4: The Lotus in Spite of the Swamp
Photo © Mike Smith

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).

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.

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.

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.

Hank Willis Thomas

b. 1976 Plainfield, NJ
Resides in Brooklyn, NY

www.hankwillisthomas.com
www.jackshainman.com                                                                                     

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.

  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  History of the Conquest, 2017 Installation view at Jazz Museum for Prospect.4: The Lotus in Spite of the Swamp Photo © Mike Smith

Hank Willis Thomas
 History of the Conquest, 2017
Installation view at Jazz Museum for Prospect.4: The Lotus in Spite of the Swamp
Photo © Mike Smith

James Webb

b. 1975 Kimberley, South Africa                      
Resides in Cape Town

www.theotherjameswebb.tumblr.com

 James Webb, There’s No Place Called Home (Installation View for Prospect.4), 2017 photo by Sofia Ekstrom

James Webb, There’s No Place Called Home (Installation View for Prospect.4), 2017
photo by Sofia Ekstrom

James Webb (1975) is a South African artist based in Cape Town. His work, framed in large-scale installations in galleries and museums, or as unannounced interventions in public spaces, often makes use of ellipsis, displacement and détournement to explore the nature of belief and the dynamics of communication in our contemporary world. Webb’s practice employs a variety of media including audio, installation and text, referencing aspects of the conceptualist and minimalist traditions, as well as his academic studies in advertising, comparative religion and theatre. Webb has presented his work around the world at institutions such as Wanås Konst in Sweden, the Yorkshire Sculpture Park, U.K., and the Darat al Funun in Jordan, as well as on major international exhibitions such as the 13th Biennial of Sharjah (2017), 12th Bienal de la Habana (2015), 55th Biennale di Venezia (2013), the 3rd Marrakech Biennale (2009), the 2009 Melbourne International Arts Festival and the 8th Biennale d’Art Contemporain de Lyon (2007). 

Recent projects include La Syzygie, a multi-dimensional reading of the Théâtre Graslin in Nantes, and the creation of Prayer (Stockholm) for Historiska, Stockholm (both 2016). In 2017 Webb participates in Tamawuj, the 13th Sharjah Biennale curated by Christine Tohme, Afriques Capitales curated by Simon Njami at La Villette, Paris, and presents his first major work for radio, The War Of The Worlds, as part of Every Time A Ear Di Soun, curated by Bonaventure Soh Bejeng Ndikung and co-curated by Marcus Gammel for documenta 14.

Jennifer Odem

b. 1962 New Orleans, LA
Resides in New Orleans, La 

www.jenniferodem.com                                                                                                

 Jennifer Odem Rising Tables, 2017  Installation view at Crescent Park, Prospect.4: The Lotus in Spite of the Swamp

Jennifer Odem
Rising Tables, 2017
 Installation view at Crescent Park, Prospect.4: The Lotus in Spite of the Swamp

 Jennifer Odem is a New Orleans based artist with a specific focus on investigations in sculpture, drawing and site-specific work. Odem’s most recent projects combine the environmental and social aspects of both natural and domestic elements. Motivated by geologic formations, architecture, textiles and found materials, the work explores issues of landscape and home. While factors such as weight, volume, and materiality resonate within the sculptures, there is an underlying element of absurdity and contradiction that speaks to gender issues, human relationships, and our connection to the environment.

Odem’s recent solo exhibitions include, “Map and Territory, Sternsstudio in Vienna, Austria (2016), “Falling From Sleep” at 511 Gallery, NY, Interpretations: House and Universe, Sculpture and Drawing at Carroll Gallery and "A Discourse in Abstraction: Jennifer Odem and NOMAs Permanent Collection." New Orleans Museum of Art, curated by Miranda Lash. Other recent exhibitions include, Paper Route 66 at BravinLee Programs, NY, “A Building With A View”: Experiments in Anarchitecture curated by Andrea Andersson, Ph.D., The Helis Foundation Chief Curator of Visual Arts, Louisiana Contemporary Artists, LSU Museum of Art.

Odem has participated in exhibitions and residencies throughout the United States and Europe, including projects in Vienna, Austria, Dublin, Ireland, London, England, and The Center for Polish Sculpture in Oronsko, Poland. Odem has also been the recipient of several awards and fellowships including the Joan Mitchell Foundations New Orleans Career Opportunity Grant in 2009, The Center for Land Use Interpretation, grant and residency, Silver Circle Sculpture Award, Contemporary Arts Center, New Orleans Museum of Art Sculpture Garden Honoree. Her artwork has been featured and included in many publications including Sculpture Magazine, ARTnews, Frieze Magazine and Playa Works: The Myth of the Empty, written by William L. Fox and published by University of Nevada Press. This summer Odem will be working in the 7th Ward of New Orleans on a site-specific, public work which has been funded by a 2017 Platforms Grant.

 Jennifer Odem,  Study for Tables  2017, Mixed media on paper

Jennifer Odem, Study for Tables 2017, Mixed media on paper

Jillian Mayer

b. 1984 Miami, FL
Resides in Miami, FL 

www.jillianmayer.net
www.davidcastillogallery.com                                                                                    

Jillian Mayer (Florida, USA) is an artist that makes work that explores how technology affects our identities, lives and experiences. Through videos, online experiences, photography, telephone numbers, performance, paintings, sculpture and installation, her work investigates the tension between physical and digital iterations of identity and existence. Her video works and performances have been premiered at galleries and museums internationally such as MoMA, MoCA:NoMi, BAM, Bass Museum, the Contemporary Museum of Montreal with the Montreal Biennial, the Guggenheim Museum and film festivals such as Sundance, SXSW, and the New York Film Festival and has been featured in art publications such as Art Papers, ArtNews and ArtForum. Mayer is a recipient of the Creative Capital Fellowship, the South Florida Cultural Consortium’s Visual/Media Artists Fellowship, Cintas Foundation Fellowship, and was named one of the “25 New Faces of Independent Film” by Filmmaker Magazine. She is also a fellow of the Sundance New Frontiers Lab Program, a recipient of a Harpo Grant and the Zentrum Paul Klee Fellowship in Bern, Switzerland. Mayer often collaborates with filmmaker Lucas Leyva and helps run the Borscht Corporation, a non-profit film collaborative, production company, and film festival. Recent solo shows include Perez Art Museum Miami, David Castillo Gallery and LA><ART.

John T. Scott

b. 1940 New Orleans, LA
d. 2007 Houston, TX

www.arthurrogergallery.com

 John Scott,&nbsp;Cathedral, 2003 Woodcut print, Edition of 10,&nbsp;60 x 40 inches Courtesy Arthur Roger Gallery

John Scott, Cathedral, 2003
Woodcut print, Edition of 10, 60 x 40 inches
Courtesy Arthur Roger Gallery

John Scott is best known for creating vibrantly colored, dynamic artworks across many media, particularly print and kinetic sculpture. Throughout his career, he created work that solidified the elusive feel of New Orleans and the historical and spiritual influence of its rich culture and musical heritage. Christian imagery was predominant in his early work, followed by a focus on African, African-American, Caribbean and Creole cultures. His work has been referred to as “optical jazz,” evoking the spirits of music and dance. John Scott was born in New Orleans in 1940 and raised in the Lower Ninth Ward. He attended Xavier University of Louisiana where he received a B.A. in 1962. He went on to earn an M.F.A. from Michigan State University in 1965. He later returned to New Orleans as a Professor of Fine Arts at Xavier, where he was an influential and inspirational teacher for 40 years. He also exhibited throughout the United States and internationally. In 1992, he was a recipient of the prestigious John D. and Catherine T. MacArthur Foundation “Genius” Grant. He received an honorary Doctor of Humanities from Michigan State University in 1995 and a Doctor of Humanities from Tulane University in 1997. He passed away in Houston, Texas in September 2007.

Kahlil Joseph

b. 1981 Seattle, WA           
Resides in Los Angeles, CA

www.the-most.com

Kahlil Joseph is an American artist and filmmaker working in Los Angeles. His previous work includes Until the Quiet Comes, which received widespread critical acclaim and won the Grand Jury Prize for Short Films at the 2013 Sundance Film Festival. The following year, the film was included in Kara Walker’s celebrated exhibit, Ruffneck Constructivists, at the Institute of Contemporary Art in Philadelphia. Joseph’s first solo major museum show, Double Conscience, featured his visually and sonically dynamic double-channel film, m.A.A.d., at the Museum of Contemporary Art in Los Angeles. In 2016, m.A.A.d. was included in Art Basel’s Unlimited exhibition in Switzerland and the popular group show, The Infinite Mix, at the Southbank Centre in London. Concurrently, Joseph was Emmy and Grammy nominated for his direction of Beyonce’s feature length album film, Lemonade. Joseph is a recipient of the 2016 John Simon Guggenheim Memorial Fellowship and 2017 Artadia Award. Currently, Joseph serves as Vice President of the board at The Underground Museum, a vanguard and pioneering independent art museum, exhibition space and community hub in Los Angeles.

Kiluanji Kia Henda

b. 1979 Luanda, Angola
Resides in Luanda, Angola & Lisbon, Portugal

www.galleriafonti.it

Kiluanji Kia Henda, was born in Angola in 1979. He currently lives and works in Luanda. Kia Henda’s interest in visual arts stems from growing up in a household of photography enthusiasts. A link to music and Vanguard theater were part of his conceptual training, as was a collaboration with a collective of artists in Luanda. Kiluanji participated in various residency programs in cities like Venice, Cape Town, Paris, Amman and Sharjah, among others. He also participated in the following selection of expositions: 1st Luanda Triennial, 2007; Check List Luanda Pop, African Pavillion, Venice Biennale, 2007; Farewell to Post-Colonialism, Guangzhou Triennial, 2008; There is always a cup of sea to sail in, 29th São Paulo Biennial, 2010; Tomorrow Was Already Here, Tamayo Museum, Mexico City, 2012; Les Prairies – Les Ateliers of Rennes, 2012; Mondays Begins On Saturday,1st Bergen Triennial, 2013; The Shadows Took Form, The Studio Museum of Harlem, New York City,2013; Producing the Common, Dakar Biennale, 2014; The Divine Comedy, Museum für ModerneKunst, Frankfurt and The Smithsonian Institute, Washington, D.C. 2014; Surround the Audience, New Museum Triennial, New York City, 2015; Museum (Science) Fictions - MUSEUM ON/OFF, Centre Georges Pompidou, Paris, 2016; Fucking Globo II, Hotel Globo, Luanda, 2016 (participated also as a co-curator). In 2012, Kia Henda won the National Culture and Arts Award  given by the Angolan Ministry of Culture, and in 2014, he was selected among the 100 Leading Global Thinkers by Foreign Politics magazine.

Katherine Bradford

b. 1942 New York, NY
Resides in Brooklyn, NY and Brunswick, ME.

www.edwardthorpgallery.com

Night Divers, oil on canvas,  68” x 80”  2013   Private collection, Atlanta, GA.

Katherine Bradford is a painter who lives and works in New York.  Her work has been exhibited widely at venues in the United States and Europe including MOMA PS 1, Brooklyn Museum, CANADA, Sperone Westwater, Edward Thorp, and Cheim and Read and at the Bowdoin College Museum in Maine, the Hall Art Foundation in Vermont, Venus Over LA in Los Angeles, University of the Arts in Philadelphia, Addison Gallery of American Art in Massachusetts, Portland Museum of Art in Maine, Adams and Ollman in Oregon, Smith College Museum in Massachusetts, Weatherspoon Art Gallery in North Carolina, and David Castillo Gallery in Miami as well as galleries in Milan, Berlin, Amsterdam and Copenhagen. Her work is in the collections of the Brooklyn Museum, the Metropolitan Museum, the Portland Museum, the Dallas Museum of Art and the Pennsylvania Academy of Fine Arts Museum. In 2011 Bradford was awarded a Guggenheim and in 2012 a Joan Mitchell Foundation award. She had also received a Pollock Krasner Grant and two awards from the American Academy of Arts and Letters. She is currently a Senior Critic at the Yale School of Art and is represented by CANADA in New York and Adams and Ollman in Portland, OR.