Search form

Emna Zghal,
2007

Emna Zghal is a Tunisian-born U.S. based visual artist. Her work was featured in numerous solo and group exhibitions in the United States, Tunisia and beyond. Zghal received fellowship residencies and done projects with: the Women’s Studio Workshop, the Newark Art Museum, the MacDowell Colony, the Weir Farm Trust, and the Cité Internationale Des Arts in Paris. Reviews of her work appeared in The New York Times, The Philadelphia Inquirer, Artforum, and ARTnews, The New Yorker in addition to many Tunisian publications. Her portfolio of prints The Prophet of Black Folkabout the 9th Century African slave revolt in Iraq was acquired by Schomburg Center for Research in Black Culture in Harlem, NY. Other works of hers are part the New York Public Library, Yale University, The Museum For African Art in New York, Grinnell College, and numerous other public and private collections in the U.S. and Tunisia. She taught at Grinnell College, Purchase College and Parsons New School of Design.



EMNA ZGHAL, “ARS POETICA”, 2011,
,
EMNA ZGHAL, “SUN SLIDING”, 2011,
,
EMNA ZGHAL, “POND OF DARK INK”, 2011,
,

Nayland Blake,
2007

Nayland Blake is an artist whose mixed-media work has been variously described as disturbing, provocative, elusive, tormented, sinister, hysterical, brutal, and tender. Among his most famous pieces are a log cabin made of gingerbread squares fitted to a steel frame entitled Feeder 2 (1998). When it went on display at the Tang Teaching Museum and Art Gallery, visitors furtively nibbled off bits and pieces of the cabin’s interior walls, while the smell of the gingerbread filled the gallery.

Another well-known work is Starting Over (2000), a video of the artist dancing with taps on his shoes in a bunny suit made to weigh the same as his lover, Philip Horvitz. Blake was included in the 1991 Whitney Biennial and that museum’s infamous Black Male: Representations of Masculinity in Contemporary American Art exhibition in 1994. Maura Riley curated a retrospective of 30 years of Blake's art, “Behavior, which was presented in late 2008-early 2009 at Location One in New York City. His work is in the collections of the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Walker Art Center, and the Des Moines Art Center, among others. He is represented by the Matthew Marks Gallery, and lives and works in New York City.



NAYLAND BLAKE, “WORK STATION 5”, 1989,
,
NAYLAND BLAKE, “ELEVENTH”, 2013,
,
NAYLAND BLAKE, “OH”, 2013,
,

Harrell Fletcher,
2007

Harrell Fletcher received his BFA from the San Francisco Art Institute and his MFA from California College of the Arts. He studied organic farming at UCSC and went on to work on a variety of small Community Supported Agriculture farms, which impacted his work as an artist. Fletcher has produced a variety of socially engaged collaborative and interdisciplinary projects since the early 1990’s.

His work has been shown at SFMOMA, the de Young Museum, the Berkeley Art Museum, the Wattis Institute, and Yerba Buena Center for the Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, Apex Art, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, The Tate Modern in London, and the National Gallery of Victoria in Melbourne, Australia. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMOMA, The Hammer Museum, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. From 2002 to 2009 Fletcher co-produced Learning To Love You More, a participatory website with Miranda July. Fletcher is an Associate Professor of Art and Social Practice at Portland State University in Portland, Oregon.



HARRELL FLETCHER, “COLLECTIVE MUSEUM”, 2015,
,
HARRELL FLETCHER, “THE KNOWLEDGE”, 2010,
,
HARRELL FLETCHER, “WHERE I'M CALLING FROM”, 2012,
,

Faith Wilding,
2007

Faith Wilding emigrated to the United States in 1961 from Paraguay. She received her MFA at CalArts where she was a founding member of the Feminist Art Program. Wilding is a multi-disciplinary artist whose work addresses aspects of the somatic, psychic, and sociopolitical history of the body. Recent publications, lectures, exhibitions and performances focus on issues of cyberfeminist (women and technology) theory and practice, with particular emphasis on biotechnology. Wilding has exhibited and lectured widely in the USA and Europe. Her audio work has been commissioned and broadcast by RIAS Berlin; WDR Cologne; and National Public Radio, USA. Wilding has published in MEANING, Heresies, Ms. Magazine, The Power of Feminist Art, and other books and magazines. She is the recipient of two individual media grants from the National Endowment for the Arts. Currently, Wilding is a faculty member at the School of the Art Institute of Chicago and the MFA in Visual Art Program at Vermont College of the Union Institute and University.



FAITH WILDING, “FEARFUL SYMMETRIES”, 2015,
,

Anoka Farquee,
2007

Anoka Faruqee (b. 1972, Ann Arbor) earned her M.F.A. from the Tyler School of Art in 1997 and her B.A., Painting from Yale University in 1994. Faruqee is an alumna of the Whitney Independent Study Program, and residencies at the Skowhegan School of Art and the PS1 National Studio Program. Her grants include the Pollock Krasner Foundation and Artadia. Currently, Faruqee is director of graduate studies in painting/printmaking at Yale School of Art, and has previously held positions at the School of the Art Institute of Chicago and Cal Arts, where she was Co-Director of the ArtProgram.

Faruqee’s work has been exhibited in the US and abroad at venues including: MoMA/PS1, Queens, NY; Albright-Knox Gallery, Buffalo, NY; the Schneider Museum of Art, Ashland, OR; and Björkholmen Gallery, Stockholm, among others. Faruqee recently curated the major exhibition Search Versus Re-Search: Josef Albers, Artist and Educator, and directed a short film about Albers’ art and teaching, for the Yale School of Art 32 Edgewood Gallery. She is represented by Koenig & Clinton gallery in New York, and Hosfelt Gallery in San Francisco. Faruqee lives and works in New Haven, CT.



ANOKA FARUQEE, “2013P-29”, 2013,
,
ANOKA FARUQEE, “2013P-49”, 2013,
,
ANOKA FARUQEE, “2013P-60”, 2013,
,

Takao Kawaguchi,
2007

Takao Kawaguchi is a performer who uses his body as his sole medium in collaborations with artists like Fuyuki Yamakawa, known for his creations that utilize medical equipment to isolate bodily functions like the beat of the heart and synchronize them with sound, light and video images in unique forms of expression, and Atsuhiro Ito, who uses a device called “optron” that amplifies the electronic noise of florescent light tubes to create powerful displays of light and sound. In this interview we talk with Kawaguchi about his artistic activities, which include his work as a current member of the legendary 1990s performance/artist group “dumb type.”



,
TAKAO KAWAGUCHI, “ABOUT KAZUO OHNO – RELIVING THE BUTOH DIVA'S MASTERPIECES”, 2016,
,
TAKAO KAWAGUCHI, “LOOKING LIKE AN AMBULANTE”, 2014,
,

The Speculative Archive,
2007

The Speculative Archive produces videos, photographs, installations, and published texts. From 1999 to 2003, Archive projects centered on state secrecy and the production of the past. Current works address the use of documents—images, texts, objects, bodies, and physical structures—to project and claim visions of the future. The Archive is a collaboration of Los Angeles-based artists Julia Meltzer and David Thorne. Recent projects have been exhibited in the 2006 California Biennial (Orange County Museum of Art), Gallery Akbank Sanat (Istanbul), Kunstmuseum Goteborg (Sweden), Palazzo de la Papesse, (Siena, Italy), Apex Art (New York), Momenta (New York), the Hayward Gallery’s (London) travelling exhibition program, Whitechapel Gallery (London), the Oberhausen Short Film Festival (Germany), the International Film Festival Rotterdam, the New York Video Festival, the Margaret Mead Film Festival, and the Toronto International Film Festival, among others.



JULIA METZER AND DAVID THORNE, “WE WILL LIVE TO SEE THESE THINGS”, 2007,
,
JULIA METZER AND DAVID THORNE WITH RAMI FARAH, “NOT A MATTER OF IF BUT WHEN”, 2006,
,

Claire Sherman,
2007

Claire Sherman is a painter currently living and working in New York City. Her work is in the collection of the Nerman Museum of Contemporary Art (Overland Park, Kansas), the Margulies Collection (Miami), and other noteworthy public and private collections. She has had solo exhibitions in New York's DC Moore Gallery and DCKT Contemporary, Amsterdam's Galerie Hof & Huyser, London's Houldsworth Gallery, and Chicago's Kavi Gupta Gallery.

Sherman's main body of work consists of landscapes painted with oil on canvas. Their subject matter, more specifically described as icy glaciers, ominous islands, rocky terrain, and foliage, is in line with philosophical discourse on the sublime. Sherman is influenced by the writings of Edmund Burke, Immanuel Kant, and Jean-François Lyotard who discussed the sublime and the beauty of the natural world.

clairesherman.com,


CLAIRE SHERMAN, “BUTTE”, 2011,
,
CLAIRE SHERMAN, “CAVE AND SKY”, 2015,
,
CLAIRE SHERMAN, “CAVE AND SKY”, 2015,
,
CLAIRE SHERMAN, “ROCK WALL”, 2015,
,

Hamza Walker,
2007

Hamza Walker was born in 1966 in New York City, has spent 22 years as the Director of Education and Associate Curator for the Renaissance Society at the University of Chicago. He was also on the faculty of The School of The Art Institute of Chicago. He has written for TransNew Art ExaminerParkett, and Artforum, and penned catalogue essays on Darren Almond, Rebecca Morris, Giovanni Anselmo, Thomas Hirschhorn, Moshekwa Langa, and Katharina Grosse. He hasl also organized the first United States exhibition of works by Antwerp native Anne-Mie van Kerckhoven in 2010. At the Ren, Hamza has curated numerous group exhibitions that speak to the contemporary moment, including Teen Paranormal Romance (2014); Suicide Narcissus 2013); Black Is, Black Ain’t (2008); and New Video, New Europe (2004). He also worked closely with individual artists on many solo exhibitions, including William J. O’Brien (2011); Kateřina Šedá, It Doesn’t Matter (2008); Mai-Thu Perret, “And every woman will be a walking synthesis of the universe” (2006); and Simparch and Kevin Drumm, Spec: An Electro-Acoustic Investigation (2001). Prior to his work at the Renaissance Society, Walker was the Public Art Coordinator for the City of Chicago, Department of Cultural Affairs. Walker is the Executive Director of Los Angeles nonprofit art space LAXART since late 2016.



HAMZA WALKER, PHOTO BY DAWOUD BEY,
,

Amanda Ross-Ho,
2008

Ross-Ho’s work brings together seemingly oppositional languages and spaces: personal imagery and autobiographical artifacts are mined for formal qualities; traces and residues from studio practices are meticulously re-created as deliberate gestures; boundaries between private work and public display are collapsed. She revisits images and forms in multiple iterations, creating scale shifts, moving among different media, or using positive and negative structures.

Amanda Ross-Ho was born in Chicago in 1975.  She currently lives and works in Los Angeles.  Ross-Ho has exhibited widely in museums and galleries worldwide.  She has had solo exhibitions at the Museum of Contemporary Art, Los Angeles (2012); The Museum of Contemporary Art, Cleveland, OH (2014); and Praz-Delavallade, Paris (2015). Her work has been included in group exhibitions at the 2008 Whitney Biennal, New York; the Museum of Modern Art, New York (2010); Henry Art Gallery, Seattle (2010); and Orange County Museum of Art, Newport Beach (2011); among many other institutions. 



AMANDA ROSS-HO, “GONE TOMORROW“ AT MITCHEL-INNES & NASH, NY, 2013,
,
AMANDA ROSS-HO, “GONE TOMORROW“ AT MITCHEL-INNES & NASH, NY, 2013,
,
AMANDA ROSS-HO, “CRADLE OF FILTH”, 2013,
,

Pages

↑ BACK TO TOP
+ SHARE