Sean Duffy,
2004
Sean Duffy's work stems from his intrigue into the phenomenon of repetition, recycling, sampling, and the cyclical reoccurrence of trends in pop-culture and art. These intrigues support Duffy’s work that seem to ceaselessly test the line drawn between the original and the copy, between the real-deal and the knock-off, and the “sense of detachment that occurs each time something is repeated or recycled.” Recent solo exhibitions have been mounted at such venues as the Susanne Vielmetter Berlin Projects, Berlin, Germany; Luckman Fine Arts Complex, California State University, Los Angeles; California 101 Building, San Francisco; Susanne Vielmetter Los Angeles Projects, Culver City, California. His work has been included in numerous group exhibitions such as: Greetings from the American Dream, Riverside Art Museum, Riverside, California; Realm of the Senses, James Cohan Gallery, New York; California Biennial, Orange County Museum of Art, Newport Beach, California; Black Belt, Studio Museum, Harlem; and Remix/Experimenter, Museum of Modern Art, San Salvador.
Ben Butler,
2004
Ben Butler received his MFA from the School of the Art Institute of Chicago and his BA from Bowdoin College. His work has been exhibited in solo shows in New York at Coleman Burke Gallery and Plane Space, as well as at Zg Gallery in Chicago, John Davis Gallery in Hudson, New York, and Davidson Galleries in Seattle, among others. He is the recipient of a Pollock-Krasner Foundation Individual Artist Grant and numerous fellowships at residency programs including the MacDowell Colony, The Bemis Center for Contemporary Art, and the Ucross Foundation. He currently lives and works in Memphis, Tennessee and Quogue, New York.
Post Post Studio,
2005
Reconsidering Sites of Artistic Production & Intervention. Panelists: Amy Adler, Conrad Bakker, Michelle Grabner, Gareth James & Dave McKenzie; moderated by Lane Relyea. Often readymade and site-specific, produced on the grounds of and in collaboration with some sponsoring institution, post-studio has become such a dominant approach that questions have been leveled at its presumed status as inherently critical and progressive. Has post-studio art developed too complimentary a relationship with a much expanded institutional art world, replacing criticality with affirmation? Is it time to rethink the strategic possibilities of the studio, as holding out the potential for reclaiming some critical vantage? Could it be that such critical distance only owes to the fact that the studio has been rendered increasingly obsolete, now that value and authority reside more in information than in objects, in circulations than in sites, and now that production and exhibition, private and public no longer correspond to physical spaces and states but are increasingly defined within disembodied, virtual realms? Have we entered a post-post-studio age?
Mai-Thu Perret,
2005
Mai-Thu Perret, born 1976, is a Swiss artist based in Geneva and a graduate of the Whitney Museum of American Art and Cambridge University (BA). Selected solo exhibitions include Slow Wave at Simon Lee in Hong Kong (2014), Astral Plane at David Kordansky Gallery in Los Angeles (2014), The Prairie at Galerie Francesca Pia in Zurich (2013) and Beast of Burden at Galerie Barbara Weiss in Berlin (2012). Selected group shows include B/W at Timothy Taylor Gallery in London (2014), the Biennial of Moving Images at the Center d’Art Contemporain in Geneva (2014),*Decorum at the Musée d’Art Moderne de la Ville de Paris (2014), Mingei: Are You Here? at Pace Gallery in New York (2014), At Work at the Museum of Contemporary Art in Siegen (2013), La Demeure Joyeuse II at Galerie Francesca Pia in Zurich (2012) and The Old, the New, the Different at Kunsthalle Bern (2012). Perret has received several awards including the Zurich Art Prize (2011), Manor Cultural Prize (2011), Prize of the Swiss Foundation for Graphic Arts (2008), Kiefer-Hablitzel Prize (2006) and the Swiss Federal Prize for Fine Arts (2004, 2006).
Ernesto Neto,
2005
Since the mid-1990s, Ernesto Neto has produced an influential body of work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience. Drawing from Biomorphism and minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s & 70s, the artist both references and incorporates organic shapes and materials – spices, spices, sand and shells among them—that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.
In 2011, Museo de Arte Contemporáneo de Monterrey in Mexico opened the artist’s first survey exhibition, La lengua de ernesto: retrospectiva 1987-2011, which travelled to Antiguo Colegio de San Ildefonso in Mexico City in 2013. The artist also presented important solo exhibitions at the Aspen Art Museum in Colorado (2014), Guggenheim Bilbao in Spain (2013), Nasher Sculpture Center in Dallas (2012), Faena Arts Center in Buenos Aires, which traveled to Estação Leopoldina in Rio de Janeiro (2011-2012), Hayward Gallery, Southbank Centre in London (2010) Museum of Modern Art in New York (2010); Fearnley Museum of Modern Art in Oslo (2010), Sao Paulo Museum of Modern Art (2010), Museo d'Arte Contemporanea Roma in Italy (2008), Museum of Contemporary Art, Sydney, Australia (2002), and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. (2002), among others. In 2001, he represented Brazil at the 49th Venice Biennale.
Virgil Marti,
2005
Virgil Marti creates hybrid objects and environments informed by a wide range of art-historical and pop-cultural references. Known for inserting high décor into fine art contexts, his installations are rich in humor, and shrewd observation. After attending Skowhegan in 1990, he worked for many years as a master printer and project coordinator at The Fabric Workshop and Museum. His work was included in the The Jewel Thief at The Frances Young Tang Teaching Museum (2010), La Biennale de Montréal (2007), Whitney Biennial 2004, and Apocalyptic Wallpaper at the Wexner Center for the Arts, Columbus, Ohio (1997). Recent collaborative projects and solo shows include Set Pieces at the Institute of Contemporary Art, Philadelphia (2010), Ah! Sunflower at the Visual Art Center, Richmond, VA (2008), and Directions: Virgil Marti/Pae White at the Hirshhorn Museum, Washington, D.C. (2007).
Gareth James,
2005
Gareth James works at the intersection of theory and practice in the form of objects, images, writing, and pedagogy. His work often reacts to ideas of economy and production, while also displaying humor and inventiveness in outcomes that deal with the objective nature of art. Gareth is a co-founder of the Scorched Earth publication and was one of the founding members of the cooperatively organized Orchard Gallery. He currently teaches at the University of British Columbia in Vancouver.
James’s work is constituted through his abiding interest in histories of iconoclasm in which the social divisions and inequities that mark and delimit artistic practice are registered most emphatically. In James’ practice as an artist and as a writer, conventional aesthetic discourse is lost and rediscovered in neighboring fields such as topology or psychoanalysis; capitalist property relations are seen to exert as much determinative force on the visual field as phenomenological bodies; and theoretical materials are indistinct from physical ones in an incipient philosophy of materials. In his teaching, James incorporates a wide base of theoretical paradigms and experimental methodologies in order to examine the fullest extension of the field of art.
Pamela Fraser,
2005
Pamela Fraser works experimentally in a variety of materials and formats, primarily engaged with painting. Her work often explores the language of abstraction, and the relationship of abstraction to place. When do abstract shapes and forms convey meaning(s), and when do they disintegrate into illegibility? What happens when they are placed in contexts alien to customary reception? Fraser has made and exhibited work for 20 years. Past solo exhibitions include at Galerie Schmidt Maczolleck in Cologne, Germany; Galleria Il Capricorno in Venice, Italy; asprey jacques in London, England; Casey Kaplan in New York, NY; and The Blaffer Museum in Houston, TX.
Select group exhibitions include galleries and institutions such as GAD in Oslo, Norway; The Albright-Knox Art Gallery in Buffalo, NY; Wurttembergischer Kunstverein in Stuttgart, Germany; Dundee Center of Contemporary Art in Scotland; and The Crayon Miscellany, at Art Omi in Ghent, NY. Fraser lives in Barnard, Vermont, and is a professor at The University of Vermont. In addition to her studio practice, she writes about art and organizes exhibitions. Her book How Color Works: Color Theory in the 21st Century will be published by Oxford University Press in 2017.
Ken Fandell,
2005
Through photography and video Ken Fandell “examines the breakdown of thought, language, representation, and inspiration. Through his investigations Fandell has discovered a peculiar place containing both humor and earnestness, between rigorous investigation and sweet sentimentality, encompassing heroic triumph and tragic defeat.” In 2005 he had solo exhibitions at Chicago's Bodybuilder & Sportsman and the Howard House in Seattle. Currently he is Assistant Professor at The School of the Art Institute of Chicago.
Patty Cheng,
2005
Patty Chang is an American film director and performance artist living in New York. Her performative works deal with themes of gender, language and empathy. She was described as "one of our most consistently exciting young artists" by The New York Times in 2006. Originally trained as a painter, she is primarily known for her short films and videos and her performance art. She often plays a central role in her own work (to the point that a New York Times critic once described it as "hair-raisingly narcissistic"), which is often seen as testing the acceptable boundaries of taste and endurance. Some of her work contains scatological elements (such as Gong Li With The Wind, a short film), and others critique perceptions of female sexual roles (For Paradise, also a short film). She has staged solo shows in major cities such as Madrid at the Museo National de Reina Sofia in 2000, in Visby at the Baltic Art Center in 2001, in Los Angeles at the Hammer Museum in 2005, in New York at the Jack Tilton Gallery in 1999 and at the New Museum of Contemporary Art in 2005.
