Visiting Artist Lecture Series (VALS)
Visiting Artist Lecture Series (VALS) is organized by a small team of second year MFA students. The lecture component, taught by an adjunct faculty member with a background in art history and/or curatorial studies, consists of one-hour lectures and three 40-minute individual studio visits by visiting artists and critics over the course of the academic year. The series is programmed by a panel of graduate Visual Arts students under the professor's close guidance.
Invitations are extended to artists whose practice reflects the interests, mediums, and working methods of MFA students and the program. Weekly readings assigned by the professor provide context for upcoming visitors. Other course assignments include researching and preparing introductions and discussion questions for each of the visitors. Undergraduate students enrolled in Visual Arts courses are encouraged to attend and graduate students in Columbia's Department of Art History are also invited. Following each class-period the conversation continues informally at a reception for the visitor. Studio visits with Visual Arts MFA students take place on or around the week of the artist or critic's lecture and are coordinated and assigned by lottery by the professor.
2025-2026
Kennedy Yanko is a sculptor and installation artist working in found metal and paint skin. Yanko deploys her materials in ways that explore the limitations of optic vision, underlining the opportunities we miss when looking with eyes alone. She is a graduate of the San Francisco Art Institute, and has presented work at the Rubell Museum, Jeffrey Deitch Gallery, and the Pérez Art Museum, among numerous others. Yanko’s exhibition Without Gravity, featuring new handmade paper works made in collaboration with Pace Prints, opens September 5th in New York City.”
Mark Thomas Gibson’s personal lens on American culture stems from his multifaceted viewpoint as an artist––as a black male, a professor, and an American history buff. These myriad and often colliding perspectives fuel his exploration of contemporary culture through languages of drawing, painting, print, and sculpture, revealing a vision of a satirical, dystopian America where every viewer is implicated as a potential character within the story. Gibson received his BFA from the Cooper Union and his MFA from the Yale School of Art. He has been awarded residencies at Yaddo, Ox-Bow, and MacDowell, is a recipient of a Guggenheim Fellowship and the Hodder Fellowship at Princeton University, and his work is included in the collections of the Metropolitan Museum of Art and Library of Congress, among many others.
Dillon works across sculpture, painting, olfaction, and wide-ranging materials to articulate an aesthetic of diasporic Blackness grounded in a postcolonial nonbeing. Her charged exhibitions and writing use poet(h)ics, abstraction, and everyday objects to produce distinctive arrangements of sense and affect. She earned her BFA from Central Saint Martins in 2019, and was an Elaine G. Weitzen Studio Program Fellow at the Whitney ISP in 2024. Her work has been exhibited at the Tate Britain, the Heidelberger Kunstverein in Germany, the Palais de Tokyo in Paris, and Almine Rech Gallery in London, among others.
Diana Sofia Lozano (b. Cali, Colombia) is a sculptor whose work uses the language of botanical hybrids; the naturally occurring, genetically modified, and the imagined. Lozano presents biomimicry as metaphors for identity construction at the intersections of gender, sexuality, and the politics of difference. She is a graduate of the Cooper Union and received her MFA at the Yale School of Art, and has been awarded residencies at Ox-bow, the Hercules Studio Program, and ACRE. Lozano has exhibited her work at Company Gallery, Deli Gallery, and Rachel Uffner Gallery in NYC; Casa Prado in Barranquilla, Colombia; Parallel in Oaxaca, Mexico; and Capsule Gallery in Shanghai, China, among others.
Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) was born and raised in Ferndale, Washington and Palm Springs, California. His work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture, and the play between the known and the unknowable. He received his BA from Portland State University and his MFA from the University of Wisconsin-Milwaukee. He was a fellow at the Radcliffe Institute for Advanced Study at Harvard University in 2018, a Sundance Art of Nonfiction Fellow in 2019, and is the recipient of a Guggenheim Fellowship and MacArthur Fellowship, among numerous other awards. His work is included in the collections of the Museum of Modern Art, the Hammer Museum, the Des Moines Art Center, and the Art Institute of Chicago, among others.
Amy Taubin earned her BA at Sarah Lawrence College and her MA in Cinema Studies at NYU. She is a contributing editor for two prominent film magazines, the British Sight & Sound and the American Film Comment. She has also written regularly for The Village Voice, The Millenium Film Journal, and Artforum, and used to be curator of video and film at the non-profit experimental performance space The Kitchen. Throughout her career, she has served on the board of trustees of the Anthology Film Archives, and on the selection committee for the Film Society of Lincoln Center, among others. In 2020, Taubin received the Short-Form Writing Grant from the Andy Warhol Foundation.
Pacifico Silano is a lens-based appropriation artist. Exploring print culture, image circulation and questions of LGBT+ identity, his work is entirely composed of repurposed fragments from gay pornographic magazines of the 1970s and 80s––an era connecting the progressive legacies of sexual revolution with the advent of the devastating HIV/AIDS crisis. Silano earned his MFA from the School of Visual Arts. His work has been exhibited at numerous institutions, including the Bronx Museum, The Andy Warhol Museum, and The International Center for Photography, and is included in the permanent collection of MoMA. Silano is a recipient of the Aaron Siskind Foundation Fellowship and the NYFA Fellowship in Photography.
Clare Grill’s paintings draw inspiration from an assortment of handmade documents, including birth certificates, family heirlooms, and 18th- and 19th-century embroidery samplers. She earned her BA at the University of St. Thomas in Minnesota, her MFA at Pratt Institute, and attended the Skowhegan School of Painting and Sculpture. Clare’s work has been exhibited extensively both nationally and internationally, including at the Bronx Museum in New York and the University of Tennessee, Knoxville. Her work is included in the public collections of the Minneapolis Institute of Art, Albright College, and the Weisman Art Museum, among others.
Erin M. Riley is a tapestry artist whose work depicts intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, sexual violence, and trauma. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, she exposes the range of women's lived experiences and how trauma weighs on the search for self-identity. Riley received her BFA from the Massachusetts College of Art and Design and an MFA from the Tyler School of Art. Her work has been presented extensively both nationally and internationally, including at PPOW Gallery in New York City and Kohn Gallery in Los Angeles. She has attended residencies at MacDowell, Yaddo, the Sharpe-Walentas Studio Program, and Bemis Center for Contemporary Art, among numerous others.
Wendy Nālani E. Ikemoto is the vice president and chief curator of the New-York Historical Society, the oldest museum in New York City. A native Hawaiian, she received a BA from Stanford University and an MA and PhD from Harvard University and has overseen the Museum’s collections of paintings, sculpture, and drawings, while spearheading major acquisitions. Since 2018, she has worked to diversify the institution’s permanent collection, adding key works by Oscar yi Hou, Augusta Savage, Betye Saar, and Kay WalkingStick.
Sharon Hayes is an artist who uses video, performance, sound and public sculpture to expose specific intersections between history, politics and speech, to unspool reductive historical narratives and to re-ignite dormant pathways through which counter-understandings of the contemporary political condition can be formed. In her work, she lingers in the grammars-linguistic, affective and sonic-through which political resistance appears. She received her BA in Anthropology at Bowdoin College in Maine, attended the Whitney Museum Independent Study Program, and earned her MFA at UCLA. Her work has been featured in numerous solo exhibitions, including at Andrea Rosen Gallery in New York and the Whitney Museum of American Art. Her work has been exhibited at the Venice Biennale, and she is the recipient of numerous awards and grants, including a Pew Fellowship, a Guggenheim Fellowship, and the Louis Comfort Tiffany Foundation Fellowship, among others.
Katherine Bradford is a painter known for her vibrant palette, eccentric compositions, and personal, unpredictable approach to figurative painting. Since the 1970s, Bradford has painted with a formal inventiveness and shifting sense of figure and ground, giving narrative weight to her characters who may appear as heroes or lovers, families or couples, businessmen or isolated individuals. Bradford’s paintings have been exhibited widely both nationally and internationally. She is the recipient of a Joan Mitchell Foundation Grant, a Guggenheim Fellowship, two awards from the American Academy of Arts and Letters, and a Pollock-Krasner Foundation Grant. Her work is included in numerous public collections, including the Baltimore Museum of Art, Dallas Museum of Art, Hirshorn Museum, ICA Boston, Metropolitan Museum of Art, and Musée d’Art Moderne in Paris, among countless others.
An-My Lê’s work often addresses the impact of war on culture and on the environment, noting her ‘main goal is to try and photograph landscape in such a way that it suggests a universal history, a personal history, a history of culture’”. She earned her BAS and MS at Stanford University, and received her MFA in Photography at the Yale School of Art. She is the recipient of the MacArthur Foundation Fellowship, the Louis Comfort Tiffany Foundation Award, and a Guggenheim Fellowship, among many others. Lê’s work has been exhibited extensively both nationally and internationally, including at the Whitney Museum of American Art, the Metropolitan Museum of Art, the National Museum of Art in Osaka, Japan, and the Tate Modern. She has been teaching at Bard since 1998.
Sarah Oppenheimer is an artist and architectural manipulator whose work explores relations between human and non-human systems. She creates apertures and extensions in buildings or walls, modifying familiar spaces with dramatic and disorientating interventions. Sarah received her BA from Brown and her MFA from Yale. She is the recipient of the Anonymous was a Woman Award, the American Academy in Rome Prize Fellowship, a Joan Mitchell Foundation Painters and Sculptors Grant, a Louis Comfort Tiffany Foundation Award, and a Guggenheim Fellowship. Her work has been exhibited widely both nationally and internationally, and is included in the collections of the Perez Art Museum, the Museum of Contemporary Art in San Diego, Brown University, and the Baltimore Museum of Art, among others.
Lyle Ashton Harris is an artist working across photography, collage, installation, and performance. His practice explores intersections between the personal and the political, examining the impact of race, gender, and desire on contemporary culture. His work has been exhibited both nationally and internationally, including at the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Centre Pompidou, and the Tate Modern. His work is held in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Guggenheim Museum, the Whitney Museum of American Art, and the Studio Museum in Harlem, among many others. He is the recipient of a Guggenheim Fellowship and a Rome Prize Fellowship, and is a Professor of Art at New York University.
2024-2025
Tommy Kha (b. Memphis, TN) is a photographer currently working between Brooklyn, New York and Memphis, Tennessee. He is the recipient of the Hayes Prize, Next Step Award, Foam Talent, and NYSCA/NYFA Photography Fellow. He is a kung fu student under Sifu Ken Lo. Kha holds an MFA in Photography from Yale University.
Gregory Halpern was born in Buffalo, New York and has published six books of photographs. He is the recipient of a Guggenheim Fellowship and an Associate Member of Magnum Photos. He teaches photography at the Rochester Institute of Technology.
LaJuné is a Multidisciplinary Artist, and Educator creating art that integrates performance, extended reality, and physical computing to question our current forms of communication. They are passionate about discovering, learning, manifesting, and stewarding spaces for liberated Black Realities and the Black Imagination. LaJune believes in making by diving into, navigating, critiquing, and breaking systems and technologies that uphold systemic injustices to decommodify our bodies, undo our indoctrination, and make room for different ways of being.
Matt Bollinger is a visual artist working across various mediums such as painting, animation, sculpture and music.
His work has been exhibited in several solo and group exhibitions at Zürcher Gallery, New York / Paris; South Bend Museum of Art, Indiana and M+B, California. His animations have been included in numerous film festivals and screenings in the US and Europe. Bollinger’s work can be found in the collection of the Nerman Museum of Contemporary Art, Missouri; Museum of Fine Arts, Dole, France and the Bowdoin College Museum of Art, Brunswick, Canada.
Bollinger is a professor of Painting and Drawing at Purchase College, State University of New York. He earned his Bachelor of Fine Arts at the Kansas City Art Institute in 2003 and his Master of Fine Arts at the Rhode Island School of Design in 2007. Born in 1980, Missouri, he currently lives and works in New York.
Xin LIU is an artist and engineer. She creates experiences/experiments to take measurements in our personal, social, and technological spaces in a post-metaphysical world: between gravity and homeland, sorrow and the composition of tears, gene sequencing, and astrology. Her work resides between the measurable and ineffable, seeking tensions and reconciliations at macro- and micro-scales beyond our daily experiences. Her recent research and interest center around the verticality of space, extraterrestrial explorations, and cosmic metabolism: the metabolism of our planet and how it has been affected by technological infrastructures in the past few decades.
"Juliana Huxtable is a New York City-based writer, performer, DJ, and artist. Her work has been featured in numerous publications, including Artforum, Candy, Topical Cream, and Mousse. Recent exhibitions and performances include: The Grand Dold Projects Art Gala at Villa Jungans, Villingen, Germany; There Are Certain Facts That Cannot Be Disputed at the Museum of Modern Art, New York; and Take Ecstasy with Me at the Whitney Museum of American Art, New York. She included in the 2015 New Museum Triennial, curated by Ryan Trecartin and Lauren Cornell. She recently published a novel, Life, co-written with the artist and writer Hannah Black."
Janine Antoni was born in Freeport, Bahamas. She received her BA from Sarah Lawrence College in New York, and earned her MFA from the Rhode Island School of Design in 1989. Antoni is known for her unusual processes, using her body as both a tool and a source of meaning within the conceptual framework of her practice. Antoni’s early methods involved transforming unique materials such as chocolate and soap through habitual, everyday processes like bathing, eating and sleeping to create sculptural works and installations. By way of her body of work, Antoni carefully articulates her relationship to the world, giving rise to emotional states that are felt in and through the senses. In each piece, no matter the medium or image, a conveyed physicality is meant to speak directly to the viewer’s body.
Rudolf Stingel is a contemporary Italian Conceptual artist. Employing wide-ranging materials such as rubber, carpet, painted aluminum, Styrofoam, and paint. Stingel questions and disrupts the viewer’s understanding and experience of the traditional art object. His work often reflects upon fundamental questions concerning the medium of painting, such as the role of authenticity and context in contemporary art.
Since the 1990s, Huma Bhabha (b. 1962) has become known for layered and nuanced work that centers on reinvention of the figure and its expressive possibilities. Her formally inventive practice encompasses sculpture, drawings, and photography.
Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Known primarily for her multimedia presentations, she has cast herself in roles as varied as visual artist, composer, poet, photographer, filmmaker, electronics whiz, vocalist, and instrumentalist.
Nicole Eisenman (American, b. 1965) is a Contemporary painter, printmaker, and sculptor, with a wide body of figurative and often humorous work. Inspired by Social Realism and German Expressionism, Eisenman frequently mines art history for her imagery—both satirizing the bourgeois and imbuing them with pathos. Her work is also autobiographical, laced with personal history and sometimes featuring stand-ins for herself or her friends.
Dana Schutz (b. 1976) is a Brooklyn-based painter and sculptor who constructs complex visual narratives that engage the capacity of art to represent subjective experience. Often depicting figures in seemingly impossible, enigmatic, or invented situations, her works reveal the deeper complications, tensions, and ambiguities of contemporary life.
2023–2024
Daphne Arthur (b. 1984, Caracas, Venezuela) centers her practice on the experimentation and transformation of conventional materials and forms. Drawing from her background, the Afro-Venezuelan artist explores the roles history, memory, and mythology play in the transformation or deterioration of the collective imaginary of the Black diaspora. Arthur received her BFA in Painting and Drawing from the School Of Art Institute of Chicago in 2007, and an MFA from the Yale School of Art in 2009. In 2020, she presented a solo exhibition titled In The Eye of The World, curated by Julia Marsh at Cedar Crest College, Philadelphia. She is the recipient of the Anne Critz fellowship, The Ald Held Fellowship at the American Academy of Rome, the Vermont Studio Center Fellowship and The NYFA Queens Art Fund: New Work Grant.
Kiyan Williams is a visual artist from Newark, NJ and based in New York City. Working across a range of media, they create works that meditate on fugitive ecologies, and that subvert dominant narratives of history and power. Recent exhibitions were held at: Altman Siegel (San Francisco, CA), Peres Projects (Milan, Italy); The Hirshhorn (Washington D.C.), Lyles and King (New York), SculptureCenter (New York), Brooklyn Museum (New York), Socrates Sculpture Park (New York), MIT Vera List Center (Cambridge), and The Shed (New York). Their debut institutional solo exhibition, Between Starshine and Clay, was presented at the Hammer Museum (Los Angeles) in 2022. In 2022 they presented their first public art work in New York City commissioned by Public Art Fund in the group exhibition Black Atlantic.
Williams’ work has been reviewed in numerous publications including Artforum, The New York Times: T Magazine, ArtNews, Frieze, BOMB Magazine, émergent magazine, and Hyperallergic. They were recently featured in Cultured Magazine’s 2023 Young Artist List. Williams is the recipient of the Jerome Hill Artist Fellowship, Graham Foundation Grant, Franklin Furnace Fund, and Fountainhead Fellowship in Sculpture and Extended Media at Virginia Commonwealth University. They have been awarded residencies at Smack Mellon and BTFA. They earned a BA with honors from Stanford University and an MFA in New Genres from Columbia University.
Ani Liu is an internationally exhibiting research-based artist working at the intersection of art & technoscience.
Integrating emerging technologies with cultural reflection and social change, Ani’s most recent work examines the biopolitics of reproduction, labor, care work and motherhood.
2022–2023
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Emily Mae Smith creates lively compositions that offer sly social and political commentary, with a nod to distinct historical painting movements, such as symbolism, surrealism, and pop art. Her lexicon of signs and symbols begins with her avatar, an anthropomorphic broomstick figure. Simultaneously referencing the painter’s brush, a domestic tool associated with women’s work, and the phallus, the figure continually transforms across Smith’s body of work. By adopting a variety of guises, the broom and other symbols speak to contemporary subjects, including gender, sexuality, capitalism, and violence.
Smith has been the subject of solo exhibitions at Le Consortium, Dijon, and the Wadsworth Atheneum Museum of Art, Hartford, Connecticut.
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Neshat left Iran to study art in Los Angeles in 1974, just prior to the Iran Islamic Revolution; she did not return until 1990. At that time, Neshat began to photograph herself wearing the chador, or veil. In 1983, Islamic law dictated the wearing of chador for women. Much of Neshat’s work examines the physical, emotional, and cultural implications of veiled women in Iran.
Her work, which has never been shown in Iran, essentially declares the female presence in a male dominated culture. In her films and photographs, the female gaze becomes a powerful and dangerous instrument for communication.
Her first series of photographs, Woman of Allah, 1993–97, combines images of women with written words taken from religious texts. Neshat further explored cultural taboos through video and video installations.
In 1999, she won the 48th Venice Biennial prize for her film Turbulent, which contrasts a man singing in front of an all-male audience, with a woman singing to an empty concert hall. Her work has been shown throughout Europe and the United States. She currently lives in New York and the majority of her work is filmed in Morocco, Turkey, and the United States.
2021–2022
Mindy Seu is a designer and researcher. She holds an M.Des from Harvard's Graduate School of Design and a B.A. in Design Media Arts from University of California, Los Angeles. As a fellow at the Harvard Law School's Berkman Klein Center for the Internet & Society, she began an archive of global cyberfeminism spanning three decades. She has also been a fellow at the Internet Archive, co-organizing the Arts Track of the inaugural Decentralized Web Summit. Formerly she was a designer on 2×4's Interactive Media team and the Museum of Modern Art’s in-house design studio. She has given lectures and workshops at Barbican Center, CalArts, Parsons, Pratt, RISD, Berkeley Art Museum, and A-B-Z-TXT, among others. Seu joined the faculty of California College of the Arts in 2016, and Rutger’s Mason Gross School of the Arts and Yale’s School of Art in 2019.
Jessi Reaves is an American artist based in New York City who uses the relationship between art and design as a material in her practice, often making work that operates as both furniture and sculpture.
They have been included in group exhibitions such as Natural Flavor at Ludlow 38, New York; Pavillon de L'Esprit Nouveau: A 21st Century Show Home at Swiss Institute, New York; and American Basketry at Bed Stuy Love Affair, New York. She presented her first solo exhibition at Bridget Donahue, New York in April 2016. In 2017, she participated in the Whitney Biennial, creating inviting upholstered pieces meant to be utilized in the gallery. “Rejecting the sleek craftsmanship of iconic midcentury design, Reaves exaggerates markers of construction to an almost aggressive abundance,”.
In 2018, Reaves contributed a sculpture to the Eckhaus Latta show, Possessed, at the Whitney Museum. The first fashion-related exhibition at the Whitney in 21 years, the label curated their friends' art amongst the sculptural retail environment they created for the show.
Additionally in 2018, John Galliano invited Reaves to create raw, deconstructed sculptures for Maison Margiela's SS18.
Reaves was appointed Fall 2020 Teiger Mentor in the Arts at Cornell University AAP program.
Antonia Kuo lives and works in New York. She received an MFA from Yale University in 2018, her BFA from School of Fine Arts Boston and Tufts University in 2009, and a one-year certificate from the School of the International Center of Photography in 2013. Her work has been exhibited at Metropolitan Museum of Manila, PH; Project Native Informant, London; Mountains, Berlin; Chapter NY, New York; Moskowitz Bayse, Los Angeles; Harper’s Gallery, New York; Jack Barrett Gallery, New York; F, Houston; Chart, New York; Each Modern, Taipei; MAMOTH, London; Make Room, Los Angeles; Centre Pompidou, Paris; Rubber Factory, New York; and the Whitney Museum of American Art, New York; among others. Kuo has performed and screened her work at Pioneer Works, Brooklyn, NY; Knockdown Center, Queens, NY; MoMA PS1, Queens, NY; and the Musee d’art contemporain de Montreal, among others. She has been an artist-in-residence at Mass MoCA, Vermont Studio Center, The Banff Centre, and was a MacDowell Colony Fellow. Kuo’s work is included in the collections of the Whitney Museum of American Art, New York and Centre Pompidou, Paris. In Summer 2024 Kuo will have a two-person exhibition with Martin Wong at the Frye Art Museum, Seattle.
Ellen Harvey is a British-born conceptual artist whose work ranges from guerrilla street interventions like her iconic New York Beautification Project for which she painted miniature landscapes over New York’s graffiti sites to immersive institutional installations and large-scale public artworks. Her work is painting-based but utilizes a wide variety of media and participatory strategies to explore several reoccurring themes such as the social and ecological implications of the picturesque, the revolutionary potential of ornament, the potential detoxification of nostalgia and the role of art and the artist in our society.
Gordon Hall is a sculptor, performance-maker, and writer based in New York.
Hall has presented solo exhibitions at EMPAC, Temple Contemporary, The Renaissance Society, MIT List Visual Arts Center, and Portland Institute for Contemporary Art. Hall's sculptures and performances have been exhibited in a variety of group settings including Museum of Contemporary Art Chicago, SculptureCenter, Movement Research, Brooklyn Museum, White Columns, Whitney Museum of American Art, Hessel Museum, Art in General, Wysing Arts Centre, Abrons Arts Center, Socrates Sculpture Park, The Drawing Center, Verge Center for the Arts, Center for Maine Contemporary Art, AIR Gallery, Museo MARCO, Artspace New Haven, and Dia Art Foundation.
Dominique Fung lives and works in Brooklyn, New York. She received a BAA from Sheridan College Institute of Technology in Toronto, Canada. Recent exhibitions include (Up)Rooted, Massimo de Carlo, London (2023, solo); A Tale of Ancestral Memories, Rockefeller Center, New York (2023, solo); Orrizonti, Casa Masaccio - Centro per l’Arte Contemporanea, San Giovanni Valdarno (2023); MATERNITY LEAVE: NONE OF WOMEN BORN, Nicodim in collaboration with the Green Family Art Foundation, Dallas (2023); Objects for Comfort in the Afterlife, Pond Society, Shanghai (2022, solo); Crossing, Kotaro Nukaga, Roppongi (2022); In Bloom, Massimo De Carlo Pièce Unique, Paris (2022); Wonder Women, curated by Kathy Huang, Jeffrey Deitch, New York and Los Angeles (2022); Luncheon on the Grass, Jeffrey Deitch, Los Angeles (2022); Coastal Navigation, Nicodim, Los Angeles (2022, solo); Women of Now: Dialogues of Identity, Memory and Place, Green Family Art Foundation, Dallas, Texas (2022); Dominique Fung and Katherina Olschbaur: My Kingdom and a Horse, Galeria Nicodim, Bucharest (2021, two-artist); It’s Not Polite to Stare, Jeffrey Deitch, New York (2021; solo); PAPA RAGAZZE!, Nicodim, Los Angeles (2020); Relics and Remains, Nicodim, Los Angeles (2020, solo); Friends and Friends of Friends: Artistic Communities in the Age of Social Media, Schlossmuseum, Linz (2020); TRANS WORLD, curated by Ben Lee Ritchie Handler, Nicodim Los Angeles and Galeria Nicodim, Bucharest (2019); Wash Your Corners, Ross + Kramer, New York (2019, solo); and Looking Backward, Moving Forward, Taymour Grahne, London (2019, solo).
Walter Price lives and works in Brooklyn, New York. A solo exhibition of his work will open at the Walker Art Center, Minneapolis, in August 2024. Recent solo exhibitions include Greene Naftali, New York (2022; 2020); Camden Art Centre, London (2021); Aspen Art Museum (2019); MoMA PS1, New York (2018); and Kölnischer Kunstverein, Cologne (2018). His work was included in the 2019 Whitney Biennial, and is in the permanent collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Tate, London; Centre Georges Pompidou, Paris; the Studio Museum in Harlem, New York; Museum of Contemporary Art, Los Angeles; Hammer Museum, Los Angeles; Walker Art Center, Minneapolis; High Museum of Art, Atlanta; Astrup Fearnley Museet, Oslo; Fondation Louis Vuitton, Paris; Fondazione Sandretto Re Rebaudengo, Turin; Hessel Museum of Art, Annandale-on-Hudson, New York; Aïshti Foundation, Lebanon; and Rollins Museum of Art, Orlando, among others.
Cindy Ji Hye Kim is a Korean-Canadian artist.[1] She is known for her figurative paintings rendered in a grisaille palette. Much of her work is executed on translucent silk and is hung from the ceiling to reveal intricately shaped stretcher bars'
Kim's work often depicts archetypal figures in charged domestic settings. "Watercolor and pastel figures play across delicate stretched silk, and with the heavy use of graphite and charcoal, essential dualities are conjured: light and dark, spiritual and material, unconscious and conscious." In Art In America, Julia Wolkoff notes that "Kim uses multiple mediums (acrylic, ink, pastel, and oil paint) to inject her works with darkly poetic painterly gestures."
In Artforum, Barry Schwabsky describes Kim as "a draftsperson of implicit elegance and concision, with a style that falls somewhere between Max Fleischer and Christina Ramberg." Of Kim's artistic approach, Casey Carsel writes: "In both medium and content [...] Kim has become expert at laying bare the tensions between the visible and the hidden, with artworks that often push the sculptural and performative limits of the traditional two-dimensional painting surface." Her exhibitions have been reviewed in the New York Times, the New Yorker, the Brooklyn Rail, and Hyperallergic, among other publications.
Her work has been the subject of solo exhibitions at MIT List Visual Art Center in 2020, Kunsthall Stavanger in 2022, and SCAD Museum of Art in 2024.
VALS Archive
- Michael Armitage
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- A.K. Burns
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