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VISITING CRITICS - FALL 2015

Hilton Als Gina Beavers Carol Becker Sonya Clark Liz Deschenes Corrine Fitzpatrick Josephine Halvorson Marc Handelman Kira Lynn Harris Tom Kalin Ruba Katrib Leigh Ledare Emily Liebert Sarah Oppenheimer Clifford Owens John Pilson Lucy Raven Aki Sasamoto Lynne Tillman Nat Trotman Andrea Zittel

Hilton Als

Hilton Als became a staff writer at The New Yorker in October, 1994, and a theatre critic in 2002. He began contributing to the magazine in 1989, writing pieces for The Talk of the Town. Before coming to The New Yorker, Als was a staff writer for the Village Voice and an editor-at- large at Vibe. He has also written articles for The Nation and collaborated on film scripts for “Swoon” and “Looking for Langston.” Als edited the catalogue for the Whitney Museum of American Art exhibition entitled “Black Male: Representations of Masculinity in Contemporary American Art,” which ran from November, 1994, to March, 1995. His first book, “The Women,” a meditation on gender, race, and personal identity, was published in 1996. His most recent book, “White Girls,” discusses various narratives around race and gender. In 1997, the New York Association of Black Journalists awarded Als first prize in both Magazine Critique/Review and Magazine Arts and Entertainment. He was awarded a Guggenheim for Creative Writing in 2000 and the George Jean Nathan Award for Dramatic Criticism for 2002-03. In 2009, Als worked with the performer Justin Bond on “Cold Water,” an exhibition of paintings, drawings, and videos by performers, at La MaMa Gallery. In

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2010, he co-curated “Self-Consciousness” at the Veneklasen Werner Gallery in Berlin, and published “Justin Bond/Jackie Curtis,” his second book. Als has taught at Yale University, Wesleyan, and Smith College. He lives in New York City.

http://www.hiltonals.com/ http://bombmagazine.org/article/2028/hilton-als http://www.nytimes.com/2013/11/10/books/review/white-girls-by-hilton- als.html

Gina Beavers

Gina Beavers is an artist based in New York known for her sculptural paintings that respond to images from social media. She currently has a solo exhibition, The Re-Animator, on view at Clifton Benevento in New York. Beavers has had recent solo exhibitions at Retrospective in Hudson, NY, James Fuentes in New York City, and Nudashank in Baltimore, Maryland. Beavers received her MFA from the School of the Art Institute of Chicago (2000) and her BA from the University of Virginia (1996). From Artforum.com: "Gina Beavers’s latest paintings (all works 2014) preserve Oldenburg’s morbid obscenity, taking up the genre of the still life in its French inflection as nature morte. Derived from images posted on social media platforms, their subjects a “smokey eye” tutorial, junky nail art, a smile girded by braces conflate the animate and the inanimate, figuring flesh as something lifeless and flaccid"

http://cliftonbenevento.com/artists/artists-gina-beavers-images/#1 http://momaps1.org/studio-visit/artist/gina-beavers http://www.blouinartinfo.com/news/story/1042891/gina-beavers-hits- pause-on-the-everyday-world-of-oversharing

Carol Becker

From the Columbia University website: Carol Becker is Dean of Faculty and Professor of the Arts at Columbia University School of the Arts. She earned her B.A. in English literature from State University of New York at Buffalo and her PhD in English and American literature from the University of California, San Diego. With research interests that range from feminist theory, American cultural history, the education of artists, art and social responsibility, to South African art and politics, she has published numerous articles and books on cultural criticism including: The Invisible Drama: Women and the Anxiety of Change (translated into seven languages); The Subversive Imagination: Artists, Society and Social Responsibility; Zones of Contention: Essays on Art, Institutions, Gender, and Anxiety; Surpassing the Spectacle: Global Transformations and the Changing Politics of Art and Thinking in Place: Art, Action, and Cultural Production. She lectures extensively in the U.S. and abroad and is the recipient of numerous awards. She also is a member of the Global Agenda Council on the Role of Art in Society for the World Economic Forum. Her book The Invisible Drama, was reissued in paperback in 2014.

http://www.artinamericamagazine.com/news-features/magazine/here-comes- the-sun/

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https://agenda.weforum.org/2013/08/follow-the-artists-to-the-future-of- our-cities/

Sonya Clark

The comb is an ancient object loaded with meaning and intimately connected to human history. Striking a careful balance between exploiting its formal attributes and recognizing its significance to culture and identity, Sonya Clark’s work helps us to see the comb in a new way, plumbing her interest in hairstyling and its accoutrements as expressions of cultural heritage, racial identity, gender politics and multiple definitions of beauty. Clark’s personal connection to the comb began like that of nearly every young girl, squirming on a chair while an adult armed with a comb and good intentions attempted to bring order to the disorder on her head. In the pieces chosen for Manuf®actured – Stacked, 7-Layer Tangle, and her Untitled wall piece – she has confronted the fine toothed combs of her childhood and made them her raw material, embracing what had once been an adversarial relationship. Employing hundreds of mass-produced black fine toothed combs, Clark explored the myriad ways in which combs could fit together to create a wide variety of sculptural forms. Linking this unconventional raw material to her past artistic production and self-definition as a textile artist led Clark to develop a series of wall installations, further pushing the two-dimensional properties of the comb. The result is a series of pieces that function aesthetically and psychologically as textiles. Here, each comb's set of teeth performs the conceptual role of the warp and weft of the woven textile. By consciously choosing a manufactured plastic comb as her “fiber,” she shakes the very notions of what a textile can be.

http://www.huffingtonpost.com/2015/06/02/sonya-clark-confederate- flag_n_7488316.html http://sonyaclark.com/

Liz Deschenes

Liz Deschenes’s photographic oeuvre deals with the conditions of photography and its components, with perception and the correlation to other artistic media, and with the architecture within which her works are shown. Her works allow a self-referential look at the medium, liberated of its functions, taking its own conditions as its theme. For some years now, Deschenes has been working almost exclusively with photograms – pictures created without a camera, using a technique as old as photography itself. Traditionally, it has served to capture silhouettes: objects are placed on photosensitive paper and the paper is then exposed. Deschenes does without these external references: her works are made by exposing photographic paper for several hours, out of doors, mostly at night, before fixing it and treating it with toners. Depending on the choice of photographic chemicals and how they are used, this creates surfaces that are black, white, silver or golden, glossy or matte. The results are also influenced by external factors including temperature and humidity. The chemicals leave streaks and spots, and there are hand- and fingerprints from the artist’s handling of the material.

http://whitney.org/Exhibitions/2012Biennial/LizDeschenes

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http://miguelabreugallery.com/LizDeschenes.html

Corrine Fitzpatrick

From the Arts Writers Grants Program: "Corrine Fitzpatrick’s forthcoming writing includes an essay on contemporary art’s flirtation with contemporary poetry, an interview with choreographer Beth Gill on the distinct yet overlapping forms of labor that working-class artists perform, an article about the interdisciplinary MFA program at Bard college for artforum.com, an essay to accompany Marley Freeman’s abstract paintings for a new publication, and an interview with Brazilian artist Luísa Nóbrega on her long-duration performance work. Corrine Fitzpatrick is an arts writer and poet. She writes about under- recognized New York-based artists whose practices range from the plastic arts and photography to less categorizable performances and installations. She gravitates toward feminists, queers, and politically-informed artists connected by work that subverts and creates alternatives to the power structures of the art world."

http://www.bookforum.com/review/12295 http://www.brooklynrail.org/2006/11/poetry/poetry-by-corrine- fitzpatrick

Josephine Halvorson

Josephine Halvorson's practice engages objects that are often overlooked and reveal traces of human activity, such as tools, writing, and fragments. Working directly from life and often in a single session, Halvorson's practice allows for a prolonged closeness and shared experience with an object. The patience of perception in her work reflects this collaboration between her, her materials and an object, in which a painting becomes a record of the artist's conversation with the world, and a material testament to the object in time. Halvorson lives and works out of Brooklyn, New York. She teaches painting at Yale University, Princeton University, and The Cooper Union.

http://www.josephinehalvorson.com/ http://www.sikkemajenkinsco.com/index.php?v=artist&artist=4ec3e18461b50

Marc Handelman

Marc Handelman is an artist who works in painting, as well as across media including film/video, installation and book arts. He received his BFA from the Rhode Island School of Design with a concentration in Art History, and was a recipient of the Ellen Battell Stoeckel Fellowship at Yale Norfolk. He received his MFA from Columbia University. He was a recent recipient of the Steeprock Arts Residency and the Awards for Artists from Printed Matter in 2011. Marc Handelman has exhibited extensively throughout the United States as well as internationally. Marc Handelman was appointed Assistant Professor of Visual Arts at Mason Gross School of Art in the Fall of 2012. He is represented by Sikkema Jenkins & Co., New York, NY; Marc Selwyn Fine Art, Los Angeles, CA; and RECEPTION, Berlin, Germany.

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http://www.masongross.rutgers.edu/visual-arts/faculty/marc-handelman http://marchandelman.com/

Kira Lynn Harris

Kira Lynn Harris is a native of Los Angeles, CA. Currently a member of the artist group Nomads and Residents, she was a 2001–2002 Artist in Residence at the Studio Museum in Harlem. An artist whose minimalist work often posits an intersection of the formal concerns of space, light and the phenomenological with issues of culture, race and gender, Ms. Harris has won several awards including a 2003 Artist in Residence (video production grant) from Harvestworks in New York, California Arts Council Artist in Residence grants and the 1998 Lorser Feitelson Emerging Artist award. Her work has been seen in galleries and museums in California, New York, Washington DC and in Italy, including the California African American Museum, Studio Museum in Harlem, Santa Monica Art Museum, Oakland Museum, Exit Art and Folin Riva gallery both in New York, Rosamund Felsen gallery in Los Angeles and Open Space in Milan, Italy. Her work has been favorably reviewed in New York Times, Flash Art, Time Out New York, zingmagazine, the Los Angeles Times, Artweek and LA Weekly among other publications. She organized the exhibits Black is a Verb! for WORKS / San Jose in Fall of 1997 and Aesthetic Interventions for California State University at Dominguez Hills in 1995.

http://contemporarywing.com/artists/kira-lynn-harris http://www.studiomuseum.org/exhibition/kira-lynn-harris-the-block- bellona

Tom Kalin

From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. His first feature, Swoon, was named one of the top 100 American Independent films by the British Film Institute. His film Savage Grace premiered in Cannes, was opening night film in Zurich and screened at festivals including Sundance, Stockholm, London and Tribeca. It was nominated for an Independent Spirit Award and named one of the top ten films of 2008 by Artforum and Paper. His short videos and installations include They are lost to vision altogether, Third Known Nest, Every Wandering Cloud, Tigers and From Silence. He is a 2011 Guggenheim Fellow and received awards and fellowships from the Rockefeller Foundation, the Jerome Foundation and NYSCA among others. He has twice been included in the Whitney Biennial and has screened in museums and galleries including ICA, London; Reina Sofia, Madrid; The Cartier Foundation, Paris and The Getty Museum, Los Angeles among many others. He was a founding member of the AIDS activist collective Gran Fury which was included in the Venice Biennale.

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http://arts.columbia.edu/film/tom-kalin http://bombsite.com/issues/0/articles/3164

Ruba Katrib

Ruba Katrib is SculptureCenter's Curator and is responsible for organizing exhibitions, educational and public programs, publications and for coordinating all aspects of program presentation. Prior to SculptureCenter Katrib held positions at the Museum of Contemporary Art (MOCA), North Miami since 2007, first as Assistant Curator and then as Associate Curator. There she organized the first comprehensive solo museum exhibitions of Cory Arcangel (2010) and Claire Fontaine (2010), and several acclaimed group exhibitions including The Possibility of an Island (2008), Convention (2009), The Reach of Realism (2009), Modify, as needed (2011). She initiated performance and workshop programs at MOCA and organized the three-day New Methods symposium, which focused on independent artist initiatives throughout Latin America. A follow-up book project is forthcoming. Katrib has contributed texts to a number of publications and written for periodicals such at Artforum, ArtPapers, and Mousse Magazine. Katrib received her BA in Visual and Critical Studies from The School of The Art Institute of Chicago, and holds an MA from the Center for Curatorial Studies, Bard College.

http://www.theaesthete.com/art/sculpting-a-new-identity http://www.huffingtonpost.com/jacqueline-bishop/for-ruba-katrib- curator-a_b_6600462.html

Leigh Ledare

Leigh Ledare (born 1976, Seattle, Washington) uses photography, archival material, text and film to explore human agency, social relationships, taboos and the photographic in equal turns. Through a wide span of artistic practices, Ledare examines issues related to desire, identity, and morality. Ledare first gained recognition through his exhibition and artist book titled “Pretend You’re Actually Alive” (2000-2008), which examines the complex relations between the artist and his mother – namely, how she used intimacy, eroticism, and vulnerability to negotiate the balance of power within the family. "The resulting images are often sumptuous, saturated with color, and surprisingly beautiful. But they also, and importantly, disconcert the viewer, making us uncomfortable, and, in the process, raising questions about the functioning of the image and the construction of subjectivity in contemporary culture." Ledare has continued this examination into personal relationships with works that's feature images of his collectors, patrons, and ex-wife, often in sexual situations. In 2009, Ledare was included in an exhibition "Ça Me Touche" curated by Nan Goldin in Arles France as part of the annual Rencontres d'Arles photography festival. Writing in the New York Times, Roberta Smith said that Ledare is "taking us deep into the darkness and torment that drive many artists." In the series "Personal Commissions" Ledare "answered personal ads from women whose desires echoed those of his mother’s, and paid them to photograph him in their apartments, in a scenario of their choosing.” He has taught at California Institute of the Arts; Columbia University, New York; New York University; and the Fondazione Spinola Banna per l’Arte, Italy.

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http://www.officebaroque.com/artists/11/leigh-ledare http://www.interviewmagazine.com/art/leigh-ledare-in-public-and- private#_

Emily Liebert

Emily received her PhD in art history at Columbia where she studied American art of the 60s and 70s as well as contemporary African art. Her dissertation, "Roles Recast: Eleanor Antin and the 1970s" led to her curation of the exhibition “Multiple Occupancy: Eleanor Antin’s ‘Selves’,” at Columbia's Miriam and Ira D. Wallach Art Gallery in 2013. Currently, Emily was a Luce/ACLS Dissertation Fellow in American Art. Previously she was a Smithsonian Predoctoral Fellow at the Archives of American Art and a Joan Tisch Teaching Fellow at the Whitney Museum, where she also participated in the Whitney Independent Study Program. Emily has taught in Columbia's Department of Art History and its School of Visual Arts. She holds a B.A. in art history from Yale. She has worked at the Chinati Foundation in Marfa, TX, Creative Time, The Andy Warhol Foundation and MoMA. Recently she has given lectures on the Center for Land Use Interpretation at MoMA’s graduate symposium and on contemporary uses of photography in Ghanaian funerals at the Triennial of African Art.

Conversation with preeminent female artist, Eleanor Antin: https://vimeo.com/83613207

Sarah Oppenheimer

Oppenheimer’s work spans the disciplinary boundaries between sculpture and architecture. Her calculated manipulation of standardized spaces disrupts the embodied experience of spatial continuity. Oppenheimer’s work both disorients and clarifies the physical and perceptual experience of the built environment. Describing Oppenheimer’s work in Art Forum, senior editor Julian Rose writes, “Oppenheimer, literally working inside architecture, has found a new place for a new kind of subject. She offers a welcome reminder that architecture—and by extension the space of today—need not be experienced in a state of distraction, or worse, an induced fog of affect, but can instead be explored in a condition of uncertainty and attention.” In Automatic Cities: The Architectural Imaginary in Contemporary Art, Giuliana Bruno writes, “Oppenheimer subjects the practice of architecture to inventive, analytic operations that question the inner structure of our forms of dwelling.” Oppenheimer received a BA from Brown University in 1995 and an MFA from Yale University in 1999. Oppenheimer has been the recipient of many prestigious awards including the Guggenheim Fellowship (2007); the Louis Comfort Tiffany Foundation (2010-11); the Rome Prize (2010–11) and the Joan Mitchell Foundation fellowship (2011).

http://www.sarahoppenheimer.com/ http://www.artinamericamagazine.com/reviews/sarah-oppenheimer/ https://www.youtube.com/watch?v=45IhJ0Wfmk8

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Clifford Owens

Clifford Owens is a photographer and performance artist who has worked in performance for over two decades. Also a writer and scholar, Owens has frequently advocated for the visibility and recognition of black performance artists. In his own work, which is influenced by the body- centered practices of performance artists in the 1960s, he often requires audiences to manipulate, move, dress, touch or otherwise engage directly with his body, resulting in actions that are defined by chance and spontaneity. In his solo exhibition Anthology, on view at MoMA PS1 in 2011, Owens presented his investigations into the history of black performance art. He invited black artists of multiple generations to submit instructional scores that he performed and documented for the exhibition. Owens received his BFA from the School of the Art Institute of Chicago in 1998 and his MFA from Mason Gross School of Visual Arts, Rutgers, the State University of New Jersey, in 2000. He also participated in the Whitney Independent Study Program in 2001 and the Skowhegan School of Painting and Sculpture in 2004. His solo exhibitions include Clifford Owens: Anthology, MoMA PS1, Long Island City, NY (2011); Perspectives 173: Clifford Owens, Contemporary Arts Museum Houston (2011); Clifford Owens, Hanes Art Center, University of North Carolina, Chapel Hill (2009); Clifford Owens, On Stellar Rays, New York (2008). His performances include Photographs with an Audience, University of North Carolina, Chapel Hill (2009), and On Stellar Rays, New York (2008); Four Scores by Benjamin Patterson, The Studio Museum in Harlem (2006); The Strangest of Theaters: Politics and Emotions, Roebling Hall, Brooklyn (2006); Studio Visits, Performa 05, The Studio Museum in Harlem (2005); Tell Me What to Do with Myself, P.S.1 Contemporary Art Center, Long Island City, NY (2005).

http://bombmagazine.org/article/5990/clifford-owens http://momaps1.org/exhibitions/view/340 http://www.milkmade.com/articles/4272-Exclusive-Clifford-Owens-Is- Tired-of-Shitty-Performance-Art#.Vd3i9bxVhHw

John Pilson

Born in New York in 1968, John Pilson received a BFA from Sarah Lawrence College in 1991 and an MFA from Yale University in 1993. He began his career as a photographer of portraits set against bland corporate backgrounds. His work was first exhibited in the 1994 group show Building, Dwelling, Thinking at the Lowinsky Gallery in New York. Pilson’s photographs taken from 1994 to 2000 while working night shifts for a Manhattan investment bank were recently published in the book Integra in 2006. Pilson’s transition to multichannel video installations in 2000 resulted in short films that use these corporate environments as backdrops for men in suits to behave absurdly or humorously, to misuse the space and thereby to introduce into it creativity and individuality. That year, he participated in the Lower Manhattan Cultural Council’s artist-in-residence program and produced the video Above the Grid. A meditation on the hidden unconscious of the office environment, set in the World Trade Center, Above the Grid was included in the exhibition Greater New York at P.S. 1 in New York that same year. His film St. Denis (2003) explores human behavior within the corporate environment of a New York building with many historical stratum: luxury hotel, design shop, Marcel Duchamp’s studio, and now

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office building. Several of his more recent works reveal lively activities unfolding within architectural spaces that instinctually call for more sober, routine decorum. For example, in London Cast (2005), a bombastic dramatic monologue unfolds within a mundane domestic interior and, in Wisdom and Charisma (2006), men in corporate suits congregate around a boardroom table to immerse themselves in a suspenseful game of Dungeons and Dragons.

http://clocktower.org/show/wps1-venice-interviews-john-pilson-0 Lucy Raven

Lucy Raven is an artist, writer, and editor based in New York. She primarily works with animation and the moving image. Her recent photographic animation, China Town, has been screening at art, film, and industrial sites internationally, most recently at the Museum of Modern Art, New York; the Bradford International Film Festival, UK; the Nevada Museum of Art, Nevada, Overgaarden, Copenhagen and the Center for Land Use Interpretation in Wendover, Utah. Raven worked as an editor at BOMB magazine for six years, where she remains an editor-at- large. She was co-founder and co-editor of an audio magazine called The Relay Project, and is currently managing editor of Bidoun, an art and culture quarterly with a focus on the Middle East. Her recent film project deals with motion capture and animation being produced between Los Angeles and India.

http://www.lucyraven.com/ http://hammer.ucla.edu/exhibitions/detail/exhibition_id/219

Aki Sasamoto

Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever other mediums it takes to get her ideas across. Her works have been shown both in performing art and visual art venues in New York and abroad. Besides her own works, she has collaborated with artists in visual arts, music, and dance, and she plays multiple roles of dancer, sculptor, or director. Sasamoto co-founded Culture Push, a non-profit arts organization, in which diverse professionals meet through artist-led projects and cross- disciplinary symposia.

Sasamoto's performance/installation works revolve around gestures on nothing and everything. Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies. The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection.

http://www.nytimes.com/2014/03/08/arts/dance/aki-sasamotos-sunny-in- the-furnace-at-the-kitchen.html http://www.phaidon.com/agenda/art/articles/2015/april/09/phaidon-s- frieze-ny-interviews-aki-sasamoto/

Lynne Tillman

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Lynne Tillman is the author of five novels, four collections of short stories, one collection of essays and two other nonfiction books. She has collaborated often with artists and writes regularly on culture. Her novels include American Genius, A Comedy (2006), No Lease on Life (1997), a New York Times Notable Book of 1998 and a finalist for the National Book Critics Circle Award; Cast in Doubt (1992); Motion Sickness (1991); and Haunted Houses (1987). Someday This Will Be Funny (2012) is her most recent short story collection. Her nonfiction books include The Velvet Years: Warhol’s Factory 1965-1967, with photographs by Stephen Shore (1995); Bookstore: The Life and Times of Jeannette Watson and Books & Co. (1999), a cultural history of a literary landmark, and The Broad Picture, an essay collection. In 2013, her second essay collection, What Would Lynne Tillman Do? will be published by Red Lemonade. From Lynne Tillman's Amazon.com bio : "[...] As time goes by, my thoughts about writing change, how to write THIS, or why I do. There are no stable answers to a process that changes, and a life that does too. Writing, when I'm inhabiting its world, makes me happy, or less unhappy. I also feel engaged in and caught up in politics here, and in worlds farther away. When I work inside the world in which I do make choices, I'm completely absorbed in what happens, in what can emerge. Writing is a beautiful, difficult relationship with what you know and don't know, have or haven't experienced, with grammar and syntax, with words, primarily, with ideas, and with everything else that's been written. "

http://www.newyorker.com/books/page-turner/on-lynne-tillman http://flavorwire.com/447649/2014-will-be-the-year-of-lynne-tillman http://www.theparisreview.org/blog/2014/09/11/finding-the-question- that-hasnt-been-asked-an-interview-with-lynne-tillman/

Nat Trotman

Nat Trotman first joined the Solomon R. Guggenheim Museum in 2001 as curatorial assistant for the exhibition Matthew Barney: The Cremaster Cycle. In the years since he has curated numerous exhibitions for the museum, including James Turrell (cocurated with Carmen Giménez; New York, 2013), Pawel Althamer: Almech (Berlin, 2012), Found in Translation (New York, 2011 and Berlin, 2012), Haunted: Contemporary Photography/Video/Performance (cocurated with Jennifer Blessing; New York and Bilbao, 2010), Installations II: Video from the Guggenheim Collection (Bilbao, 2009), Installations: Selections from the Guggenheim Collection (Bilbao, 2008), and The Shapes of Space (cocurated with Ted Mann and Kevin Lotery; New York, 2007). He has also worked closely with artists such as Sharon Hayes, Meredith Monk, Susan Philipsz, Tino Sehgal, James Turrell, and Francesco Vezzoli in developing performative and site-specific projects for the Guggenheim rotunda. Besides catalogue essays for several of the above exhibitions, Trotman has published on Matthew Barney and Joseph Beuys, Jane and Louise Wilson, and others. He holds an M.Phil. from the Graduate Center of the City University of New York, where he focused on performance, photography, and time-based art, and is a graduate of the Whitney Museum's Independent Study Program. His background is in photography and he is interested in meeting with Photography students.

http://www.guggenheim.org/new-york/about/staff-profiles/curators/nat- trotman

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http://www.juxtapoz.com/current/james-turrell-aten-reign-guggenheim-nyc

Andrea Zittel

Andrea Zittel was born in Escondido, California, in 1965. She received a BFA in painting and sculpture in 1988 from San Diego State University, and an MFA in sculpture in 1990 from the Rhode Island School of Design. Zittel’s sculptures and installations transform everything necessary for life — such as eating, sleeping, bathing, and socializing — into artful experiments in living. Blurring the lines between life and art, Zittel’s projects extend to her own home and wardrobe. Influenced by modernist design and architecture from the early part of the twentieth century, the artist’s one-woman mock organization, “A–Z Administrative Services,” develops furniture, homes, and vehicles for contemporary consumers with a similar simplicity and attention to order. Seeking to attain a sense of freedom through structure, Zittel is more interested in revealing the human need for order than in prescribing a single unifying design principle or style. Zittel’s hand-crafted solutions respond to the day-to-day rhythms of the body and the creative need of people to match their surroundings to the changing appearance of life.

http://www.pbs.org/art21/artists/zittel/ http://www.zittel.org/