Hank Willis Thomas
Gallery News for Hank Willis Thomas
Hank Willis Thomas at Brooklyn Museum
Question Bridge: Black Males is an innovative video installation created by artists Hank Willis Thomas and Chris Johnson in collaboration with Bayeté Ross Smith and Kamal Sinclair. The work is being shown at he Brooklyn Museum in New York. The four collaborators spent several years traveling throughout the United States, speaking with 150 Black men living in 12 American cities and towns, including New York, Chicago, Oakland, Birmingham, and New Orleans. From these interviews they created 1,500 video exchanges in which the subjects, representing a range of geographic, generational, economic, and educational strata, serve as both interviewers and interviewees. Their words were woven together to simulate a stream-of-consciousness dialogue, through which important themes and issues emerge, including family, love, interracial relationships, community, education, violence, and the past, present, and future of Black men in American society.
The exhibition runs from 13 January to 3 June 2012.
For more information click here
Hank Willis Thomas and Sue Williamson at the 12th Istanbul Biennial 2011
Sue Williamson and Hank Willis Thomas will participate in the 12th Istanbul Biennial, curated by Jens Hoffmann & Adriano Pedrosa.
The Biennial runs from 17 September – 13 November 2011
For more information click here
In Context at Iziko National Gallery
In Context was originally conceived by the Goodman Gallery as a series of site-specific exhibitions and interventions in and around Johannesburg over the period of the FIFA World Cup in June 2010. The exhibition travels to Cape Town and will be presented at Iziko South African National Gallery as a single and cohesive exhibition. Curated by Liza Essers, the exhibition will present work by a diverse group of international and South African artists who explore the dynamics and tensions of place, in reference to the African continent and its varied and complex iterations, and to South Africa in particular. The works – wide-ranging, frequently provocative – engage with a number of pressing questions about space, context, and geography.
This installment of In Context features work by Ghada Amer, El Anatsui, Joël Andrianomearisoa, Kader Attia, Candice Breitz, Loris Cecchini, Mounir Fatmi, Jenny Holzer, Robin Rhode, Yinka Shonibare, Mikhael Subotzky & Patrick Waterhouse, Hank Willis Thomas and Kara Walker.
The exhibition runs from 27 November 2010–13 March 2011. For more information visit www.iziko.org.za or call +27 (0)21 467 4673.
Press for Hank Willis Thomas
Hank Willis Thomas / Wanted Magazine / May 2010Flipping the Script by Nadine Rubin Nathan (5 MB)
In Context / Mail & Guardian / 28 May 2010Sprawling tales of home by Anthea Buys (2.5 MB)
In Context / The Star / May 2010A nose and a box to draw art lovers by Ufrieda Ho (3.3 MB)
Goodman Gallery Cape proudly presents All Things Being Equal…, the first solo exhibition in South Africa by African-American photo conceptual artist Hank Willis Thomas. Based in New York, Thomas works primarily with themes related to identity, history and popular culture.
Employing the visual language and terminology of mass media, and appropriating symbols and images from popular culture, Hank Willis Thomas’ work seeks to question and subvert established definitions and positions with regards to personal identity and the narrative of race. It is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race.
In Unbranded, a previous body of work, Thomas used images from advertisements targeting African Americans between 1968 and the present, digitally removing all products and logos from the images in order to unearth the ways in which black American identity is produced and marketed in popular culture, and to challenge viewers to ask what’s really being sold.
His B®anded series extends his interest in visual representations of race to the male African-American body, this time featuring works that deliberately use and manipulate corporate signs and logos to trace the connections between historical and contemporary commodifications of the black male body, and to examine the ways it has been employed in the service of creating wealth.
All Things Being Equal… brings together recent works by the artist that explore the legacy of slavery and colonialism, segregation and apartheid, employing subversive visual strategies to disrupt superficial notions of likeness and to find value in particularity rather than comparison.
Assuming the principle that race and blackness are radically contingent socio-cultural constructs, the exhibition addresses the idea of a particular local black experience and attempts to excavate meaning in the differences between South African and African-American blackness.
Hank Willis Thomas received his BFA from New York University’s Tisch School of the Arts and his MFA in photography, along with an MA in visual criticism, from California College of the Arts (CCA) in San Francisco. Thomas has acted as a visiting professor at CCA and in the MFA programs at Maryland Institute College of Art and ICP/Bard and has lectured at Yale University, Princeton University, the Birmingham Museum of Art and the Musée du Quai Branly in Paris. His work has been featured in many publications including Reflections in Black (Norton, 2000) 25 under 25: Up-and-Coming American Photographers (CDS, 2003), 30 Americans (RFC, 2008). Thomas’ monograph, Pitch Blackness, was published by Aperture in 2008. He received a new media fellowship through the Tribeca Film Institute and was an artist in residence at John Hopkins University. He has exhibited in galleries and museums throughout the U.S. and abroad including Galerie Anne De Villepoix in Paris, the Goodman Gallery in Johannesburg, the Studio Museum in Harlem, Yerba Buena Center for the Arts in San Francisco and the Wadsworth Atheneum in Hartford.
Thomas’ work is in numerous public collections including The Whitney Museum of American Art, the Brooklyn Museum, The High Museum of Art in Atlanta and the Museum of Fine Art in Houston. His collaborative projects have been featured at the Sundance Film Festival and installed publicly at the Oakland International Airport, The Oakland Museum of California and the University of California, San Francisco. Recent exhibitions include Dress Codes: The International Center for Photography’s Triennial of Photography and Video, Greater New York at P.S. 1/MoMa, Contact Toronto Photography Festival and Houston Fotofest.
Thomas is represented by Jack Shainman Gallery in New York City.
Goodman Gallery Johannesburg welcomes you to 2012 with Advance/… Notice, an exhibition of new works by a dynamic group of contemporary artists from around the world. As we advance into a new calendar year, this exhibition gives notice of innovations from some of our artists who are already familiar to you, and of our new ventures into an intellectual exchange with artists with whom we are excited to work for the first time. This show will also give audiences a preview of what is to come, as many of the featured artists have solo shows planned for 2012 at Goodman Gallery spaces and other prestigious South African institutions.
Advance/… Notice introduces newly perfected techniques or processes for some of our well-known artists, such as platinum photographic prints by David Goldblatt, and a completely new turn of direction and field of interest for African American artist Hank Willis Thomas, who first exhibited with us on In Context in 2010, as well as for Sigalit Landau, the acclaimed Israeli artist we co-hosted at last year’s Venice Biennale. These international savants are joined by South African artists such as Hasan and Husain Essop, Moshekwa Langa, Mikhael Subotzky, Sue Williamson, William Kentridge, Rosenclaire, and Frances Goodman revealing either brand new works, or works not yet seen in Johannesburg. Also featured are works by Kendell Geers, whose retrospective exhibition will open at IZIKO South African National Gallery in late March 2012.
Our first show of the year seems an apt time to introduce the novel and the unexpected in the work of a number of artists and to also welcome prominent figures including Liza Lou, a world-renowned American now living and working in KwaZulu Natal; South African Candice Breitz, now resident in Berlin; Chilean-born New Yorker Alfredo Jaar; London-based Iranian Reza Aramesh, as well as Carla Busuttil – a young South African artist based in Berlin who is well-established in the United Kingdom, but has never before exhibited in her home country.
Liza Lou presents a work titled Gather Forty, one of a series of forty individual sculptures made from gold-plated beads that have been expertly threaded onto four hundred individual pieces of stainless steel wire and bound in a sheaf – continuing the shift of the beadwork medium from craft to conceptual art. Alfredo Jaar, internationally recognised artist, filmmaker and architect, celebrated for the public interventions he has created all over the world, shows From Time to Time, a panel of nine Time magazine covers focusing on Africa that either feature animals or malnourished Africans – revealing how the rest of the world often encapsulates its second largest continent. Breitz, who opens a major survey of her work titled Extra! at the Standard Bank Gallery this February, presents The Character, a video installation filmed in Mumbai that seeks to understand the role and influence of child characters in mainstream Indian cinema through interviews with a group of young moviegoers. In Action 78, Aramesh uses familiar scenes from news footage of the first Gulf War to restage, re-present and destabilise any easy readings of the conflicts we think we understand. Oil paintings by Busuttil offer a sinisterly-executed perusal of the exploitation of power and cruelty.
We are also very pleased to present for the first time the work of Nelisiwe Xaba, who will be presenting an interactive dance and video collaboration with Mocke J van Veuren at Goodman Gallery Projects in February. The crossover into visual art is exciting new territory for this renowned performer/dancer.
Goodman Gallery hopes you will join us to be inspired, challenged and excited by this exhibition and its promise of advances in the visual arts of South Africa. We trust you will find the exhibition gives notice of an innovative and exciting programme for 2012 in Johannesburg and Cape Town.
“I am only interested in what’s not mine. The law of men. The law of the cannibal.” – Oswald de Andrade, from The Cannibal Manifesto, 1928
Eat Me has not much to do with food. Instead it explores relationships between works by artists that mine recent art history and popular culture, through cannibalistic processes of referentiality and consumption to uncover new directions and meanings, either critically or aesthetically. In theoretical explorations by art historian Paulo Herkenhoff and Augustus Klotz, cannibalism is seen as a philosophical process of renewal and regeneration, as well as a form of cultural emancipation.
The show brings together works by South African and international artists to discover the ways in which visual culture is harvested, consumed and given new form. Violence, suffering and eroticism are collapsed and digested to bring forth new visual discourses, and perhaps new ways of seeing.
Reza Aramesh uses familiar scenes from news footage to restage, reclaim and re-represent events and identities we think we understand. Adam Broomberg and Oliver Chanarin recycle archival photographs from the conflict in Northern Ireland to make way for new readings and new narratives. Frances Goodman, Ghada Amer, Mickalene Thomas and Joel Andrio use the language and imagery of romance and sex to push against the constraints of popular culture and undermine its hold on our imagination.
Eat Me also features new work by Hank Willis Thomas, video installations by Tracey Rose, Sigalit Landau and Kalup Linzy, and works by Gavin Turk and Kendell Geers. While the ingredients and methods differ, the resulting works all share a concern with the problems and processes of consumption, reclamation and renewal.
‘Language’ is the system of communication, in the form of speech and writing, employed by a specific group of people, usually originating from a specific geographical area or region. Human language is inseparable from human thought and distinguishes man from animals.
Different aspects of language had become the source for many conceptual artworks by the time the group Art & Language was founded by Michael Baldwin, David Bainbridge, Terry Atkinson, and Harold Hurrell in 1968. These artists considered language to be a crucial aspect of their practice, in which they critiqued the underlying assumptions of modern painting and sculpture, formalist processes, art practices, production, and criticism. Since the 1970s, language has been seen as a means of moving from form and image-based works to a more theoretical and conceptual artistic discourse. This shift, away from the image and towards text, has led to a new relationship between image and text, in which images are translated to symbols, and symbols to text. It has meant that text – rather than image – becomes a basis for art production, which in turn has meant the appearance of ‘art as idea’.
Questioning the process of art production, American artists like Jenny Holzer have built on the traditions of conceptual and installation art of the late 1960s. Holzer developed a mode of textual art during the 1970s, using electronic signs and various printed media to explore language and text as a form of art. Her ‘Inflammatory Essays’, conceived in the late 1970s, are indicative of the way in which she has created a division between text and image. Prior to this, Joseph Kosuth proposed the use of text in his work as means of replacing painting, exploring the production and role of language and meaning in art. Text in Kosuth’s work of the 1960s facilitates a conceptual mode of production and the dissolution of the art object.
Language continued to be fundamental in the work of many American artists during the 1980s. Lorna Simpson, for example, used language as a device to move away from purely image-based photography. Simpson’s combination of text and photography allowed her to construct readings of the black woman as an erotic curiosity and, at the same time, to change the simple reading of images, and to create layers of signification in her work.
In the contemporary South African context, artists such as Willem Boshoff make works which are informed by language. Boshoff’s sculptures and dictionaries suggest a relationship with language that extends beyond the simple use of text, to a specific interest in language itself and what constitutes language as a form.
Similarly, Frances Goodman has explored the desires, compulsions, insecurities, and obsessions hidden in our use of language, saying that ‘After working with a number of media I eventually found that words and language had the uncanny ability to unnerve and get under people’s skins, in a way that visual images and modes could not … sometimes [words] are simple and clear, and yet they are often full of innuendoes and subtexts’.
Language also defines power relations, and in the colonial context, the language of the coloniser reinforced power structures and symbolised authority. Artists have often made reference to this in their works, showing the role that language plays in our relation to society and to power. Brett Murray for example, plays with words in order to critique South African politics. Kudzanai Chiurai uses posters, such as the kind used in political campaigns, , to demonstrate state violence, political unrest, and corrupted power.
Kendell Geers uses language to interrogate the art establishment and society in general, questioning our existing moral codes and suggesting new approaches. He has argued that ‘Language is a self-replicating virus that can only be destroyed by a stronger, more resilient virus. Through the mirror of the colloquial, the tongue gets twisted and forgets its place in collecting our thoughts’, and that ‘language is oppressive for it only acknowledges that which can be named. It is not the result of any particular individual’s design as much as the external manifestation of culture’.
Works by these artists and the others on this show have been chosen for their engagement with language and discourse. Sometimes this engagement is enacted on the level of form – so that words and characters become images – and at other times the engagement is an interrogation, through text, of what constitutes the image.
This winter the Goodman Gallery will relaunch its Parkwood space, which has been extensively reconsidered, both physically and conceptually. This launch will be initiated with a group exhibition simply titled Winter Show, featuring a range of luminary-status local and international artists. The show will not only present recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, but will also reveal a shift in the Gallery’s approach, showcasing work from around the Continent and beyond that is both explicitly and implicitly concerned with synergies and tensions between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer and Hank Willis Thomas, are not only being showcased by the Goodman Gallery, but are now officially represented by us.
The Winter Show will act as a confluence of the Goodman Gallery’s top represented artists, as well as artists participating in In Context – a series of exhibitions and interventions currently taking place at Arts on Main and other venues in Johannesburg. Artists such as Jenny Holzer, Amer, Willis Thomas, Bili Bidjocka, Willem Boshoff and Kara Walker will participate in both shows, with the Winter Show presenting some of their more recent work. While In Context manifests an intimate and often candid exploration of the dynamics of the African continent, the Winter Show will offer a broader conceptual platform, covering many aspects of South African, African and global landscapes and conditions.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, intricately considering the question of ‘who has the right to represent whom?’ Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. In Context magnifies these issues, while the Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include two of Walker’s 2009 films – which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – presenting the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements. Jenny Holzer’s Purple Red Curve (2005) transmits a coalescence of master narratives through a curved electronic LED sign. Jeremy Wafer will create a site-specific wall drawing in the Goodman Gallery specifically for the show. Kentridge will present a series of new drawings produced this year as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx. A large scale, steel version of this work will be launched at the Apartheid Museum on 8 July 2010 as part of In Context. The Winter Show will also feature an ongoing screening of all of the Goodman Gallery’s top art films by leading artists such as Kentridge and Vári.
The Goodman Gallery in Parkwood has undergone numerous physical transformations and now boasts a new showroom and a space dedicated to photographic works. We are in the process of establishing an art library accessible to the visiting public and will offer a range of educational art talks and events during the Winter Show.
With Goodman Gallery firmly established as a prestigious, world-class contemporary art institution, the Winter Show will reveal how the Gallery – beyond representing artists of the highest caliber – is dedicated to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced locally and abroad.
In Context presents a diverse group of international and South African artists who share a rigorous commitment to the dynamics and tensions of place, in reference to the African continent and its varied and complex iterations, and to South Africa in particular. The works – wide-ranging, frequently provocative – engage with a number of pressing questions about space, context, and geography.
In this gathering of artists – envisioned as a series of conversation and engagements – the question of context is posed once again, but problematised in various ways. The terms ‘local’ and ‘international’ are given new emphasis (especially at this juncture and in the context of one of the largest sporting events on the planet) and the following questions are posed: What does it mean to be a local artist in this age of the global? Do African artists wish to continue speaking of context? How do artists of the African Diaspora reflect on their distance from and proximity to home? Where is home? How have some artists living in Europe and the Americas inherited and absorbed an African heritage or sensibility, even when they have not visited the Continent? Have we reached a point in the story of contemporary art in which the term ‘African artist’ can be dispensed with or do we still require it as a marker of distance from Europe and North America? To what extent does the global art market rely upon or exploit the term to sell art in Europe and North America? Is there thus a distinction to be made between the way in which African artists represent themselves and the ‘Western’ reception of contemporary art from Africa?
Rather than present only artists from the African continent in this project, In Context also considers the works of artists who, though they may have some interest in South Africa, have not visited the country or anywhere else in Africa. Their connection to the continent might be one they have inherited from the history of slavery, or from the displacements of Diaspora and exile. The aim is to generate conversations between works and even to assess the relevance of the questions we have raised in the face of the works themselves. We may find ourselves entirely surprised by the answers. We hope to be provoked, to open engagements that overturn the concerns and themes we have offered, that render them more rather than less problematic, or that dispense with them altogether. We may indeed find that individual practice casts an entirely different light on the question of context.
In Context will take place in a number of non-commercial venues and, through a series of talks, walkabouts, and panel discussions, will promote engagement both with artists and audiences. The partners in this project take seriously the need to begin a number of collaborations that can be sustained beyond the events of In Context. They also seek to reach a wider audience than the usual gallery visitors and to promote appreciation of art through unconventional interventions outside of the traditional gallery space.
Hank Willis Thomas was born in Plainfield, New Jersey, in 1976. Thomas’s mother is a photographer and an historian of African-American photography, and his father is, amongst other things, a jazz musician. In the acknowledgements to his book Pitch Blackness, published by Aperture, Thomas thanks his parents: ‘I would not be an artist if my mother Deborah Willis had not forced me to from the beginning, and if my father, Henry Thomas, was not the perennial big dreamer that he is.’ These acknowledgements are important because they come at the end of a book about family, about young black men in America, and about loss and violence. The book is both a tribute to his cousin Songha Willis, who was shot dead in Philadelphia, and an examination of the ways in which black men are represented in the USA. Through photography and through the re-appropriation of brand images, Thomas comments on the influences on young black men, and the commodifying of black identity. In Pitch Blackness, Robin Kelly writes that ‘Thomas probes how these [social] forces’ pervasive conditions have had a special impact on African-Americans, whose unique experience in America began with a lack of self-determination, and whose identities … have been stripped away and replaced by mythologies crafted to rationalize the interests of capital and power.’
Thomas won the Aperture West Book Prize for Pitch Blackness. He has exhibited in many museums and galleries in the USA, including the Studio Museum in Harlem, the Yuerba Buena Center for the Arts, the National Museum of American History, and the National Portrait Gallery in Washington, DC. He was included in the exhibition 25 Under 25: Up-and-Coming Photographers.
All Things Being Equal…, Goodman Gallery Cape Town, South Africa
Digging Deeper, in collaboration with Willie Cole, Wadsworth Atheneum Museum of Art, Hartford, Connecticut
Winter in America, De Saisset Museum, Santa Clara, California
Untitled, in collaboration with Willie Cole, The Wadsworth Atheneum Museum of Art, Hartford, Connecticut
Unbranded, Jack Shainman Gallery, New York
Signifying Blackness, Sesnon Art Gallery, University of California at Santa Cruz, California
B®ANDED, Jack Shainman Gallery, New York
Unbranded, Lisa Dent Gallery, San Francisco, California
Bearing Witness, African American Museum in Philadelphia, Pennsylvania
Family Matters, The Light Factory, Charlotte, North Carolina
Hank Willis Thomas, Lisa Dent Gallery, San Francisco, California
The Trade Dress: Value Judgements, Diaspora Vibe Gallery, Miami, Florida
Happily Ever After, Long & Pollack Gallery, San Francisco, California
Mother to Son, Texas Women’s University, Danville, Texas
Unchained Legacy, Williams College Museum of Art, Williamstown, MA
After 1968, High Museum of Art, Atlanta, Georgia
Global Africa, High Museum of Art, Atlanta, GA
From Taboo to Icon: Africanist Turnabout, Ice Box Projects Space, Philadelphia, PA
We’re All in this together, Swarm Gallery, Oakland, CA
Sweet Sweetback’s Baadasssss Song, Von Lintel Gallery, New York
Ad | Agency, Photographic Resource Center, Boston, MA
Branded and on Display, Krannert Art Museum, Champaign, IL
MASH, The Helena, New York, NY
For the Love of the Game, Wadsworth Atheneum, Hartford, CT
Keep the Change, Nathan Cummings Foundation, Brooklyn, NY
Visual Alchemy, Oakland Art Gallery, Oakland, CA
Negotiating Identities in Africa and the African Diaspora, Gettysburg College, PA
Reasons to Riot, Memphis College of Art, Memphis, TN
Crossing the Line, Cornell Fine Arts Museum, Winter Park, FL
Taking Possession, University of Arkansas, Little Rock, AR
Cross Sections, 18th Street Art Center, Los Angeles, CA
The California Biennial, The Orange County Museum of Art, Newport Beach, CA
Kapital, Kent Gallery, New York, NY
The Black Alphabet, Zacheta National Gallery, Warsaw, Poland
Luxury Goods, Kathleen Cullen Fine Arts, New York, NY
Metro Pictures, The Museum of Contemporary Art, Miami and The Moore Space, FL
Black Panther Rank and File, Yerba Buena Center for the Arts, San Francisco, CA
Emerging Artists Fellowship Exhibition, Socrates Sculpture Park, NY
The Whole World is Rotten, Contemporary Arts Center, Cincinnati, OH
Double Exposure, Wadsworth Atheneum, Hartford, CT
Under the Influenced = I, Bernice Steinbaum Gallery, Miami, FL
Frequency, The Studio Museum in Harlem, New York, NY
Day Labor, P.S.1, New York, NY
Bay Area Now 4, Yerba Buena Center for the Arts, San Francisco, CA
Remnants, Relics, Jamaica Center for Art & Learning, New York, NY
Propeller, Steve Turner Gallery, Los Angeles, CA
Recovered Views, de Saisset Museum, Santa Clara, CA
Saturday Night/Sunday Morning, African-American Museum in Philadelphia, Philadelphia, PA
Maximum Flavor, ACA Gallery, Atlanta College of Art, Atlanta, GA
5×5, Wertz Contemporary Gallery, Atlanta, GA
The GlamMore Show Revisited, PlaySpace Gallery, San Francisco, CA
Salad Days, Artists Space, New York, NY
Jamaica Flux, Jamaica Center for Art and Learning, New York, NY
Coasticated, Punch Gallery, San Francisco, CA
Missing Person’s, Pro Arts Gallery, Oakland, CA
GenArt’s Emerge 2003, The Big House, San Francisco, CA
POPULAR ™, Works Gallery, San Jose, CA
MFA Thesis Exhibition, California College of the Arts, San Francisco, CA
25 Under 25: American Photographers, Gulf & Western Gallery, New York, NY
Saturday Night/Sunday Morning, The Leica Gallery, New York, NY
Murphy & Cadagon Awards Exhibition, San Francisco Arts Commission Gallery, San Francisco, CA
Moments in Love, Intimacy and Kinship, Grand Central Station, New York, NY
The Legacy of Gordon Parks, Oakland Museum, Oakland, CA
Latent Discoveries, University of Arizona, Tucson, AZ
Reflecting Black, The Bomani Gallery, San Francisco, CA
Reflections In Black, Smithsonian Institution, Arts & Industries Building, Washington, DC
Fuzzy Logic, Southern Exposure Gallery, San Francisco, CA
Group Exhibition, Long & Pollack Gallery, California College of the Arts, San Francisco, CA
Oneness, The New York Ba’hai Center, New York, NY
Alumni Exhibition, Duke Ellington School for the Arts, Washington, DC
Speak to my Heart, Smithsonian Institution, The Anacostia Museum, Washington, DC
4i’s, Gulf & Western Gallery, Tisch School of the Arts, New York, NY
The Family, Bronfman Center for Jewish Life, New York, NY
Images & Inspirations, National Museum of American History, Washington, DC
Student Exhibition, Smithsonian Institution, National Portrait Gallery, Washington, DC
International Center for Photography, New York, NY
“Out of Sight” Conference, Northwestern University, Chicago, IL
The New York Studio Program, New York, NY
The University of California at Santa Cruz, Santa Cruz, CA
New York University, New York NY
Santa Fe Center for Photography, Santa Fe, NM
Santa Fe Center for Photography Seminar at Photo LA, Los Angeles, CA
The Commonwealth Club of California, San Francisco, CA
Vassar College, Poughkeepsie, New York
SPE Northeast Conference, Cornell University, Ithaca, NY
New York University, New York, NY
California College of the Arts, San Francisco, CA
Mills College, Oakland, CA
St. Mary’s College, Moraga, CA
Media Arts Fellowship, Renew Media (Rockefeller Foundation), New York, NY
Investing in Artists Grant, Center for Cultural Innovation, San Francisco
Artadia Fund for Art and Dialogue, New York, NY
Art Matters, Travel Grant, New York, NY
Artist in Residence, Acadia Summer Arts Program, Desert Island, MN
Artist in Residence, Cite´ Internationale Universitaire de Paris, France Artist in Residence, Headlands Center for the Arts, Sausalito, CA
LEF Foundation, Supplemental Grant for Along the Way (©ause Collective)
NYFA Fellowship, New York Foundation for the Arts, New York, NY
Emerging Artists Fellow, Socrates Sculpture Park, Long Island City, NY
Artist in Residence, Art Omi, Omi, NY
Artist in Residence, Vermont Studio Center, Johnson, VT
Artist in Residence, Light Work, Syracuse, NY
Skowhegan School of Painting & Sculpture, Participant Fellowship, Skowhegan, ME
Barclay Simpson Award, California College of the Arts, San Francisco, CA
Murphy & Cadagon Fellowship Award
General Prize Winner, M.I.L.K. International Photography Competition
Graduate Merit Scholarship Award, California College of the Arts, San Francisco, CA
Creative Excellence Award, New York University Photography Department
Artist in Residence, St. Mary’s College, Moraga, California
The Birmingham Museum of Art, Birmingham, AL
The Eileen and Peter Norton Family Collection, Santa Monica, CA
The International Center of Photography, New York, NY
The Martin Margulies Collection, Miami, FL
The Museum of Contemporary Art, North Miami, FL
The Museum of Fine Arts, Houston, Houston, TX
The Orange County Museum of Art, Newport Beach, CA
The Rubell Family Collection, Miami, FL
The Sir Elton John Collection, Atlanta, GA
The Sterling and Francine Clark Art Institute, Williamstown, MA
The Studio Museum in Harlem, New York, NY
The Wadsworth Atheneum Museum of Art, Hartford, CT
The Williams College Museum of Art, Williamstown, MA