Robert Gober was born in 1954 in Wallingford, Connecticut. He studied English literature and art at Middlebury College in Vermont, and moved to New York in 1976, where he still lives and works. Gober began showing his work regularly in 1984, and began curating exhibitions in 1986. He has had numerous one person exhibitions nationally and internationally, notably at the Dia Center for the Arts in New York, The Museum of Contemporary Art in Los Angeles, Walker Art Center in Minneapolis, Serpentine Gallery in London, Schaulager in Basel, and The Museum of Modern Art in New York in 2014-2015. He represented the United States at the Venice Biennale in 2001. Gober’s curatorial projects have been shown at The Institute of Contemporary Art, Boston, The Menil Collection, Houston, Hammer Museum, Los Angeles, and Whitney Museum of American Art, New York. Gober most recently created a three story permanent installation in the Haunted House at the Fondazione Prada, Milan which opened in May 2015.
George Lewis is the Edwin H. Case Professor of American Music at Columbia University. A fellow of the American Academy of Arts and Sciences, Lewis has received a MacArthur Fellowship (2002), a Guggenheim Fellowship (2015), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts. Lewis has been a member of the Association for the Advancement of Creative Musicians (AACM) since 1971, and his widely acclaimed book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008) received the American Book Award and the American MusicologicalSociety’s Music in American Culture Award. His creative work as composer, improvisor, and computer/installation artist is documented on more than 140 recordings, and has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra. In 2015, his opera, Afterword, received its UK premiere at the Huddersfield Contemporary Music Festival, and he received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh.
Working with psychologically rich materials, Rasdjarmrearnsook considers a wide range of subjects that have existed in marginal spaces, including women, the deceased, the insane, and animals. She creates complex narratives that confront societal structures of power and pedagogy. Concerned with systems of language and communication, Rasdjarmrearnsook makes earnest attempts to converse with subjects who don't speak in languages that are comprehended by or even acknowledged by mainstream society.
In 2015, Rasdjarmrearnsook had her first US retrospective at the Sculpture Center, which made several year-end lists, notably in the Guardian and Art in America, and solo shows at Tyler Rollins Fine Arts, New York, and Kyoto Art Center, Kyoto. In 2014, she had solo exhibitions at the Denver Art Museum, Colorado, 4A Centre for Contemporary Asian Art in Sydney, Drill Hall Gallery, Canberra, and the University of Sydney.
For the past 25 years, Rasdjarmrearnsook's videos and installations have been regularly shown throughout the world. She represented Thailand at the Venice Biennale in 2005, and has been featured in many international exhibitions including Documenta, the Sydney Biennale, the Gwangju Biennale, the Istanbul Biennial, the Johannesburg Biennial and the Carnegie International. Rasdjarmrearnsook is also a respected professor in Thailand's leading art program in Chiang Mai University, where she has spearheaded one of the first media and theory departments in the country.
The figures in Judith Linhares paintings are cooking, eating, sweeping digging and dreaming their loose-limed bodies are animated by paint fueled brush strokes.
In this unreality all is illuminated by the setting and rising sun. Linhares is a fourth generation Californian growing up as a child in the high desert and beach city in the Southern part of the state moving north to attend the California College of the Arts for both graduate and undergraduate degrees. She moved to New York from California in 1980 after being included in Marcia Tuckers 1978 game changing show "Bad Painting.”
She continues to exhibit through out the US and Europe and has had over 40 one-person shows. Linhares has been the recipient of numerous grants and awards the most recent being the Joan Mitchell Foundation Award in 2013 in previous years she received a Guggenheim Fellowship, Adolph and Esther Gottlieb Foundation Grant and an Anonymous Was a Woman grant along with three National Endowment for the Arts grants.
Linhares has received reviews in the New York Times, Art in America, The Los Angeles Times and The San Francisco Chronicle. Her works can be found in Museums throughout the United States The Whitney Museum of American Art, The Greenville County Museum of Art, The Butler institute of American Art, the Oakland and San Francisco museums of Art.
In the last years, parallel to photography and video, Liliana Porter has been making works on canvas, prints, drawings, collages, and small installations. Many of these pieces depict a cast of characters that are inanimate objects, toys and figurines that Porter finds in flea markets, antique stores, and other odd places. The objects have a double existence. On the one hand they are mere appearance, insubstantial ornaments, but, at the same time, have a gaze that can be animated by the viewer, who, through it, can project the inclination to endow things with an interiority and identity. These "theatrical vignettes" are constructed as visual comments that speak of the human condition. Porter is interested in the simultaneity of humor and distress, banality and the possibility of meaning.
Her work has been shown nationally and internationally and is represented in many public and private collections, among them: TATE Modern Collection, London, UK; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Museo de Bellas Artes, Caracas, Venezuela; Philadelphia Museum of Art; La Biblioteque Nationale, Paris, France; The New York Public Library; Museo de Arte Moderno, Buenos Aires, Argentina; Museo de Bellas Artes, Santiago, Chile; Museo de Arte Moderno, Bogota, Colombia; Blanton Museum, Austin, TX; Museo del Barrio, New York; Metropolitan Museum of Art, New York; Smithsonian American Art Museum, Washington DC; The Bronx Museum for the Arts, New York; Museo Tamayo, México D.F.; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Daros Collection Zurich, Switzerland; Museo de Arte Latinoamericano de Buenos Aires; Brooklyn Museum, NY, NY and Museum of Fine Arts, Houston, TX.
From 1956 to 1964, Peter Saul lived throughout Europe, an experience that influenced his development as an artist. In Paris, Saul met the Surrealist painter Roberto Matta (Chilean, 1911-2002), who would influence his own Surrealist aesthetic. He was also introduced to the American art dealer Allan Frumkin, who would go on to represent the artist for more than 30 years. The breadth of subject matter in Saul’s work has ranged from scenes of World War II and the Vietnam War, to commentaries on the Civil Rights and Feminist movements, to depictions of the artist himself attacked by the forces of the world around him. One of his most famous series, Vietnam (1966), embodies the chaos and deformities that typify his Figurative scenes, giving the viewer a sense of the disdain he felt for the war in Southeast Asia. Throughout his long career, Saul has been most admired for his ability to adapt to the ever-changing tastes of the art world, without losing site of his fearlessly unique aesthetic.