Citizenship Series: Filling the Void April 5 at Walker Art Center.” Carey Young’s Declared Void II (2013) calls for our attention now, more than ever. Join us as local artists step inside the box of Young’s piece to ask questions about immigration, citizenship, and nationalism. Artists include Xochi de la Luna, Moheb Soliman, Essma Imady, Zoe Cinel, and Maryam Houshyar. Attorneys from the American Civil Liberties Union of Minnesota and the Immigrant Law Center will be present to answer questions and discuss issues following the gallery presentations.”View Source
50 Years of Paula Cooper Gallery: 2018 marks 50 years of exhibitions, as well as performance, poetry, and music events, for Paula Cooper Gallery.View Source
January 17, 2018 Carl Andre Tauba Auerbach Céleste Boursier-Mougenot Cecily Brown Sophie Calle Beatrice Caracciolo Bruce Conner Mark di Suvero Sam Durant Matias Faldbakken Charles Gaines Liz Glynn Robert Grosvenor Hans Haacke Douglas Huebler Michael Hurson Julian Lethbridge Sol LeWitt Christian Marclay Justin Matherly Peter Moore David Novros Claes Oldenburg & Coosje van Bruggen Paul Pfeiffer Walid Raad Joel Shapiro Rudolf Stingel Dan Walsh Kelley Walker Meg Webster Robert Wilson Jackie Winsor Bing Wright Carey Young Gallery News Permalink
Paula Cooper Gallery is pleased to announce a conversation between Carey Young, Colby Chamberlain, and Joan Kee on Friday, September 8, 5:30pm-6:30pm, at 534 West 21st St, to celebrate the opening of a one-person exhibition of recent work by Young. The show will feature the videowork Palais de Justice (2017), as well as a new series of photographs exploring Young’s interest in law, gender and performance. The exhibition will be on view at Paula Cooper Gallery, 534 West 21st Street, from September 7th through October 14th, 2017.
Carey Young (b. 1970) is a British-American artist based in London, England. Her work has been exhibited in prominent national and international exhibitions and has been the subject of numerous one-person exhibitions including at the Dallas Museum of Art, curated by Gavin Delahunty (2017); the Migros Museum of Contemporary Art, curated by Raphael Gygax (2013); Eastside Projects, Birmingham, England (2010), which traveled to Cornerhouse, Manchester and MiMA, Middlesborough; Le Quartier, Quimper, France (2013); The Power Plant, Toronto (2009); and the Contemporary Art Museum St. Louis (2009). Young’s work has also been presented at the Taipei Biennial (2010), Tate Britain (2009), Moscow Biennale (2007), Modern Art Oxford (2007), Performa 05 and the Venice Biennale (2003).
Colby Chamberlain is Lecturer in Discipline in Modern Art and Theory at Columbia University. His scholarship and criticism focuses on intersections of art and other fields of professional practice, in particular the law.
Joan Kee is Associate Professor in the History of Art at the University of Michigan. A contributing editor for Artforum, she received a J.D. from Harvard Law School and has recently completed a book on the relationship between contemporary art and law in post-sixties America. In 2016, she guest edited a section of the Brooklyn Rail on art and the law whose contributors included Carey Young.
This event is free. Advanced booking is essential as there is limited space. To register, Click Here.
For more information, please contact the gallery: (212) 255-1105 or email@example.com
Robert Shore interviews Carey Young for Elephant Magazine: “I filmed only female lawyers, judges and defendants at court. By implication, if an entire legal system was run by women, then what kind of society would this be? Is it a matriarchy? Is it utopian? And in such a society, or such a legal system, what role do the men play? I included shots of various men in the piece, but they seem diminished. For example, we see male lawyers trying to persuade female judges, who only occasionally bestow attention, and we see male lawyers wait endlessly and nervously outside a courtroom for a female judge who never lets them in, or we see an old gentleman slowly wheel a weighty trolley of archival files through the dark corridors. The men seem to be in support roles, or isolated and secondary. It was fun to reverse the truth like that.”View Source