SELECTED EXHIBITIONS
SELECTED EXHIBITIONS
On view June 7 - August 24, 2024 (photo: [L-R] Leeza Meksin / Sarana Mehra / Fidencio Fifield-Perez / Leeza Meksin / E.E. Ikeler / Jen P. Harris; credit: Field Studio) | More images from this exhibition
Painting Deconstructed explores ideas and motivations behind the concept of deconstructed painting, and the vital role that women, immigrants, LGBTQA artists and POC artists play in questioning, rethinking and restructuring what painting can be, what counts for painting. Curated by OyG co-founder Leeza Meksin | on view May 18 - August 18, 2024 (photo: [L-R] Jen P. Harris / Lisha Bai / Scott Vander Veen / Julia Kunin; credit: Chanel Matsunami)
Press:
Two Coats of Paint
New York Times
Hyperallergic
Artforum Must See
On Intimacy highlights a group of artists whose practice touches on the intimate and ideas of intimacy in both form, scale, content and narrative. Curated by Lisa Kurzner | on view February 18 - April 14, 2024 (photo: [L-R] Jen P. Harris, Shaun Pierson; credit: Field Studio)
The gender-fluid Surrealist Claude Cahun quipped, “Under this mask, another mask; I will never finish removing all these faces.” Following Cahun, the artists in this exhibition fuse interiority and exteriority, recombining architectural elements and body parts in liberatory ways. Curated by Sam Adams, Ellen Johnson '33 Assistant Curator of Modern and Contemporary Art at the Allen Art Museum | on view January 9-February 17, 2024 (photo: four works by Jen P. Harris) | video walkthrough | View more images from this exhibition
“Harris restructures and repurposes her own praxis, creating an idiosyncratic space of rupture and movement… Each representational trace originates in the archives of her earlier paintings, which recombine botanical illustrations, medieval tarot cards, colonial-era maps and other images from Western knowledge systems. Harris’ cut-ups, similar to Dadaist theory, oppose harmony and make use of improvisation to learn from spontaneity.” —Erika Hirugami (curator) | 2020 (photo credit: JW Pictures) | View more images from this exhibition
“The installation is a shimmering phantasmagoria, wheeling between the figurative and the abstract, light and dark, organic and geometric form. The prairie, or the memory of the prairie, is rendered in a series of modular cubes, ink paintings mounted on woodblocks, that at times appear to be spilling out their lush contents: soft pieces of pattern and bird wing, the spectral stalks of long-dead plants. The vanished landscape, the interlocking tiles of the phantom plains, is a puzzle with no solution. Ghostly, we cannot take possession of it.” — Anya Ventura (from catalog essay) | 2016 (photo credit: Mark Tade) | View more images from this exhibition