THE MUSEUM IMAGINED curated by LILLY WEI
THE MUSEUM IMAGINED curated by
LILLY WEI October 16 - November 14, 2015 Amar Bakshi Stephen Dean Anne Deleporte Ellen Harvey Reuven Israel + Joshua Neustein Serkan Ozkaya Jessica Segall
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The Museum Imagined by Lilly Wei
The Museum Imagined presents a number of proposals about what a museum might be today, what it might be for, and what semblances it might assume. I asked eight artists, two working together, to consider the question and to suggest answers, if only provisionally, fancifully, as an investigation, a kind of musing. The term was suggested by André Malraux’s mid-twentieth century concept of le musée imaginaire, loosely translated into English as the museum without walls. Malraux, an adventurer, novelist, unorthodox art historian and France’s first Minister of Cultural Affairs, appointed by his longtime friend Charles de Gaulle, presciently envisioned the digital age, the World Wide Web and Internet connectivity long before they were an indispensable reality. He sought, through photographic reproductions, to liberate art from the confines of institutions and their classifications, focusing instead on the works’ aesthetics and concepts. There were problems with this approach, including the loss of the objects’ physicality, but it did point the way toward more accessible and expanded ways of seeing and thinking about art. Some of the questions raised were the following. Are museums of art still necessary? How might they be re-configured? Do they need to be actual constructs? What should they show? Should they have permanent collections? Who are their audiences? How do they respond to new technologies? Are museums outmoded, too costly to maintain, too vulnerable? What kind of museums do artists want to show in? Does art take on different meanings in different contexts? Is the museum a public space, a civic space? Should museums be free? Should they assume social and political functions as well as cultural? Can they be a place to discuss new ideas? Amar Bakshi’s project, called Portals, enables interactions between counterparts at select locations around the world. Housed in shipping containers symbolically painted gold,
sited in art venues in Tehran, Herat, Makakoba (Zimbabwe), El Progreso (Honduras), and San Francisco among others, immersive audio-visual technology enables participants to engage with each other as if they occupied the same space, their images full-scale, exploring new ways to bridge distances and collaborate with artists, critics, curators, and dealers, changing the parameters of how to exchange ideas and what constitutes a museum or gallery visit, a collaborative project. Bakshi asks, “Is an institutional space and a spatial site necessary?” He also wonders if an institution can determine what art is. Do artists need the museum to validate their projects as art? Are there other kinds of spaces in which creative communities can merge in a more contemporary way? Serkan Özkaya’s project for “The Museum Imagined” is closest to Malraux’s ideas. His piece, What a Museum Should Really Look Like, conceived in 1999, and shown in several formulations since then, has been acquired by the Vehbi Koç Foundation’s contemporary art collection and will be displayed at its museum which is currently under construction, scheduled to open in 2018. For this exhibition, Özkaya made a version of it that sequences 40,000 images in a six-channel projection. The images are artworks taken from museums, publications, galleries and so on. They are subjectively selected and imperfectly photographed, projected onto the gallery’s windows, visible both inside and from the street, accessible to all. The projections are timed so that it is impossible for any viewer to see the same combination of images during the course of the show. Not unlike Malraux’s musée imaginaire, which was curated from the pages of books, “What a Museum Should Really Look Like” is also an idiosyncratic map of art history, an intensely personal collection of images. Jessica Segall built Paradise Begins with a Shipwreck, 2010, as a “functioning and speculative vessel,” she said. It is an
unconventional cultural venue, a kind of floating museum. Its faering design (an open boat with two functional oars) is taken from traditional sledging boats, meant to transport goods over ice and traverse shallow waters. A sturdy, serviceable vessel, it will withstand future climate shifts and ice ages. For Segall, the freedom of movement it provides is critical in a densely crowded city where circulation is problematic and space is limited. When SegalI started building it, she imagined that it would function as a mobile, off-shore theater that would record what occurred on it as passengers came and went. Based on the premise that every good sailor tells a yarn, hours onboard would be passed swapping personal narratives. This selection of videos by Raphael Zollinger, Sheila Pepe, Brian Zegeer, and Jody Wood represents some of those passengers’ stories (some of whom also helped in constructing the boat).
André Malraux amongst the photographs for Les Voix du Silence (1951) the first part of which had been published as an essay Le Musée Imaginaire or The Museum Without Walls, 1947.
Joshua Neustein and Reuven Israel said, in placing their work together (which are separate but equal) that where two artists are constitutes a museum, a compelling, essential notion that eliminates the need for a physical space. But they also wanted to examine the actual space of a museum (or the gallery) as the repository of art and to challenge it as an “institution that bestows eminence and value,” Neustein said. They are creating and asserting their own “mise-en-scène,” he continued, within a “gated community” in order to regain control of their production. By embedding one in the other, or by propping up one art work on the shoulders of the other’s art work, as in Provenance 1 and Provenance 2, both 2015, a word that denotes authenticity and legitimacy, they become self-supporting and metaphorically self-sufficient within the institution, freeing the object and the artists from a “supplicant role” to one that is “equally determinant.” Ellen Harvey has long been involved in questions of museology, institutional critique, beauty and beautification. Her Museum of Ornamental Leaves, 2015, consists of 12 panels
of stylized wood leaves (made by mixing sawdust with glue pressed into antique molds) arranged against the swirl of an intricately branched painted tree to remind us that a live—or at least once live—tree is the source of both her decorative wood leaves and real foliage. Harvey said that as a celebration of ornamentation, her mini-museum is “Adolf Loos’ worst nightmare.” The influential Austrian architectural theorist (1870-1933) had sneered at the ornate embellishments of the fin de siècle in favor of a simpler, modernist aesthetic. In reaction, Harvey, upends the hierarchy once again, placing applied arts and the resplendently bedecked at the pinnacle. Anne Deleporte’s The Space In Between, Reversed Dome, 2015, discounts the logic of traditional museums that are organized by periods, disciplines, themes and so forth. Her imaginary museum is envisioned as a suspended, ethereally blue, cosmic dome, to be read as an infinite space. Deleporte gathers images—the majority reproductions of artworks—by “preference,” instinctive selection and “irrational logic.” She teasingly juxtaposes these seemingly unrelated pictures of objects—a cauliflower, say, with a Picasso portrait—most often culled, or perhaps liberated, from the logical confines of newspapers, most often The New York Times, with freewheeling, associational verve and elegance, likening them to the way prehistoric artists dispersed images on cave walls, also a museum of sorts. Stephen Dean’s You are Here, 2015, is a diagram on rice paper with red pushpins that indicate the locations of the viewer(s), referring to museum signage that does the same. However, Dean’s plan is schematized, bare-boned and has no other markers, no other information or points of reference. His image of a museum is an empty grid, with a ghost of another grid behind it, in formation or dissolution, an image of a contingent, indeterminate space. He said that while working with Chinese calligraphy paper, he became “interested in exploring the intersection of lines rather than the space con-
tained by those lines.” It is a study of “space, a flow chart of self as a multitude” where the idea of center is marginalized and the shifting role of self is the pivotal point of view. He said that in some aboriginal tribes, pointing towards oneself means not “me” but “behind me, a very different set of spatial and psychological markers.” We are here, Dean tells us, but where, indeed, is here?
Amar Bakshi
A Portal Between the Danese/Corey Gallery In New York City and cultural venues in Iran, Honduras, Mexico, Afghanistan and more Portals are gold shipping containers equipped with immersive audio-visual technology inside. When you enter one, you come face-toface with someone in another Portal, and the two of you converse as if in the same room with real-time translation available. Members of the public who wish to schedule a 20 minute one-on-one conversation with a counterpart abroad may do so at www.SharedStudios.com/NYC. When not open for conversation, the Portal will play pre-recorded artist collaborations.
Stephen Dean
You Are Here, 2015 rice paper and glass head pins 18 x 14 in. (detail above)
Anne Deleporte
The Space in Between, Reversed Dome, 2015 corrugated plastic, newspaper pages and acrylic paint 8 feet in diameter; weight 8 lb. (this page, details clockwise: Bali, Miro, Man Ray)
Ellen Harvey
Museum of Ornamental Leaves, 2015 pressed glue ornaments, clay board, acrylic, wood frames, varnish 69.5 x 76.5 in. (detail above)
Reuven Israel and Joshua Neustein
Provenance 1, 2015 Joshua Neustein: Seven Framed Carbon Copy Drawings and one trowel Reuven Israel: Floor sculpture, MDF and industrial paint
Provenance 2, 2013-2015 Reuven Israel: leaning sculpture, copper coated steel rod, MDF and industrial paint. Joshua Neustein: acrylic on polyethylene
Serkan Ozkaya
What a Museum Should Really Look Like, 2015 six projectors showing 40,000 images variable dimensions
Jessica Segall
Paradise Begins with a Shipwreck 2010-13 wood, projector, projection screens 12 x 12 x 12 feet Paradise Begins With A Shipwreck, is a handmade, seaworthy arctic sledging ship. Instead of sails, the ship’s mast supports a projection screen on which are presented a selection of videos representing a survey of the ship’s passengers and others who were involved in the boat’s construction and use. Videos by Sheila Pepe, Jodi Wood, Brian Zegeer and Raphael Zollinger. (above: image of the sculpture being rowed on the East River, New York).
Amar Bakshi Amar is an artist and creator of Shared_Studios, a multidisciplinary art, technology and design collective dedicated to carving wormholes through the world. Amar also created The Legal Medium, which explores how artists use law in their work. That first symposium took place at Yale Law School in February 2015. Amar graduated from Harvard University in 2006 as the first joint major in Social Studies and Visual and Environmental Studies. He created a text and video thesis on the workings of Zimbabwe’s Information Ministry during land reform. He also founded Aina Arts, integrating local artisans into under-resourced schools in Mussoorie, India. In 2006, Amar joined the Washington Post, editing an international affairs blog moderated by David Ignatius and Fareed Zakaria connecting seventy-five eminent international journalists in discussion about issues of the day. While in this role, Amar pitched a novel text and video idea to travel the world for a year capturing the unique stories of individuals from all walks of life – from farmers and rappers to imams and entrepreneurs – on how they see America. He received funding and in 2007 set out around the world with just a backpack and a video camera. He visited twelve countries over the coming year creating text and video vignettes on How the World Sees America. Fareed Zakaria called the series “Fascinating and groundbreaking.” When Barack Obama won the presidency, Amar became Special Assistant to the U.S. Ambassador to the United Nations Susan Rice. In this role, he worked on development policy, Muslim outreach and integrating new media into diplomatic efforts. In the corridors of Washington, however, he felt removed from the people affected by policy decisions and realized that the ideal role for him was somewhere between power and the periphery, sharing individual stories and connecting disparate groups through media and art. He went back to media, this time at CNN.com where he built the organization’s flagship international analysis site and launched his own live online show connecting people around the world in conversation. The online show was his first attempt at bringing people from
all walks of life into direct dialogue – putting individuals like those he met on the road in touch from Seoul to Caracas. Shared_Studios is the next iteration of this attempt, though now in the world of art and with more advanced technologies than ever. In addition to undergrad and law school, Amar received a Masters in International Affairs and International Economics from the Johns Hopkins School of Advanced International Studies in 2014. He is a Truman Scholar and Soros Fellow and has given numerous lectures from the University of Chicago to UCLA. He has also appeared on media outlets including NPR, BBC, CNN, ABC, MSNBC and The New York Times.
Stephen Dean
Anne Deleporte
Stephen Dean was born in 1968 in Paris, France; lives in Long Island City, NY.
Anne Deleporte lives in New York City.
Recent solo exhibitions include Jugglers, Ameringer McEnery Yohe, New York; The chaos theory of color, McClain Gallery, Houston; Jugglers, Casa Triangulo, Sao Paulo, Brazil and Works on Paper and Edges, Baldwin Gallery, Aspen, CO; Recent group exhibitions include Fútbol: The Beautiful Game, Los Angeles County Museum of Art, Los Angeles, CA; Junkies’ Promises, Paul Kasmin Gallery, New York, NY; Shock of the News, National Gallery of Art, Washington, DC; Les Maitres du Désordre, Musée du quai Branly, Paris, France; Double Down: Two Visions of Las Vegas, San Francisco Museum of Modern Art; Mouth Open, Teeth Showing: Major works from the True Collection, Henry Art Gallery, Seattle, WA. Dean has also participated in numerous biennials, which include the Moscow Biennial, SITE Santa Fe Biennial, 51st Venice Biennale, the Istanbul Biennial, and the Whitney Biennial. Dean’s work may be found in the permanent collections of the Solomon R. Guggenheim Museum, New York, NY; the Whitney Museum of Art, New York, NY; the National Gallery of Art, Washington, DC; Yale University Art Gallery, New Haven, CT; the Fonds National d’Art Contemporain, Paris, France; and the Fundacion Jumex, Mexico City, Mexico, among others.
Recent solo exhibitions include “ Dazzle Painting”, McClain gallery, Houston; “Einstein, Marx & Matisse”, Queens Museum - Bulova, NY; “Wet Water”, Showroom Gowanus, NY; L’Inlassable galerie, Paris. She has realized large scale murals since 2002, in institutions such as the Corsica Art Center; the Book Art Center, NY; Momenta, NY; the Mint Museum and Lower 9th ward during P.1 New Orleans Biennal; the Dallas Contemporary; and private collections. She recently completed a permanent installation commissioned by the New York City’s Percent for Art. Her installations and videos have been shown at the New Museum, NY; Hayward Gallery, London; PS1, NY; Shanghai Art Museum; Museo do Paço Imperial, Rio do Janeiro; Anthology Film Archive, NY; Palais de Tokyo, Paris; Musée de l’ Elysée, Lausanne; the Botanic, Brussels. Anne Deleporte’s works may be found in the permanent collections of the Tang Teaching Museum at Skidmore College, the collection of the City Bank, NY; the Pompidou Center, Paris; the Maison Européenne de la Photographie, Paris, the collection Neuflize, Paris, the Musée de la Chasse, Paris. In 2013, she received the Peter S Reed Foundation Grant.
Ellen Harvey
Reuven Israel
Ellen Harvey was born in the United Kingdom and lives and works in Brooklyn, NY. She studied at Harvard University and Yale Law School and took part in the Whitney Independent Study Program and the PS1 National Studio Program.
Born 1978 in Jerusalem; lives and works in Brooklyn, NY.
She has exhibited extensively in the U.S. and internationally and was included in the 2008 Whitney Biennial. Recent solo exhibitions include Metal Painting at the Barnes Foundation, Philadelphia, The Unloved, at the Groeninge Museum, Bruges, Belgium, What is Missing?, at Meesen de Clercq, Brussels, The Alien’s Guide to the Ruins of Washington DC at the Corcoran Gallery of Art, Washington DC, Arcade/Arcadia at Locks Gallery, Philadelphia, The Nudist Museum at the Bass Museum, Miami Beach, FL, Ruins are More Beautiful at the Center for Contemporary Art, Warsaw, Poland, Mirror at the Pennsylvania Academy and A Whitney for the Whitney at Philip Morris at the Whitney Museum at Altria. She has completed permanent installations for New York Percent For Art, New York Arts in Transit, the Chicago Transit Authority, the Flemish National Architect and for the Federal Art in Architecture program, among others. Her book, The New York Beautification Project, was published by Gregory R. Miller & Co. in 2005. Two monographs: Ellen Harvey: Mirror, and Ellen Harvey: The Unloved, were published by the Pennsylvania Academy in 2006 and by Cannibal/Hannibal in 2014. A new comprehensive monograph, Ellen Harvey: Museum of Failure has just been published by Gregory Miller & Co.
Solo exhibitions include: Multipolarity, Fridman Gallery, New York 2014; Superpartners, Tel Aviv Museum of Art, Tel Aviv 2011; Fatima, Braverman Gallery, Tel-Aviv 2010; From Shapes to Forms, Museo Civico Floriano Bodini, Gemonio (VA) 2010; Range of Sorrow, Montrasio Gallery, Milan, 2009; and others. Group exhibitions include: The Museum Presents Itself, Tel Aviv Museum of Art, Tel Aviv 2015 ; Domestic Ideals, Lesley Heller workspace, New York 2015; Paper Weight, Braverman Gallery, Tel Aviv 2014; The Readymade Centennial, Haifa Museum of Art, Haifa 2013; Re: Visiting Rockefeller, Rockefeller Archaeological Museum, Jerusalem 2013; Curator: Yona Fisher, Ashdod Art Museum, Ashdod 2013; Senses of the Mediterranean, Hangar Bicocca, Milan 2011; Young Israeli Art, Helena Rubinstein Pavilion for Contemporary Art, Tel Aviv 2007; Forms of construction, Eigse festival, Carlow ( Ireland) 2007 and many more. Reuven received several awards including: the Young Artist Award, The Israeli Ministry of Culture, 2009; the Legacy Heritage Fund Prize , Tel Aviv Museum of Art 2007; Rich Foundation Award 2006; America-Israel Cultural Foundation Scholarship, 2004, 2006; Prize in memory of Ehud Elhananani , Department of Fine Art, Bezalel Academy, 2004. Reuven Israel holds an MFA, 2007 and a BFA , 2004 from Bezalel Academy of Art and Design, Jerusalem.
Joshua Neustein Born 1940, Danzig Poland Lives and works in New York, NY Education City College, New York, BA, 1961 Pratt Institute, Brooklyn, NY Professor, at Bezalel Academy, Jerusalem, 1975-79 Awards Jerusalem Prize 1972 Sandberg Prize 1974 Guggenheim Fellowship 1986 Pollock Krasner Fellowship Israel Pavillion Venice Biennale 1995 Solo exhibitions include: Neustein Papers, curated by Sarah Breitberg, Tel Aviv Museum, 1977; Mary Boone Gallery NY, 1978; The Carbon Series, curated by Doug Schultz, Albright-Knox Art Gallery, Buffalo, NY, 1992; The Carbon Series, Still Life on the Border, curated by Tom Sokolowsk, Grey Art Gallery, New York,1993; The Possessed Library (David Koresh), Venice Biennale, Israeli Pavilion, Venice, Italy, 1995; Magnetic Drawings, curated by Wendy Shafir, Wynn Kramarsky, New York, 1995; Light on the Ashes, curatored by Susan Talbott, Southeastern Center for Contemporary Art, Winston Salem, NC, 1996; Ash City Aschenbach, Gropius Bau Berlin, 1998; Polish Forests, Magnetic Fields, Carbon Copies, curated Wendy Shafir and Susan Stoops, Rose Art Museum, Brandeis University, MA; 1998; Polish Forests, Magnetic Drawings, curator Jaromir Jedinlisky, The National Gallery of Contemporary Art, Zacheta, Warsaw, Poland, 1997; Domestic Tranquility Bne Brak, curated by Wendy Shafir, Hertzliya Museum of Art, Hertzliya, Israel, 2000; Carbon Copy Drawings, Untitled Gallery, Independent Fair NY, 2011; Untitled (now called Mesler Feuer) Gallery, 2012; Drawings in the Margins, Israel Museum, Jerusalem, 2012; Group exhibitions include: Out of Actions, curated by Paul Shimmel, MOCA, Los Angeles, 1998; Routes of Wandering, curated by Sarit Shapira, Israel Museum, Jerusalem, 1999; Paper Trails, curated by Marla Prather, Metropolitan Museum of Art, New York, 2011; To the Ends of the Earth, curated by Philipp Kaiser Miwon Kwon, MoCA, Los Angeles and Haus der Kunst, 2012; Lucie Fontaine: Estate, Boesky Gallery, New York, 2012; Prague Biennale, curated Nicola Trezzi, 2013; Paperweight, two person exhibition with Reuven Israel, 2015.
Selected Publications Pincus-Witten, Robert. “The Neustein Papers,” Eye to Eye, 1977. Gilbert-Rolfe, Jeremy. “Fragile massive Grey Torn,” Artforum, 1978. Avjikos, Jan. “Don’t Look Now,” Artforum, 1996. Russ, Sabine. “Domino Effect von Worten,” Neue Bildende Kunst Magazine, 1996. Styles, Kristin, “Joshua Neusten,” Bomb, 1996. Barzel, Amnon. Deutschland Bilder, Gropiusbau, Berlin, 1997. Rubinstein, Raphael. Dossier of a Carbon Hacker, cat. Zacheta 1997. Shafir, Wendy. “Noli Me Tangere,” intro. The Blind Library, Beit Ariela, Tel Aviv, 1997. Volk, Gregory. “Joshua Neustein at SECCA,” Art in America, 1997. Jay, Martin. Drawing in the Middle Voice, cat. Rose Art Museum, 1998. Putnam, Hilary. Thoughts About Domestic Tranquility, Bne Brak, 2000. Rogoff, Dr. Irit. Terra Infirma: Geographies’ Visual Culture. Routledge, 2000. Danto, Arthur. “Two Installations by Joshua Neustein,” Unnatural Wonders, 2005. Trezzi, Nicola. Figures of Speech, cat, Israel Museum, 2011. Kaplan, Louis. “Returning to Scratch: Joshua Neustein’s Erasures and the Movement of Deconstruction,” in Brad Buckley and John Conomos, eds, Erasure: The Spectre of Cultural Memory. Middlesex, UK: Libri Publishing House, 2015. Selected Permanant Collections Albright-Knox Museum, Buffalo, NY The Israel Museum, Jerusalem, Israel The Jewish Museum, New York, NY The Metropolitan Museum of Art, New York, NY Museum of Modern Art, New York, NY Solomon R. Guggenheim Museum, New York, NY Tel Aviv Museum, Tel Aviv, Israel Whitney Museum of American Art, New York, NY
Serkan Ozkaya
Jessica Segall
Serkan Ozkaya is a conceptual artist whose work deals with topics of appropriation and reproduction, and typically operates outside of traditional art spaces.
Jessica Segall is a multidisciplinary artist living in Brooklyn. With a mix of humor and elbow grease, her work investigates the link between creativity and survival; engaging current cultural attitudes towards adaptation.
He received his BA, MA, and PhD in German Studies from Istanbul University (1992-2005). From 2000-01, he did post-diploma work in film and video at E.R.B.A.N., Nantes, and he obtained an MFA in sculpture from Bard College in 2000. Residencies have included Civitella Ranieri, Umbria, Italy (2015); Kuenstlerhaus Bethanien, Berlin, Germany (2003); ORTung, Salzburg, Austria (2006); the MacDowell Colony, New Hampshire, (2003); and IASPIS, Malmo, Sweden (2002). Ozkaya’s latest works include, Mirage, installed at the Postmasters Gallery in New York consisting of a shadow of a passenger airplane that crossed the room for 45 seconds every four minutes; One and Three Pasta (with George L. Legendre), where the duo created 3D computer models for 92 types of pasta after Legendre’s mathematical equations and David (inspired by Michelangelo), at two-times the size of the original. Ozkaya is the author and editor of ten books, including Double (Lars Muller Publishers, 2013), The Rise and Fall and Rise of David (21c Museum and Yapi Kredi, 2011), and Today Could Be a Day of Historical Importance (artwithoutwalls, 2010).
Segall’s work has been exhibited at the Havana Bienal, The National Gallery of Indonesia, The Queens Museum of Art, the Aldrich Museum, The Inside Out Museum in Beijing, The National Modern Art Gallery of Mongolia and De Fabriek in The Netherlands. She is the recipient of grants from NYFA, Art Matters, the Leighton International Artist Exchange Program and The Gatsby Charitable Foundation. Jessica attended artist residencies at The Sharpe Walentas Space Program, Skowhegan, The MacDowell Colony, Kuenstledorf Schoppingen, Art OMI, Bemis, SOMA and Socrates Sculpture Park. She is a graduate of Bard College and received her MFA from Columbia University.
Lilly Wei Lilly Wei is a New York-based art critic, art writer, journalist and independent curator whose area of interest is contemporary art. Appearing regularly in publications in the United States and abroad, she has written for Art in America since 1984. She is also a contributing editor at ARTnews and was a former contributing editor at Art Asia Pacific. In addition, she has written for Art + Auction (New York), Art and Australia (Sydney), Art Press (Paris), Asian Art News (Hong Kong), Bijitsu Techo (Tokyo), Canvas (Dubai), randian (Hong Kong), RES (Istanbul), Sculpture Magazine (Washington, DC), Studio International (New York/London), among others and frequently reports on international biennials and exhibitions. She has written hundreds of articles, reviews, interviews, essays and monographs on contemporary and modern art and artists from Magdalena Abakanowicz, Paul Chan, Theaster Gates and Alex Katz to Jason Rhodes and Zhang Huan for institutions from the AlbrightKnox Art Gallery to Williams College Museum of Art. Deeply committed to not-for-profit art organizations and emerging artists and art writers, she serves on the board of several such institutions, including that of the International Association of Art Critics (USA), Art Omi, and The Bowery Poetry Club. A fellow of the CUE Foundation, she is the organizer for its Young Art Critics Mentoring Program. Some recent curatorial projects were “The Compromised Land: Recent Photography and Video from Israel” at the Neuberger Museum in Purchase, NY, “Light3” at the Fridman Gallery, New York, “Uncanny/Figure” at Dorsky Gallery Curatorial Projects in Long Island City through December 13, 2015 and “Myths, Memory + Android Dreams” at Aljira in Newark, to open in January 2016. Wei was born in Chengdu, China and has an MA in art history from Columbia University.
Published in conjunction with the exhibition: The Museum Imagined Danese/Corey, New York, NY October 16 - November 14, 2015
Catalogue © 2015 Danese/Corey Works of art © the artists Essay © 2015 Lilly Wei
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