Candice Lin

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Candice Lin (born 1979) is an American sculptor and installation artist living and working in Los Angeles, California.[1] She is a co-founder and co-director of the artist space Monte Vista Projects and an assistant professor in the Department of Art at the UCLA School of Arts and Architecture.[2]

Early life[edit]

Born in Concord, Massachusetts (1979) Lin graduated from Brown University (2001) while receiving her double BA in Visual Arts and Art Semiotics.[3] She then attended San Francisco Art Institute for her MFA in New Genres (2004).[4]


Lin is known for her ethnographic approach to art-making alongside crude fantasy scenes.[5] A strong interest in the history of slavery and the cultural implications of colonialism informs her work.[6] The post-colonial critique behind Lin's work can be seen in her piece, Dildos (Corn Hill, Queen Victoria, Bird in Space) first shown at a solo show at Francois Ghebaly Gallery.[7] Here, dildos encased in bell jars are made from molds of corn and are either pink, white, or black-hyperbolic "skin tones".[8]

From 2004 to 2011 Lin was awarded several residencies, grants, and fellowships. These include the Frankfurter Kunstverein Deutsche Borse Residency, Sacatar Foundation Artist Residency in Brazil in 2011. In 2010 she was invited to the Banff Centre Artist Residency in Canada and the Department of Los Angeles Cultural Affairs CEI grant. The Smithsonian Artist Research Fellowship was awarded to her in 2009, and AIR at CESTA located in the Czech Republic, in 2004.

In 2016 Lin's "A Body Reduced to Brilliant Colour"[9] show at Gasworks Gallery in London was reviewed in Art in America.[10] Lin also participated in a residency at the Headlands Center for the Arts.[11]

In 2017 Lin was included in "Trigger: Gender as a Tool and a Weapon" at the New Museum.[12] The show, which featured the work of over 40 artists, was the largest show to date at a major museum dealing with the theme of gender fluidity.[13] Lin collaborated with artist Patrick Staff to create the piece "Hormonal Fog," a smoke machine that pumped testosterone-lowering, plant-based tinctures into the museum's lobby.[14]

In 2017 Lin was included in the The Sharjah Biennial 13: Upon a Shifting Plate.[15]

In 2018 Lin was included in "Made in L.A. 2018" the Hammer Museum.[16]

In 2018 Lin had her first solo exhibition in Chicago, A Hard White Body, a Porous Slip, at Logan Center Exhibitions.[17] One installation incorporated biographical references to writer James Baldwin and French botanist Jeanne Baret.[18]

Recently, Lin has been characterized as one of the most radical artists in terms of the deconstruction of androcentric images of the female body. Lin's work often "resist the sovereignty of the [masculine] eye" and exposes "the violence of the gyneco-scopic regime" that "cuts the [female] body into pieces, making visual, anatomical, and aesthetic cuts to produce territories or genital organs. These chunks of the body are recodified as synecdoches (that is, the part represents the whole: woman is represented by a piece of herself, genitals represent gender, etc.)" [19]


  1. ^ "UCLA Arts: School of the Arts and Architecture". UCLA Arts: School of the Arts and Architecture. Retrieved 2019-03-19.
  2. ^ "Current". MONTE VISTA PROJECTS. Retrieved 2018-02-24.
  3. ^ Avant, Tricia (2015-08-25). "Candice Lin | Martine Syms Art Exhibition Reception". Pomona College.
  4. ^ Steffen, Patrick (June 2013). "Candice Lin". Flash Art.
  5. ^ Steffen, Patrick (May 2013). "Candice Lin". Flash International. 46, no. 290: 133 – via Art & Architecture Source.
  6. ^ Florian, Federico (February 1, 2017). "Candice Lin". Art in America. 105: 108–109.
  7. ^ Mizota, Sharon (October 15, 2012). "Review: Candice Lin's unsettling take on contemporary society". Los Angeles Times.
  8. ^ Diehl, Travis (December 2012). "Reviews: Candice Lin" (PDF). Art Forum. 51 (4): 285–286. Archived from the original (PDF) on 2014-02-09.
  9. ^ "Exhibitions | Gasworks". Retrieved 2018-02-24.
  10. ^ "Candice Lin - Art in America". Art in America. Retrieved 2018-02-24.
  11. ^ "Candice Lin - Headlands Center for the Arts". Headlands Center for the Arts. Retrieved 2018-02-24.
  12. ^ "Trigger: Gender as a Tool and a Weapon". Retrieved 2018-02-24.
  13. ^ Sheets, Hilarie M. (2017-09-15). "Gender-Fluid Artists Come Out of the Gray Zone". The New York Times. ISSN 0362-4331. Retrieved 2019-03-19.
  14. ^ Sheets, Hilarie M. (2017-09-15). "Gender-Fluid Artists Come Out of the Gray Zone". The New York Times. ISSN 0362-4331. Retrieved 2019-03-19.
  15. ^ "Sharjah Art Foundation". Retrieved 2018-02-24.
  16. ^ "Candice Lin - Hammer Museum". The Hammer Museum. Retrieved 2018-02-24.
  17. ^ "Candice Lin: A Hard White Body, a Porous Slip | UChicago Arts | The University of Chicago". Retrieved 2019-03-19.
  18. ^ Draganova, Viktoria (April 2018). "CANDICE LIN". Frieze. 194: 152.
  19. ^ Uparella, Paola and Jáuregui, Carlos A. “The Vagina and the Eye of Power (Essay on Genitalia and Visual Sovereignty)”. H-ART. Revista de historia, teoría y crítica de arte, nº 3 (2018): 79-114. hart03.2018.04