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Kandis Williams

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Kandis Williams
BornPark Heights, Baltimore, U.S.
Alma materCooper Union School of Art
BFA, 2009
OccupationArtist, editor, publisher, writer
Websitewww.cassandrapress.org

Kandis Williams is an artist, writer, editor, and publisher stationed both in Berlin and Los Angeles.[1][2] Williams has received critical acclaim for her collage art, performance art, and publishing work.[3][4] She is best known for her art exploring racial issues, nationalism, and many other categories.[5]

Biography

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Youth and Education

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Williams was born in 1985 in Baltimore, Maryland.[5] Due to her love of painting, she would go on to study art in high school at a local art high school and be accepted in to the Cooper Union School of Art in 2003.[6][7] She found her time there to be a struggle as professors were not as receptive to a black student making art of black people.[7] Many of her professors dismissed the idea of making art of black people just to make art of black people.[7] She would quickly be disillusioned by the white artist scene and the conceptual art focus her professors had.[8] in 2009, Williams would graduate with her Bachelors of Fine Arts from Cooper Union.[9]

After college, Williams completed a couple residences. Her first was in 2016 at the Ace Hotel's art residency, where artist are invited to turn one of the hotel rooms into their studio for a month.[9][10] This is where Williams created reader, Culture of Fuccboi.[9] Her next residency would be at the Institute of Contemporary Art in Los Angeles, and she stayed there from May 10–June 19, 2021.[9][11] During this same year, she would also complete a residency at Cassandra Classrooms.[9]

Career

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After William's time in college, she went on to work as a teach in non-profit that taught undeserving youth in community centers and shelters.[12] Her time there opened her eyes to different art practices and visual language of violence through the lens of her students.[12] Some time after, she would move to Berlin, Germany for about twelve years before moving to Los Angeles.[8] She would become a visiting faculty member at California Institute of the Arts in 2019 and ending her time there in 2021.[5][9] Additionally, she would start teaching in Cassandra Classrooms during 2020 which she teaches at to this day. After ending her time at California Institute of the Arts, she would become a workshop instructor at Haus der Kulturen Der Welt Illiberal Arts Workshop.[9]

During her teaching career and artist practice, Williams would give artist talks and performances all over America and Europe in the years 2014 to 2021.[9]

Artistic Practice

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Kandis Williams' work often explores contemporary critical theory including, but not limited to, racial-nationalism, authority, and eroticism.[5] Many of these topics draw from her experiences growing up in Baltimore and her time teaching, and she will incorporated it with historic paintings such as The Slav Epic.[1][12] She collages images pulled from magazines and archival material to create heavily structured visual dialogues.[5] Additionally, she often goes on production trips to Mexico to manufacture collage elements, and these trips also inspire her works.[1] To this day, she is still inspired by El Lissitzky and Dziga Vertov.[12] Likewise, her performance art explores Institutional racism through a process she calls experimental Pedagogy.[5]

Solo Exhibitions

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  • A Line, 52 Walker, New York, New York (2021)[13]

This was her debut show in New York at the David Zwirner gallery in Tribeca.[2]

A Line features large-scale collages of archival photographs of dancers and choreographers featuring icons, such as Alvin Ailey, George Balanchine, and Martha Graham, in addition to Williams own photographs. Some of these collages are annotated with William's thoughts about performance and politics. In addition, there was a video installation presented on old school monitors, and it shows a dancer working through a dance William's choregraphed. There is an archival video that flickers on a background screen within each screen. Large artificial plants are scattered across the gallery, and some leaves are covered in flesh tones to return attention to the body.[2]

This was her first solo show, and it ran from November 6, 2020 - September 12, 2021.[8][15][16]

A Field is a green house filled with plant sculptures made of collages pasted on wire forms. The collages featured on the plant leaves and backdrops are of action shots of laboring bodies. She uses photos from archival documentation of Mississippi chain gangs, images from Vintage Magazines, and depictions of Uruguayan tango dancers. The work as a whole comments on the relation between labor, performance, and sexualization.[16] In addition to the plants, there is a live video, Annexation Tango (2020), that is a combination of photography and found footage. The backgrounds of the video are the former Lorton Reformatory and Virginia State Prison Farm, where prisoners worked as condition for their sentence.[16][17]

  • The Rivers of Styxx, Cooper Cole, Toronto, Canada (2018)[9]
  • Eurydice, 219 Madison, Brooklyn, New York (2018)[18]
  • Works on Paper, Vienna (2017)[19][9]
  • Soft Colony, Night Gallery, Los Angeles (2016)[20][15]
  • Disfiguring Traditions, SADE, Los Angeles, CA (2016)[4]
  • Inner States, St. Charles Projects, Baltimore, Maryland 2016)[21]
  • Red Square, OTTOZOO Project, Milan, Italy (2012)[9]
  • The Vesica Dialectic, Ficken 3000, Berlin, Germany (2009)[9]

Events, Performances, Workshops

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Notable Group Exhibitions

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Cassandra Press

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Williams co-founded the non-profit Cassandra Press in 2016 with Taylor Doran, and Jordan Nassar. The organization distributes lo-fi activist and academic texts, flyers, posters, pamphlets, and readers as well as offer classes and exhibitions.[28][29] They also offer artist zines at a affordable price on their website. The mission statement of the organization is to spread ideas and language, propagate dialogue centering ethics, femme-driven activism, and black scholarship.[29]

The name is a reference to the Trojan princess Cassandra, who was said to have accurately foretold the future yet no one would believe her.[29]

To this day, Williams works as a publisher and as an editor for the Cassandra Press. Notable works include: Misogynoir, Reparations, Double Consciousness Then and Now, Libidinal Economy, and Faces of the Colonizer.[15]

Select Awards and Recognition

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References

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  1. ^ a b c "Theory and Experience in the Work of Kandis Williams". Artillery Magazine. 3 January 2018.
  2. ^ a b c Mitter, Siddhartha; Burke, Siobhan (2021-10-28). "Kandis Williams Envisions Dancing Bodies Without Borders". The New York Times. ISSN 0362-4331. Retrieved 2024-02-21.
  3. ^ Smith, Roberta; Schwendener, Martha; Heinrich, Will (2017-07-27). "What to See in New York Art Galleries This Week". The New York Times. ISSN 0362-4331. Retrieved 2019-07-02.
  4. ^ a b c Williams, Maxwell (18 November 2016). "Bearing Wit(h)ness: The Art of Kandis Williams". KCET.
  5. ^ a b c d e f "Kandis Williams | Hammer Museum". hammer.ucla.edu. Retrieved 2021-04-09.
  6. ^ "INTERVIEW: Artist Kandis Williams Is Giving History A Hard Read". archive.pinupmagazine.org. Retrieved 2024-02-21.
  7. ^ a b c Smith, Melissa (2019-06-27). "'You Start the Game Tired': What It's Like to Be One of the Few Black Students at an Elite Art School". Artnet News. Retrieved 2021-07-19.
  8. ^ a b c "Meet Artist Kandis Williams, Whose Poetic Work Has a Sharp, Cerebral, and Radically Political Edge". Artnet News. 2021-03-05. Retrieved 2021-04-09.
  9. ^ a b c d e f g h i j k l m n o p "Kandis Williams - Artists - Night Gallery". www.nightgallery.ca. Retrieved 2024-02-22.
  10. ^ "Artist In Residence". Ace Hotel. Retrieved 2024-02-22.
  11. ^ "2021 Field Workshop Artists In Residence". Institute of Contemporary Art, Los Angeles. Retrieved 2024-02-22.
  12. ^ a b c d "Kandis Williams". www.flaunt.com. Retrieved 2024-02-21.
  13. ^ "Kandis Williams: A Line". 52 Walker. Retrieved 2022-05-13.
  14. ^ Kollatz Jr., Harry (2020-12-15). "Art of Growth and Power". Richmond Magazine. Retrieved 2021-02-08.
  15. ^ a b c d e f Huseman, Beth (2022). Whiney Biennial 2022 Quiet as It's Kept. Whitney Museum of American Art, New York: Yale University Press. p. 2. ISBN 978-0-300-26389-3.
  16. ^ a b c "Kandis Williams: A Field". Institute for Contemporary Art. Retrieved 2021-04-09.
  17. ^ Kollatz, Harry Jr. (2020-12-15). "Art of Growth and Power". richmondmagazine.com. Retrieved 2021-04-09.
  18. ^ "Kandis Williams at 219 Madison St. - News - Night Gallery". www.nightgallery.ca. Retrieved 2019-04-11.
  19. ^ a b "Kandis Williams". WORKS ON PAPER. Retrieved 2019-04-11.
  20. ^ "Kandis Williams: Soft Colony 👀". Curate LA.
  21. ^ "3. INNER STATES". www.stcharlesprojects.com. Retrieved 2019-04-11.
  22. ^ "Fragile".
  23. ^ "PopRally Presents Rachel Kaadzi Ghansah: A Woman's Work | MoMA". The Museum of Modern Art.
  24. ^ "Affect network territory a performance of syllogisms in motion". humanresourcesla.com. Retrieved 2019-04-11.
  25. ^ "Art & Feminism // 5 Berlin Artists Who Happen to Be Feminists". Berlin Art Link. 5 June 2015. Retrieved 2019-04-11.
  26. ^ "Kandis Williams | paralysis II (2014) | Artsy". www.artsy.net.
  27. ^ "NOTEMPLE | THE BREEDER". Retrieved 2019-04-11.
  28. ^ a b Vankin, Deborah (2021-07-15). "Hammer Museum's $100,000 Mohn Award goes to Kandis Williams". Los Angeles Times. Retrieved 2021-07-19.
  29. ^ a b c Marine, Brooke (September 2, 2020). "Cassandra Press Redefines the Way Black Critical Theory Is Taught". W Magazine. Retrieved 2021-07-19.


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