Seeing Through Stone: Sonny Trujillo’s Voice from Within
Remy Francisco, October 25, 2024 At 63 years old, Sonny Trujillo stands upon a collapsed prison surveillance tower. He paces five steps...
Hayes’ work is concerned with developing new representational strategies that interrogate the present political moment as a moment that reaches simultaneously backward and forward; a moment that is never wholly its own but rather one that is full of multiple past moments and the speculations of multiple futures. From this ground, Hayes addresses political events or movements from the 1960s through the 1990s. Her focus on the sphere of the near-past is influenced by the potent imbrication of private and public urgencies that she experienced in her foundational encounters with feminism and AIDS activism.
Fraser has created performances for the New Museum, New York (1986); Philadelphia Museum of Art, Philadelphia (1989); Wadsworth Atheneum, Hartford (1991); inSITE, San Diego/Tijuana (1997); the MICA Foundation, New York (2001); and West of Rome for Pacific Standard Time, Los Angeles (2012). She has performed at Whitechapel Gallery, London, United Kingdom; Dia Art Foundation, New York; The Museum of Modern Art, Vienna, Austria; The Museum of Contemporary Art, Los Angeles; Centre Pompidou, Paris, France; The Museum of Modern Art, New York; Museum Ludwig, Cologne, Germany; and Volksbuehne, Berlin, Germany, among other venues. Fraser has created projects and installations for the Berkeley Art Museum and Pacific Film Archive, Berkeley (1992); Kunstverein Munich, Munich, Germany (1993); the Venice Biennale, Venice, Italy (Austrian Pavilion, 1993); the Whitney Biennial, New York (1993 and 2012); Generali Foundation, Vienna, Austria (1995); Kunsthalle Bern, Bern, Switzerland (1998); Sprengel Museum, Hanover, Germany (1998); the Bienal de São Paulo, São Paulo, Brazil (1998); Steirischer Herbst, Graz, Austria (2010); and Schindler House, Los Angeles (2014). Retrospectives of her work have been presented by Museum Ludwig, Cologne, Germany (2013); Museum der Moderne Salzburg, Salzburg, Austria (2015); Museu d’Art Contemporani de Barcelona, Barcelona, Spain (2016); and Museo Universitario Arte Contemporáneo, Mexico City, Mexico (2016).
Fraser was a founding member of the feminist performance group The V-Girls (1986-1996), who presented panel-like performances at galleries, museums, and universities; the project-based artist initiative Parasite (1997-1998); the cooperative art gallery Orchard (2005-2008); and was co-organizer of the “working-group exhibition” Services (1994- 2001). She has served on the board of Working Artists and the Greater Economy (W.A.G.E.) since 2013.
Fraser’s essays and performance scripts have appeared in Art in America, Artforum, October, Grey Room, Texte zur Kunst and Adbusters, among other publications. Her books include A Society of Taste (Kunstverein München, 1993); Report (EA-Generali Foundation, 1995); Andrea Fraser: Works 1984-2003 (Dumont, 2003); Museum Highlights: The Writings of Andrea Fraser (MIT Press, 2005); Texts, Scripts, Transcripts (Museum Ludwig, 2013); Andrea Fraser (Cantz, 2015) and Andrea Fraser: de la crítica institutional a la institutión de la crítica (Siglo Veintiuno Editores, 2016).
Fraser was the recipient of a National Endowment for the Arts Visual Arts Fellowship (1991); an Anonymous Was A Woman Fellowship (2012); the Wolfgang Hahn Prize (2013); and the Oskar Kokoschka Prize (2016). Fraser is chair of the Department of Art at the University of California Los Angeles, and a visiting faculty member at the Whitney Museum of American Art Independent Study Program.
