Sadie Benning

News

Sadie Benning, Leidy Churchman at the New Museum

Sadie Benning, Leidy Churchman at the New Museum

27 September 2017 to 21 January 2018

Included in group exhibtion Trigger: Gender as a Tool and a Weapon at the New Museum, NYC, NY.

The New Museum has been committed to urgent ideas since its inception, devoting many exhibitions and programs over the years to issues of representation with regard to gender and sexuality: “Extended Sensibilities” (1982), “Difference” (1984–85), “Homo Video” (1986–87), and “Bad Girls” (1994) are just four notable examples. Following in this tradition, and in the Museum’s 40th anniversary year, “Trigger” extends the conversation around identity, considering how even a fluid conception of gender is nonetheless marked by ongoing negotiations of power and cannot be understood outside its complex intersections with race, class, sexuality, and disability. The exhibition’s title, “Trigger,” takes into account that word’s range of meanings, variously problematic and potent; the term evokes both traumatic recall and mechanisms that, set into motion, are capable of igniting radical change...

Sadie Benning at the Kunsthalle Basel

Sadie Benning at the Kunsthalle Basel

10 February to 30 April 2017

Solo exhibition Shared Eye at the Kunsthalle Basel, Basel, Switzerland.

Sadie Benning (born 1973, USA) shows a group of new works, somewhere between sculpture, painting and photography. Each work consists of colorful plastic, re-drawn digital photos, found images, objects, shelf-like projections and painted elements, reflecting American politics, immediate experiences, and the poetics of everyday life.

Shared Eye is organized in collaboration with The Renaissance Society, Chicago, Illinois.

Sadie Benning at The Renaissance Society of the University of Chicago

Sadie Benning at The Renaissance Society of the University of Chicago

19 November 2016 to 22 January 2017

Solo exhibition Shared Eye at The Renaissance Society of the University of Chicago, Chicago, Illinois.

The Renaissance Society presents Shared Eye, a new installation by artist Sadie Benning. In this series of mixed-media panels, images are layered and interpolated, suggesting the complexities of representation inherent in visual communications...

Sadie Benning at Kaufmann Repetto

Sadie Benning at Kaufmann Repetto

22 September to 10 November 2016

Solo exhibition “Excuse Me Ma’am” at Kaufmann Repetto, Milan, Italy.

Sadie Benning started making experimental videos as a teenager in 1988. The low-fi, black and white videos explored aspects of identity, language and memory. Improvising with materials that were immediately available at the time, Benning fragmentally constructed moving images from found objects, drawings, text, performance and personally shot footage. The form, content and poetics explored in the earlier video works has expanded over the past two decades, continuing to wrestle with evolving political, conceptual and material questions...

Sadie Benning at Air De Paris

Sadie Benning at Air De Paris

17 September to 29 October 2016

Solo exhibition L'oeil de l'esprit at Air De Paris, Paris, France.

Sadie Benning in The Brooklyn Rail

Sadie Benning in The Brooklyn Rail

3 June 2016

Review by Tom McGlynn of solo exhibition Green God at Mary Boone Gallery and Callicoon Fine Arts, NYC, NY, in The Brooklyn Rail online.

The first time I saw a grouping of Sadie Benning’s more recent paintings was at the Greater New York show at PS1 in 2015 – 16. Seen from afar they read loosely as geometric abstractions, residing formally somewhere between Mary Heilmann’s deadpan blocks of color and connective tissue, and brightly patterned, mid-20th century Naugahyde upholstery. Yet there was something quite different and unique about these works. Up close one could discern their jigsaw-like fabrication with each aqua resin and wood section carefully sanded to round each edge. Due in part to their asymmetry, these sections, painted in semi-gloss or matte colors, pulse gently together with a subtle, claylike vibration. Given the fairly reductive forms of these paintings, it was a surprise to discover a pictographic figuration popping up and boldly inhabiting the works at the artist’s concurrent shows at Callicoon Fine Arts and Mary Boone Gallery...

Sadie Benning in W MAGAZINE

Sadie Benning in W MAGAZINE

13 May 2016

Interview with Diane Solway in W Magazine online, Transgender Artist Sadie Benning Is Not Afraid.

Sadie Benning began making videos at age 15, using the PixelVision toy camera the artist got for Christmas that year from Dad, a filmmaking teacher. On New Year’s Eve, Benning sat down in front of the camera for the first time, prompted by the events of a terrible night during which a friend was hit by a drunk driver and Benning witnessed a drive-by shooting while walking home from the hospital...

Sadie Benning in BOMB Magazine

Sadie Benning in BOMB Magazine

March 2016

Interview with Lia Gangitano in BOMB Magazine.

If Minimal Art was a response to the implicit power relations that surrounded art production in the '60s—against which practitioners of Minimalism, Conceptualism, and Institutional Critique sought to delineate their work—Sadie Benning has analogously sought to depart from a reliance on the self-obsolescing, corporate tools associated with video (equipment, technology, manufacturing), instead exploring the handmade through materials that maintain a longer, more independent history. Benning's at times geometric, at times figurative-leaning, work in painting and sculpture represents a parallel to visual and auditory storytelling through video and music. It posits an engagement with abstraction as a performance-based exchange, in both its production and reception...

Sadie Benning at the Museum Brandhorst

Sadie Benning at the Museum Brandhorst

14 November 2015 to 30 April 2016

Included in group exhibition Painting 2.0: Expression in the Information Age at the Museum Brandhorst, Munich, Germany.

‘Painting 2.0: Expression in the Information Age’ will be the first exhibition to tell the story of painting’s adaptation, absorption and transformation of information technologies in Western Europe and the United States since the 1960s. Its historical starting point in Pop Art and Nouveau Réalisme’s programmatic appropriation and re-contextualization of commercial imagery precedes the advent of digitalization and the Internet by some thirty years. Painting’s capacity to absorb and transform other media became explicit at the same moment as its legitimacy was fundamentally challenged by cultural forms of mediation which Guy Debord theorizes in his influential critique as ‘The Society of the Spectacle’ (1967)...

Sadie Benning at MoMA PS1

Sadie Benning at MoMA PS1

11 October 2015 to 7 March 2016

Included in group exhibition Greater New York at MoMA PS1, Long Island City, New York.

MoMA PS1 presents the fourth iteration of its landmark exhibition series, begun as a collaboration with The Museum of Modern Art in 2000. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Greater New York arrives in a city and art community that has changed significantly since the first version of the survey. With the rise of a robust commercial art market and the proliferation of art fairs, opportunities for younger artists in the city have grown alongside a burgeoning interest in artists who may have been overlooked in the art histories of their time...

Sadie Benning at Susanne Vielmetter Los Angeles Projects

Sadie Benning at Susanne Vielmetter Los Angeles Projects

10 January to 14 February 2015

Solo exhibition Fuzzy Math at Susanne Vielmetter Los Angeles Projects, Los Angeles, California.

Susanne Vielmetter Los Angeles Projects is pleased to announce our first solo exhibition with New York based artist, Sadie Benning, "Fuzzy Math," in all four gallery spaces. This new body of work marks our contemporary cultural moment; the genesis of a traumatic event and its aftershocks.

"Fuzzy Math," a phrase borrowed from set theory, has become a popular phrase in politics over the last fifteen years. Classical set theory operates on a binary function: either an element is included or not included in the set. The fuzzification of mathematics can be dated to the 1965 publication of Lotfi Asker Zadehs influential work "Fuzzy Sets". In the ensuing decades, this new set of operations expanded algebraic functions to account for uncertainty or incomplete information. In fuzzy math, elements are ambiguous and can exist in a state of becoming a part of a set. This math has been used to develop the truthy justifications and denials for events ranging from wars in the Middle East, global warming, speculative sub-prime mortgages, and election results. Benning's new body of work is a meta-examination of the anxiety produced by the fall-out of these fuzzy ideologies, the radically new world that they have created, and the many repercussions of making decisions based on incomplete information that are only beginning to come to light...