Candice Lin

Candice Lin (born 1979) is an American sculpture and installation artist. Candice Lin lives and works in Los Angeles, California. She is a co-founder and co-director of the artist space Monte Vista Projects.[1]

Early life

Born in Concord, Massachusetts (1979) Lin graduated from Brown University (2001) while receiving her double BA in Visual Arts and Art Semiotics.[2] She then attended San Francisco Art Institute for her MFA in New Genres (2004).[3]

Career

Lin is known for her ethnographic approach to art-making alongside crude fantasy scenes. 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.[4] Here, dildos encased in bell jars are made from molds of corn and are either pink, white, or black-hyperbolic "skin tones".[5]

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"[6] show at Gasworks Gallery in London was reviewed in Art in America.[7] Lin also participated in a residency at the Headlands Center for the Arts.[8]

In 2017 Lin was included in "Trigger: Gender as a Tool and a Weapon" at the New Museum,[9] The Sharjah Biennial 13: Upon a Shifting Plate.[10]

In 2018 Lin will be included in the upcoming "Made in L.A. 2018" exhibition at the Hammer Museum.[11]

Recently, Lin has been characterized as one of the most radical artists in terms of the deconstruction of androcentric images of female genitalia. 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.)" [12]

References

  1. ↑ "Current". MONTE VISTA PROJECTS. Retrieved 2018-02-24.
  2. ↑ Avant, Tricia. "Candice Lin | Martine Syms Art Exhibition Reception". Pomona College.
  3. ↑ Steffen, Patrick (June 2013). "Candice Lin". Flash Art.
  4. ↑ Mizota, Sharon (October 15, 2012). "Review: Candice Lin's unsettling take on contemporary society". Los Angeles Times.
  5. ↑ Diehl, Travis (December 2012). "Reviews: Candice Lin" (PDF). Art Forum. 51 (4, ): 285–286.
  6. ↑ "Exhibitions | Gasworks". www.gasworks.org.uk. Retrieved 2018-02-24.
  7. ↑ "Candice Lin - Art in America". Art in America. Retrieved 2018-02-24.
  8. ↑ "Candice Lin - Headlands Center for the Arts". Headlands Center for the Arts. Retrieved 2018-02-24.
  9. ↑ "Trigger: Gender as a Tool and a Weapon". www.newmuseum.org. Retrieved 2018-02-24.
  10. ↑ "Sharjah Art Foundation". sharjahart.org. Retrieved 2018-02-24.
  11. ↑ "Candice Lin - Hammer Museum". The Hammer Museum. Retrieved 2018-02-24.
  12. ↑ 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. http://dx.doi.org/10.25025/ hart03.2018.04
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