Kevin Beasley
Kevin Beasley (b. 1985, Lynchburg, Virginia) is an American artist currently based in New York. He received a BFA in painting and sculpture from the College of Creative Studies in Detroit, Michigan and an MFA in sculpture from Yale University in New Haven, Connecticut. Beasley is celebrated for his work in sculpture, photography, sound, and performance, as well as his unique appropriation of found objects. Personal ephemera, from articles of clothing to tools found in the studio, are employed by Beasley to navigate the visual language between sculpture, architecture and our bodies, challenging preexisting boundaries. Accessing personal experience and larger cultural histories, Beasley’s work seeks to create sensorial experiences.
Beasley has held solo exhibitions at the Whitney Museum of American Art, New York, NY (2018); The Institute of Contemporary Art, Boston, MA (2018); the Hammer Museum, Los Angeles, CA (2017); and The Studio Museum in Harlem, Morningside Park, NY (2016). His work has been included in exhibitions at institutional venues such as The San Francisco Museum of Modern Art, San Francisco, CA (2018 and 2016); The Albright Knox Gallery, Buffalo, NY (2018); The Renaissance Society at the University of Chicago, Chicago, IL (2016); The Solomon R. Guggenheim Museum, New York, NY (2015); MoMA PS1, Long Island City, NY (2015); The Art Gallery of Ontario, Toronto (2015); The 2014 Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); the Seoul Museum of Art, Seoul (2014); and The Museum of Modern Art, New York (2014). His work is held in the permanent collections of The Albright-Knox Art Gallery, Buffalo, NY; Art Gallery of Ontario, Toronto; Dallas Museum of Art, Dallas, TX; Hammer Museum, Los Angeles, CA; Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, UK; The San Francisco Museum of Modern Art, San Francisco, CA; and The Studio Museum in Harlem, New York, NY.
I’m thinking of the breath, of the comma. In the title of Kevin Beasley’s exhibition, a comma interrupts the clause “a body revealed” like a fulcrum, delays the revelation, and creates two ideas out of one, aiming them away from each other. “A body” becomes the end of some unknown, unseen phrase; “revealed” begins another. Somewhere between the two, on the precipice of meaning, some body is still its own, and unseen.
Read More...