Dana Buhl

Talia Chetrit (1982) lives in New York. Her work has been exhibited at The Whitney Museum of American Art, New York, NY; Palais de Tokyo, Paris; Sculpture Center, NY; LACMA, Los Angeles, CA; and the Museum of Contemporary Art, Miami; among others. Chetrit’s most recent solo exhibitions include a solo show at Kaufmann Repetto in Milan and in New York, NY, Parents at Off Vendome, New York, NY and I’m Selecting at Sies + Hoke, Dusseldorf, Germany. Her work has been written about and reviewed in numerous publications including Artforum, Art in America, Frieze Magazine, The New York Times, and The New Yorker.

Image: Index of the Disappeared: Parasitic Archive, vinyl cling, 66 x 35 inches, installed at NYU’s Kevorkian Center, 2014

Sascha Braunig (Born 1983, Qualicum Beach, BC, Canada) is an artist who currently lives and works in Brooklyn, NY. She holds a BFA from The Cooper Union, New York, and an MFA in painting from Yale University. Braunig’s works primarily manifest as paintings, drawings, and sculptures. Her illusory works combine vibrant colors and forms to create dream-like, hypnotic compositions. Repetition and patterning often merge the foreground with the background, where her subjects can float in and out of focus.

Braunig is a current resident at the Waltenas-Sharpe studios in DUMBO, Brooklyn. She is represented by Foxy Production in New York, and solo exhibitions include: Atlanta Contemporary, Atlanta, GA (upcoming 2017); MoMA PS1, New York (2016-2017); Kunsthall Stavanger, Norway (2016). Selected group exhibitions include: “Stranger,” Museum of Contemporary Art Cleveland, OH (2016); “Surround Audience: 2015 New Museum Triennial,” New Museum, New York, NY (2015); “A Top Hat, A Monocle, and A Butterfly,” Etablissement d’en face projects, Brussels, Belgium; “Animal/Vegetable/Mineral: The Artistʼs Guide to the World,” Florence Griswold Museum, CT; and “Surreal Selves,” Baltimore Museum of Art, Baltimore, MD (all 2013).

Working across video and performance, Wynne Greenwood explores constructions of the self, tracing how subjectivities are formed in public and private spaces and always in relation to others—be they imagined or real-life personae. Greenwood is widely known for her work as Tracy + the Plastics, in which she played all three parts in an all-girl band. As Tracy + the Plastics, Greenwood performed live as vocalist Tracy, accompanied by videos of herself portraying backup singers Nikki and Cola, and toured across the country from 1999 until the project’s end in 2006.

In 2015-16, Greenwood had a solo exhibition and residency at the New Museum, “Kelly,” for which she premiered the complete, recently re-performed and newly mastered archive of Tracy + the Plastics’ performances. Bringing this archive into dialogue with more recent work exploring the artist’s interest in what she has called “culture healing,” “Kelly” considered the poetics of the pause while mining electric gaps of meaning in conversation and offering possibilities for feminist, queer, and other experimental models of collaboration and dialogue.

Greenwood has exhibited, performed, and screened her work internationally including at the New Museum, New York; Participant, New York; Hayward Gallery, London; The Kitchen, New York; Susanne Vielmetter Berlin Projects, Berlin, Germany; Moscow Biennale of Contemporary Art, Moscow, Russia; Badischer Kunstverein, Karlsruhe, Germany; The Tate, London; Andy Warhol Museum, Pittsburgh, PA; Portland Institute of Contemporary Art, Portland, OR; and the Walker Art Center, Minneapolis, MN.

****Special timing: Lecture Starts at 7:40 pm****

Exploring the seduction, magic, and desperation of our hyper-capitalist, globally-connected reality, Mika Rottenberg’s elaborate visual narratives draw on cinematic and sculptural traditions to forge a new language––one that uses cause and effect structures to explore labor and globalization, economy and production of value, and how our own affective relationships are increasingly monetized. Through film, architectural installation, and sculpture, her work illuminates an interconnectedness between seemingly unrelated economies; collapsing geographies and narratives, Rottenberg weaves documentary elements with fiction into complex allegories for human conditions and global systems.

Rottenberg has exhibited her work internationally, including at the 2015 Venice Biennale, the 2008 Whitney Biennial; Palais de Tokyo, Paris; KW Institute for Contemporary Art, Berlin; San Francisco Museum of Modern Art; Tate Modern, London; the ICA Boston; Yokohama Museum of Art, Japan; and the Guggenheim Bilbao, Spain. Honors include fellowships at Sommerakademie im Zentrum Paul Klee, Bern (2011) and The Flaherty International Film Seminar (2010); awards from The Rema Hort Mann Foundation (2004) and The Cartier Award in conjunction with the Frieze Art Fair (2006). Her videos have been included in juried selections by Planete Doc Film Festival, Warsaw (2011) and CPH:DOX FIlm Festival, Copenhagen (2010).

Aliza Nisenbaum (b. 1977 Mexico City, Mexico) is a New York based artist. She is an assistant professor at Columbia University School of the Arts and has exhibited both in the United States and internationally. Recent exhibitions include Mary Mary, Glasgow, UK; White Columns, New York, NY;  and Lulu, Mexico City, Mexico. Her work was also included in the Biennial of the Americas, Museum of Contemporary Art, Denver, CO; the Rufino Tamayo Painting Biennial, Museo Rufino Tamayo, Mexico City, Mexico; Fondazione Querini Stampalia, Venice, Italy;  The Renaissance Society, Chicago, IL; and the Poor Farm, Manawa, WI. Her works will be included in the upcoming 2017 Whitney Biennial curated by Christopher Y. Lew and Mia Locks.

Chrissie Iles is the Anne and Joel Ehrenkranz curator at the Whitney Museum of American Art. Her exhibitions include co-curating the 2004 and 2006 Whitney Biennials, and curating major survey exhibitions of Marina Abramovic, Louise Bourgeois, Dan Graham, Donald Judd, Sol LeWitt and Yoko Ono. She also curated several group exhibitions including “Into the Light: The Projected Image in American Art 1964-1977″; “Scream and Scream Again: Film in Art”; and “Signs of the Times: Film, Video and Slide Installation and Britain in the 1980s.”  Chrissie’s most recent curatorial projects Dreamlands: Immersive Cinema and Art, 1905–2016, is currently on view at the Whitney.  Dreamlands focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image.

Dora Budor, born in 1984, is an artist originally from Croatia who currently lives & works in New York.  Budor’s work “focuses on Hollywood production methods and special effects” and “considers the representation of emotional and physical experience within the ideological subtexts of mainstream cinema” (Swiss Institute, 2015). She has participated in several solo exhibitions, including a self-titled show at Ramiken Crucible (2016);Spring at the Swiss Institute (2015); and Action Paintings at 247365 (2014).  Her work is included in the Dreamlands: Immersive Cinema and Art, 1905–2016 exhibition at the Whitney, curated by Chrissie Isles.