Fawn Krieger
Fawn Krieger (born May 8, 1975) is an American interdisciplinary artist who creates discrete sculptures and immersive multi-media environments individually and sometimes in collaboration with other artists and performers, including Neal Medlyn,[1] Tracy + the Plastics,[2] Edwin Torres,[3] and Anna Oxygen.
Often working with a mix of industrial and domestic materials, video and performance, Krieger’s work deals with actions around touch, memory, rupture, and transference as grounds for recovery and re-imagination. Sourcing histories and systems of communal values within material culture, Krieger’s work functions as speculative object-theatres and artifacts, recording corporeal and tactile impressions of social impact, exchange, and revolution.
Krieger’s work has been commissioned and installed at numerous venues, including The Kitchen,[4] Art in General,[5] Nice & Fit Gallery, The Moore Space, Von Lintel Gallery, Galerie West,[6] Soloway Gallery,[7] Rose Art Museum at Brandeis University,[8] Portland Institute for Contemporary Art,[9] Human Resources Los Angeles,[10] Fleisher-Ollman Gallery,[11] and Lambretto ArtProject[12]
Krieger was born in Port Jefferson, NY, and currently lives in New York City. She received a Bachelor of Fine Arts from Parsons School of Design, and a Master of Fine Arts from Bard College’s Milton Avery Graduate School of the Arts.[13] Krieger's work has been written about in The New York Times,[14] Sculpture Magazine,[15] Artforum,[16] Art in America,[17] BOMB,[18] as well as The Brooklyn Rail,[19] and she is the recipient of a Louis Comfort Tiffany Foundation Award,[20] an Art Matters Foundation Grant,[21] and a Jerome Foundation grant.[22] Krieger has taught in the art departments of Virginia Commonwealth University[23] and Adelphi University.
Publications
Krieger, Fawn (2009). COMPANY (Vol. XV ed.). New York: Art In General. p. 192. ISBN 1934890154.
Torres, Edwin (2019). The Body in Language. Counterpath Press. p. 360. ISBN 1933996722.
Boris, Staci (2008). The New Authentics. Spertus. ISBN 0935982655.
References
- Dillon, Noah (October 22, 2013). "Art Matters: Two Artists, a Chevy Astro Van and a Statue of Michael Jackson". No. T Magazine. The New York Times.
- "Tracy + the Plastics and Fawn Krieger: ROOM". The Kitchen.
- "Edwin Torres & Fawn Krieger, Ernesto Gomez, Sean Meehan / "Futopo" by Edwin Torres". The Poetry Project.
- Tan, Lumi. "Matter Out of Place". The Kitchen.
- Hernández Chong Cuy, Sofía (August 8, 2008). "A special kind of COMPANY".
- "Exhibitions: "Autonomy Exchange Archive" at West den Haag". Mousse Magazine. May 2014.
- Ballard, Thea (February 2016). "On Our Radar: Fawn Krieger". Modern Painters.
- Artner, Alan G. (December 6, 2007). "New exhibit gives modern focus to Spertus tradition". Chicago Tribune.
- "Fawn Krieger". Portland Institute for Contemporary Art.
- Tuck, Geoff (September 16, 2011). "Notes on Looking: Contemporary Art from Los Angeles" (PDF). Mother's Tankstation Limited.
- Newhall, Edith (March 11, 2012). "Galleries: A wide-ranging celebration of 2d-wave feminism". The Philadelphia Inquirer.
- Tagliafierro, Marco (September 17, 2009). "Critics' Picks: Milan". Artforum.
- "Fawn Krieger". Milton Avery Graduate School of the Arts. Bard College.
- Heinrich, Will (January 22, 2021). "3 Art Gallery Shows to See Right Now". The New York Times.
- Arfiero, Michela (April 25, 2019). "Fawn Krieger". No. March - April 2019. Sculpture Magazine.
- Mandanici, Sabrina (February 2, 2021). "Critics' Picks: New York". Artforum.
- Miller, Leigh Anne. "Tracy + The Plastics with Fawn Krieger at The Kitchen". No. June/July 2005. Art in America.
- Katchadourian, Nina (February 3, 2021). "The Bakery". BOMB.
- Mosfuco, Michela (February 7, 2018). "To Signify Dreams on the Surface of the Body". The Brooklyn Rail.
- "Louis Comfort Tiffany Foundation Announces Recipients of 2019 Biennial Grants". ArtfixDaily. May 12, 2020.
- "Fawn Krieger". Art Matters.
- "Fawn Krieger". Jerome Foundation.
- Carrigan, Margaret (August 29, 2017). "The 15 Top Art Schools in the United States". Artsy.