Rose Salane

Rose Salane (born 1992) is an American conceptual artist and curator.[1] She lives and works in New York City.[2][3][4][5][6][7]

Rose Salane
Born1992 (age 30–31)
Queens, New York City, New York, U.S.
Alma materCooper Union,
City College of New York
Occupation(s)conceptual artist, curator

Early life and education

Rose Salane was born in 1992 in Queens, New York City.[8] She is of Peruvian and Italian descent.[5] Salane graduated from LaGuardia High School.[8]

She received a BFA degree in 2014 from Cooper Union;[8][9] followed by a MA degree in 2019 in urban planning at the Bernard and Anne Spitzer School of Architecture, City College of New York.[10] She was a student of Michael Sorkin.[10]

Artistic practice

Salane is a conceptual artist who works in a spectrum of mediums, from sculpture to collage.[11][12] Her work has a research component that investigates the past, often excavating through personal and bureaucratic archives and collections to better understand peoples movement through an urban environment.[13][10]

Exhibitions

In 2016, Salane co-curated, with Dylan Kraus, a group show titled: ''TOO MUCH OF A GOOD THING'' presented at Basilica Hudson; the exhibition featured artists Antonia Kuo, William Stone, Donald Baechler, Dylan Kraus, Elizabeth Jaeger, Haley Josephs, Joey Palermo, Kayla Guthrie, Keegan McHargue, Lance De Los Reyes, Marwan Makki, Patrick Higgins, Rita Ackermann, Rose Salane, Ry Fyan, Tauba Auerbach, Vanessa Leiva Santos, Wade Oates.[1]

In 2019, Salane had a one person show at the MIT List Visual Arts Center.[11] In 2021, her project C21OWO was presented at The Hessel Museum, Bard.[14] Salane participated in the 2021 edition of the New Museum Triennial.[15] In 2022, Salane participated in the 2022 Whitney Biennial curated by Adrienne Edwards and David Breslin.[16][17][18]

References
  1. Nunes, Andrew (July 30, 2016). "Artists Flex Their Curating Chops in a Massive Warehouse Show". Vice. Retrieved 2022-05-27.
  2. "Watching New York City Take Shape at Windows on the World". The New Yorker. 2018-07-06. Retrieved 2022-03-19.
  3. "CURA. 37 After Language / Post Society OUT NOW". CURA. Retrieved 2022-04-07.
  4. "Marfa #17". magma-shop.com. Retrieved 2022-04-07.
  5. "Three emerging Latina artists trace the connection to the 'Radical Women' before them". Document Journal. 2018-05-25. Retrieved 2022-01-25.
  6. Furlong, Adriana (2021-05-04). "Rose Salane: C21OWO". The Brooklyn Rail. Retrieved 2022-04-07.
  7. "Rose Salane Illuminates Subjectivity in Systems". www.culturedmag.com. Retrieved 2022-04-07.
  8. "Energy Potential in Lost Objects: Rose Salane". Mousse Magazine and Publishing. Retrieved 2022-01-25.
  9. "The Collection | Rose Salane". The Cooper Union. Retrieved 2022-04-07.
  10. Ozer, Samantha (May 2022). "Faith, Place and Chance: Rose Salane's Lost Objects Fill in the Gaps of History". PinupMagazine.org. Retrieved 2022-05-27.
  11. Reynolds, Pamela (April 23, 2019). "At MIT, Rose Salane Unspools The Personal And The Political Like A Librarian". Wbur.org. Retrieved 2022-04-04.
  12. Mickleburgh, Elliot (May 10, 2018). "Rose Salane: All of the Events are True, But None of Them Happened". The Seen. Retrieved 2022-04-04.
  13. Palomino, Camila (Fall 2021). "Portrait: Rose Salane". Cura. 37: 265–268.
  14. Kelly, Brian P. (2022-04-04). "'Whitney Biennial 2022: Quiet as It's Kept' Review: A Staging That Mutes Its Merits". Wall Street Journal. ISSN 0099-9660. Retrieved 2022-04-07.
  15. "New Museum Triennial Announces Artists for 2021 Edition". www.artforum.com. Retrieved 2022-04-04.
  16. Kelly, Brian P. (2022-04-04). "'Whitney Biennial 2022: Quiet as It's Kept' Review: A Staging That Mutes Its Merits". Wall Street Journal. ISSN 0099-9660. Retrieved 2022-04-07.
  17. Schjeldahl, Peter (2022-04-01). "A Coherent and Bold Whitney Biennial". The New Yorker. Retrieved 2022-04-07.
  18. Mitter, Siddhartha (2022-01-25). "Whitney Biennial Picks 63 Artists to Take Stock of Now". The New York Times. ISSN 0362-4331. Retrieved 2022-01-25.
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