Candice Lin

Candice Lin (born 1979) is an interdisciplinary artist who works in installation, sculpture, drawing, ceramics, and video. Her work is multi-sensorial and often includes living and organic materials and processes.[1]

Lin lives and works in Los Angeles, California. She is co-founder and co-director of the artist-run collective and space Monte Vista Projects[2][3] and is an assistant professor in the Department of Art at the UCLA School of Arts and Architecture.[4]

Early life

Lin was born in Concord, Massachusetts in 1979. She graduated from Brown University in 2001, where she received a dual BA in Visual Arts and Art Semiotics.[5] She then attended and graduated from San Francisco Art Institute in 2004, where she received an MFA in New Genres.[6]

Work

Lin is known for her ethnographic approach to art-making alongside crude fantasy scenes.[7] A strong interest in the history of slavery and the cultural implications of colonialism informs her work.[8][9] The post-colonial critique behind Lin's work can be seen in her piece, Dildos (Corn Hill, Queen Victoria, Bird in Space) (2012) first shown at a solo show at Francois Ghebaly Gallery.[10] Here, dildos encased in bell jars are made from molds of corn and are either pink, white, or black—hyperbolic "skin tones."[11]

The list of materials in Lin's work is extensive. One piece, as described by art critic Michael Ned Holte, includes "cochineal (a prized red dye made from crushed insects), poppy seeds, metal castings, water, tea, sugar, a copper still, a hot plate, ceramic vessels, a mortar and pestle, mud from the Thames, and something called a 'microbial mud battery.'"[12] These materials often are multi-sensorial and intangible. In 2017, Lin collaborated with artist Patrick Staff to create the piece Hormonal Fog, a smoke machine that pumped testosterone-lowering, plant-based tinctures into the gallery space.[13]

Lin uses a variety of fluids, like tea, collected and distilled urine, and moisture.[14] These fluids, as Holte suggests, "perform a 'wet potential' to seep into and erode the stabilizing forces and categorical imperatives that define a colonialist imaginary, one that shamefully continues into the present."[12]

Recently, Lin has been characterized as one of the most radical artists in terms of the deconstruction of androcentric images of the female body. 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.)" [15]

Exhibitions

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[16] show at Gasworks Gallery in London was reviewed in Art in America.[17] Lin also participated in a residency at the Headlands Center for the Arts.[18]

In 2017 Lin was included in Trigger: Gender as a Tool and a Weapon at the New Museum.[19] The show, which featured the work of over 40 artists, was the largest show to date at a major museum dealing with the theme of gender fluidity.[20] Lin's collaboration with artist Patrick Staff, Hormonal Fog, was displayed and pumped into the museum's lobby.[13]

In 2017 Lin was included in The Sharjah Biennial 13: Upon a Shifting Plate.[21]

In 2018 Lin was included in Made in L.A. 2018 at the Hammer Museum.[22]

In 2018 Lin had her first solo exhibition in Chicago, A Hard White Body, a Porous Slip, at Logan Center Exhibitions.[23] One installation incorporated biographical references to writer James Baldwin and French botanist Jeanne Baret.[24]

References
  1. "UCLA Department of Art | Faculty". www.art.ucla.edu. Retrieved 2020-04-02.
  2. "Current". MONTE VISTA PROJECTS. Retrieved 2018-02-24.
  3. "Anne Ellegood, Jack Halberstam, Candice Lin & Jenni Sorkin | Hammer Museum". hammer.ucla.edu. Retrieved 2020-04-02.
  4. "UCLA Arts: School of the Arts and Architecture". UCLA Arts: School of the Arts and Architecture. Retrieved 2019-03-19.
  5. Avant, Tricia (2015-08-25). "Candice Lin | Martine Syms Art Exhibition Reception". Pomona College.
  6. Steffen, Patrick (June 2013). "Candice Lin". Flash Art.
  7. Steffen, Patrick (May 2013). "Candice Lin". Flash International. 46 (290): 133 – via Art & Architecture Source.
  8. Florian, Federico (February 1, 2017). "Candice Lin". Art in America. 105: 108–109.
  9. Cheng, Anne Anlin (9 Jan 2020). "Yellow Skin, White Gold". Asia Art Archive, IDEAS Journal.
  10. Mizota, Sharon (October 15, 2012). "Review: Candice Lin's unsettling take on contemporary society". Los Angeles Times.
  11. Diehl, Travis (December 2012). "Reviews: Candice Lin" (PDF). Art Forum. 51 (4): 285–286. Archived from the original (PDF) on 2014-02-09.
  12. Holte, Michael Ned (Nov 2018). "Openings: Candice Lin". Artforum. 57.
  13. Sheets, Hilarie M. (2017-09-15). "Gender-Fluid Artists Come Out of the Gray Zone". The New York Times. ISSN 0362-4331. Retrieved 2019-03-19.
  14. "Cochineal, Tobacco and Piss: Candice Lin •". Mousse Magazine (in Italian). 2019-06-06. Retrieved 2020-04-03.
  15. 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. https://dx.doi.org/10.25025/ hart03.2018.04
  16. "Exhibitions | Gasworks". www.gasworks.org.uk. Retrieved 2018-02-24.
  17. "Candice Lin - Art in America". Art in America. Retrieved 2018-02-24.
  18. "Candice Lin - Headlands Center for the Arts". Headlands Center for the Arts. Retrieved 2018-02-24.
  19. "Trigger: Gender as a Tool and a Weapon". www.newmuseum.org. Retrieved 2018-02-24.
  20. Sheets, Hilarie M. (2017-09-15). "Gender-Fluid Artists Come Out of the Gray Zone". The New York Times. ISSN 0362-4331. Retrieved 2019-03-19.
  21. "Sharjah Art Foundation". sharjahart.org. Retrieved 2018-02-24.
  22. "Candice Lin - Hammer Museum". The Hammer Museum. Retrieved 2018-02-24.
  23. "Candice Lin: A Hard White Body, a Porous Slip | UChicago Arts | The University of Chicago". arts.uchicago.edu. Retrieved 2019-03-19.
  24. Draganova, Viktoria (April 2018). "CANDICE LIN". Frieze. 194: 152.
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