Jan Albers, Fiona Banner, Uta Barth, Fiona Connor, Petra Cortright, Judy Ledgerwood, Philippe Parreno, Diana Thater & Rirkrit Tiravanija
9 July - 29 July 2017
2 June – 2 July 2016
Fiona Connor, Kirsten Everberg, Jorge Mendez Blake, Pae White & Paul Winstanley
Jan Albers, John Baldessari, Fiona Banner, Fiona Connor, Kirsten Everberg, Jorge Mendez Blake, Liliana Moro, Jorge Pardo, Jessica Stockholder, SUPERFLEX, Kerry Tribe, Rirkrit Tiravanija, Paul Winstanley & Pae White
Re/Production
12 July - 2 August , 2014
Jan Albers
Fiona Banner
Fiona Connor
SUPERFLEX
Pae White
Fiona Connor (b. 1981, Auckland, New Zealand) completed her bachelor’s degree in fine arts at the University of Auckland and received an MFA from the California Institute of the Arts in 2011. Connor’s practice exists at the intersection of architecture, sculpture and installation. By re-contextualizing objects and structures through painstakingly crafted replicas, Connor challenges viewer’s preconceived notions of how art should be experienced. Connor thereby often approaches the gallery or museum as a subject matter itself, exploring what she has referred to as a ‘phenomenological relationship with architecture’. On the occasion of the Made in L.A. 2012 Biennial, for example, Connor replicated the first few steps of the marble stairway in the Hammer Museum, Los Angeles. As she has stated,“I may not know anything about you. But what we have in common is this room. And what everyone in this room has in common is this room”.
In her last exhibition at 1301PE, ‘Community Notice Boards'; the artist re-created a cross section of bulletin boards sourced from public spaces throughout the city - meticulously screenprinting or UV printing the faded flyers and scrappy ephemera on aluminum sheets rather than photocopying them on paper. Frozen at the moment Connor turned the notice boards into art, the works present micro-histories of communities between 2014 and 2015. Documenting the obsolescence of the bulletin board, these works address the influence of Internet technologies on new modes of communication.
Connor's work has been shown in numerous group exhibitions including, amongst others, Made in L.A., Hammer Museum, Los Angeles, California (2014 and 2012); the 13th Istanbul Biennial (2013); LAXART, Los Angeles, California (2011); Australian Centre for Contemporary Art, Melbourne, Australia (2010). Connor completed her MFA at CalArts and is a 2011 recipient of the Chartwell Trust Award for Patronage and a 2010 finalist for the Walters Prize.
Bringing together the work of 60 artists from in and around Los Angeles--many of them emerging or under-recognized--this collection of paintings, sculpture, installations, and stills from video and performance art offers a snapshot of the current trends and practices coming out of one of the world's most active and energetic art communities.
Publisher: Hammer Museum / DelMonico Books
ISBN: 9783791352312
Fiona Connor
+1 310 951 9459
The essays in this book address a number of vital, recurring concerns in Fiona Connor’s sculptural practice: the social life and psychological life of the object, the politics of camouflage and mimesis, and the ethics and aesthetics of the built environment. Crucially, this volume also works the folds of that practice, to give visibility to the artist’s collaborative activities and productive affiliations. Published by June 20th.
ISBN 978-0-473-49434-6
This perversity of proximity is understated, but prevalent in works by Fiona Connor, who also organized the show. In her Ma #1 (Bedroom window of John McLaughlin at his home in Dana Point) and Ma #2 (Bedroom window of John McLaughlin at his home in Dana Point)(both 2016) Connor inlays fragments of the titular painter’s former Southern California home in the walls of the gallery. These literal intrusions of context into the space of the exhibition complicate the internal harmonies of the abstract McLaughlin artwork they face, #13, 1964, a nearly symmetrical, black-and-white, geometric oil painting.
Ma
December 10 - January 14
Chateau Shatto
406 W Pico Blvd, Los Angeles, CA 90015
Ma is an exhibition curated by Fiona Connor at Château Shatto, sprung from the artist's encounters with the photographic archives of Frank J. Thomas.
For Ma, Connor has composed a group of works that she understands as being nourished by similar concerns that she first responded to in Frank J. Thomas' photographs, more specifically his documentation of the paintings of John McLaughlin. Ma includes works by Judy Fiskin, Sydney de Jong, John McLaughlin, Frank J. Thomas, Audrey Wollen, Bedros Yeretzian and Fiona Connor. The exhibition design has been undertaken by Sebastian Clough.
Ma is the culmination of a series of projects by Connor including a display case at the Auckland Art Gallery, a lecture at Elam School of Fine Arts at University of Auckland and an exhibition at Minerva in Sydney, Australia. This exhibition takes Connor's research back to Los Angeles, where it began.
Fiona Connor, Sydney de Jong, Audrey Wollen at Minerva by Claudia Arozqueta
Minerva
4/111 Macleay Street, Potts Point
October 29–December 10
Three artists whose work seems both conceptually and materially dissimilar and five press releases with different interpretations can be found here, though the title of Fiona Connor's All the Doors in the Walls, 2016, is to be taken literally. Each door in the gallery was stripped of its function; they no longer serve as mediators or passages from one place to another but as static objects of art, disposed toward admiration for their simplicity.
Fiona Connor
Brick, Cane and Paint
12 November - 22 December 2016
For Brick, Cane and Paint, Connor presents work from three new notice board projects (quoted from three sites: a brick plant and a cane factory in Los Angeles, and a weavers guild in Auckland) alongside a new series titled Insert (Chopping Board).
Where previously Connor's work has focused on bulletin boards from public spaces (such as city parks, libraries, community centres etc.), the sculptures in Brick, Cane and Paint represent activity at specific sites of production, with content generated by a fixed group of individuals. Notice Board (Pacific Clay), the set of six boards in the small and large galleries at Hopkinson Mossman, are quoted from Pacific Clay; a brick plant frequented by the artist. The Pacific Clay boards are punctuated by a single piece from the Handweavers and Spinners Guild in Mt Eden (a community organization close to the artist's childhood home), and the boards that hang in the gallery's office spaces are from Cane and Basket Supply, a workshop near the artist's Los Angeles studio.
Fiona Connor, Canyon School, 2016, ink on paper, 10 x 14 inches
Click here to bid on the work.
All benefits go to the Canyon Charter School in Santa Monica. The auction concludes on April 24th at the Canyon's Fiesta and Auction, 11am - 4pm.
Fiona Connor
On What Remains, Part One
Lisa Cooley, New York
June 26 - August 21, 2015
Lisa Cooley is pleased to present On What Remains, Part One, the first of a two part solo exhibition with the gallery by Fiona Connor. This is the artist's first solo exhibition in New York, following her Newspaper Reading Club, New York Poster Project presented in collaboration with Michala Paludan as an offsite project with Lisa Cooley in October 2014.