To create his massive assemblages, the 28-year-old artist gathers discarded materials from his local surroundings; think window shutters or a pair of Nike Air Force 1s.
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With group exhibitions at Danziger Gallery and Printed Matter, a solo show at Long Island City’s Deli Gallery, and a debut at NADA Miami under his belt, Edmonds is poised to have a big year in 2017.
It begins with “tête-á-tête,” a group show curated by Thomas that is up through late January at Miami’s David Castillo Gallery.
It will afford K a solo show at Berlin’s KW Institute of Contemporary Art opening in June of next year.
He has also been selected for inclusion in Adam Szymczyk’s Documenta 14, which takes place in Athens, Greece, in addition to its traditional home of Kassel, Germany, in 2017.
2017 looks bright for Schneider, who will appear in a group show at Antenna Space, Shanghai in March, a sculpture commission for High Line Art in April, The Garden Triennial at ARo S Aarhus Art Museum in June, and a solo show at Jenny’s in Los Angeles in November.
Saint Louis native and Yale MFA grad Fowler set up a studio last year in an East Harlem basement after his landlords fell in love with his work.
In 2017, Fowler will be immersing himself in a new body of work from his studios in Los Angeles and Harlem.2016 was a decisive year for Bašić.
In the past four months alone, the Serbian, New York-based artist has mounted both her first gallery solo show, at London’s Annka Kultys, and her first installation at a world-renowned museum, in the Whitney’s much-anticipated group exhibition of innovative film and video, “Dreamlands.” The Whitney presentation puts Bašić’s work alongside the likes of Trisha Baga, Ian Cheng, Joseph Cornell, Pierre Huyghe, and Hito Steyerl.
One of his most striking works to date, He Was (2015), is an altar-like installation created in homage to Ferguson police shooting victim Michael Brown and his mother, Lesley Mc Spadden.
Fowler’s solo booth with Diane Rosenstein was a showstopper at UNTITLED, Miami Beach, as was his work at the Rubell Family Collection.
Though Thomas thought she’d finalized the list for the show, upon seeing Edmonds’s photographs at an exhibition in Bushwick, she carved a space for his work.