On View

Desert X Arrives in Coachella Valley, Bringing Art That Reflects on Ecology. See Images of the Show Here


The newest iteration of Desert X is all about water—which might come as a surprise, seeing as how there’s not much liquid of any kind to be found along the dusty stretch of land in south-central California where the biennial exhibition is installed through May 7.

But, for Neville Wakefield and Diana Campbell, the show’s two curators, “a desert is not defined by the absence of water.” To them, “the desert landscape is formed by the memory of water.”

As suggested by that quote, this year’s Desert X—the fourth mounted in the Coachella Valley since the program was founded in 2017—zooms out for a holistic, ecological perspective on the land and art’s place in it. This edition spreads out across the land and features the work of 10 artists and collectives, including Tschabalala Self, Torkwase Dyson, and Tyre Nichols, among others. 

“How do we connect the specificities of the Coachella Valley to the wider biosphere, where resources and energy… flow across borders and impact parts of the world we may never see?” Campbell asked in a recent interview

That’s a lofty prompt, as much of the curators’ ideas are. But navigate from one individual site-specific commission to the next, and it becomes clearer what the duo means.

Rana Begum, No.1225 Chainlink (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

A sculpture by the Bangladesh-born, London-based artist Rana Begum, for instance, is made almost entirely from chainlink fencing—a ubiquitous industrial material used to demarcate natural land as human property. The maze-like quality of Begum’s piece also suggests that it’s not just acreage these fences tend to divide.

In a funny way, Matt Johnson’s contribution to the show—a tenuous arrangement of stacked shipping containers—shares similar themes. On one hand, the L.A. artist’s gigantic installation situates the region in a globalist context and suggests connection across cultures, countries, and oceans; on the other, it points out that that sense of connection is mediated through commerce and comes with a devastating environmental toll.

Elsewhere in the valley is a larger-than-life game board, conceived by Gerald Clarke; an assemblage of reflective squares mounted atop the same electric motors used for mechanical bulls, made by Mario García Torres; and a readymade car sculpture from which a pair of giant animal arms emerges from its trunk, courtesy of Paloma Contreras Lomas. 

Together, these makers’ contributions “make visible, as instruments of self-awareness and devices of wonder, the forces that we exert on the world,” according to a catalog text from Wakefield. 

See more images from Desert X 2023 below. 

Lauren Bon, <i>The Smallest Sea with the Largest Heart</i> (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Lauren Bon, The Smallest Sea with the Largest Heart (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Torkwase Dyson, <i>Liquid A Place</i> (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Torkwase Dyson, Liquid A Place (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Gerald Clarke, <i>Immersion</i> (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Gerald Clarke, Immersion (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Mario García Torres, Searching for the Sky (While Maintaining Equilibrium) (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Tyre Nichols, <i>Originals</i> (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Tyre Nichols, Originals (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Hylozoic/Desires, Namak Nazar (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Paloma Contreras Lomas, Amar a Dios en Tierra de Indios, Es Oficio Maternal (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

Tschabalala Self, Pioneer (2023). Photo: Lance Gerber. Courtesy of the artist and Desert X.

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Four Artists Have Been Shortlisted for the Deutsche Börse Photography Prize. See How Their Works Unpack Themes of Identity and Power


Photographs tend to flatten—in multiple senses of the word—the subjects they depict. But do they have to?

The medium’s capacity for complex, multidimensional depiction is front of mind for Bieke Depoorter, Samuel Fosso, Arthur Jafa, and Frida Orupabo—the four artists nominated for this year’s prestigious Deutsche Börse Photography Foundation Prize 2023. Their work is on view now in a show at the Photographers’ Gallery in London.

Now in its 27th iteration, the annual £30,000 ($36,000) prize recognizes outstanding photographic artworks or exhibitions presented in the preceding year. The winner, who will be announced in a ceremony set for May 11, will join an impressive list of previous recipients, including Deana Lawson (who won in 2022), Susan Meiselas (2019), Trevor Paglen (2016), and Paul Graham (2009). This year’s runners-up will each receive £5,000 ($6,000).   

Depoorter, a Belgian artist whose work often probes the power dynamics between photographer and subject, was chosen for her 2022 show “A Chance Encounter” at C/O Berlin. Among the two projects she presented there was Michael (2015-present), an installation that explores the inner life of a man Depoorter met on the streets of Portland, Oregon in 2015.

Last year’s career-spanning survey of Fosso at the Maison Européenne de la Photographie in Paris qualified him for the Deutsche Börse prize. For five decades now, the influential African photographer has turned his camera on himself, donning elaborate costumes for coded self-portraits that reflect on the performance of identity. 

A series of piecework photo-sculptures represents the contributions of Orupabo, who was nominated for her exhibition “I have seen a million pictures of my face and still I have no idea” at Switzerland’s Fotomuseum Winterthur. Using imagery culled from both colonial archives and contemporary picture-sharing platforms, the Norwegian Nigerian artist creates collages of black female bodies that are both dense and fragmented. 

Jafa, who rounds out the group of shortlisted creators, similarly draws from disparate sources for his own library of pictures, though how that material manifests in his work varies widely. The American artist’s 2022 exhibition “Live Evil” at LUMA in Arles, France featured photographs, sculptures, and large-scale installations, as well as signature films like The White Album (2018).

Arthur Jafa, Bloods II (2020). © Arthur Jafa. Courtesy of the artist and Gladstone Gallery.

This year’s four shortlisted artists were selected by a jury of five industry experts: Anne-Marie Beckmann, director of the Deutsche Börse Photography Foundation; Natalie Herschdorfer, director of the Photo Elysee in Switzerland; Mahtab Hussain, an artist based in Britain; Thyago Nogueria, head of contemporary photography at the Instituto Moreira Salles in Brazil; and Brett Rogers, director of the Photographers’ Gallery.

“Our shortlist for the Deutsche Börse Photography Foundation Prize 2023 exemplifies photography’s resounding power and resonance right now,” said Rogers in a statement. “Each artist addresses subjects which drive forward debate about the nature of the medium, and the role it plays in history and society.” 

See more pictures from the 2023 Deutsche Börse Photography Foundation Prize nominees below.

Frida Orupabo, A lil help (2021). Photo: © Frida Orupabo, courtesy of the artist and Galerie Nordenhake.

Samuel Fosso, Autoportrait (1976). Photo: © Samuel Fosso, courtesy of the artist and JM Patras.

Bieke Depoorter, We walked together, Portland, Oregon, USA (2015). Photo: © Bieke Depoorter/Magnum Photos, courtesy of the artist.

Samuel Fosso, Self-Portrait (Angela Davis) (2008). Photo: © Samuel Fossoc courtesy of the artist and JM Patras.

Arthur Jafa, Ex-Slave Gordon 1863 (2017). Photo: Andrea Rossetti, © Arthur Jafa, courtesy of the artist and Gladstone Gallery.

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Artists Grapple With the Meaning of Motherhood in a New York Gallery Show. Here’s What They Say Inspired Their Work


The questions of motherhood—whether to do it, how, when—is a major part of the female experience, and comes with enormous pressures related to the biological clock and societal expectations.

At New York’s Trotter and Sholer gallery, the varied ways that women artists respond to this question is the subject of its current group show, “A Suitable Accomplishment.”

The title is taken from the groundbreaking 1971 Linda Nochlin essay, “Why Have There Been No Great Women Artists?,” which examined the social constructs that have kept women artists from receiving the same recognition as that of their male counterparts. (Spoiler alert: the demands of motherhood have sabotaged many a promising career.)

And though the essay is more than 50 years old, it speaks to issues women still face in the year 2023.

"A Suitable Accomplishment" on view at Trotter and Sholer. Photo courtesy of Trotter and Sholer.

“A Suitable Accomplishment” on view at Trotter and Sholer. Photo courtesy of Trotter and Sholer.

“I’m not sure that we’ve progressed as far as we like to think we have,” gallery cofounder Jenna Ferrey told Midnight Publishing Group News. “And we definitely haven’t gone as far as we need to go!”

Ferrey focused the show on a small group of women artists whose differing experiences of motherhood painted a wide picture of the subject.

Barbara Ishikura, Jen (2022). Photo courtesy of Trotter and Sholer, New York.

Barbara Ishikura, Jen (2022). Photo courtesy of Trotter and Sholer, New York.

For some artists, motherhood is a creative inspiration, as with Fernanda’s Feher’s watercolors, which were “art directed” by her two-year-old, who asks her to incorporate elements like toys, ice cream, and cupcakes into her delicate paintings.

Others reference multiple generations of women. One of Jessica Frances Grégoire Lancaster’s finely detailed paintings on glass is based on a drawing by her grandmother, with her mother’s reflection subtly included in the work to tie the three women together.

Bahar Behbahani, <em>Untitled (Immigrant Flora)</em> 2018. Photo courtesy of Trotter and Sholer, New York.

Bahar Behbahani, Untitled (Immigrant Flora) 2018. Photo courtesy of Trotter and Sholer, New York.

There’s even a mother-daughter duo, Shamsy Behbahani and Bahar Behbahani, whose works appear in the show.

“They created individual works, but they are in conversation with each other,” Ferrey said. “Bahar’s mother created a large hanging installation piece out of silver and copper thread which is hung so the light casts a shadow from Shamsy’s piece onto Bahar’s piece.”

Bahar Behbahani and Shamsy Behbahani, All the Sea for You All the Pain for Me (2022). Photo courtesy of Trotter and Sholer, New York.

The 13 featured artists in the show include both mothers and women who have decided not to have children of their own, as well as women who haven’t decided one way or another—a question that Ferrey, who has decided she does not want to have children, has grappled with herself.

“Its something that’s been on my mind lately, and it comes up in conversations with friends, both those who have children and those who are choosing not to,” Ferrey said. “But there’s social pressure no matter which position you take. And this is a conversation that almost probably every single woman could contribute something to.”

See what some of the women in the show had to say in their artist statements about the question of motherhood and how it relates to their work.

 

Fernanda Feher

Fernanda Feher, <em>Lilyland</em> (2022). Photo courtesy of Trotter and Sholer, New York.

Fernanda Feher, Lilyland (2022). Photo courtesy of Trotter and Sholer, New York.

“As an artist, who is a single parent most of the time, I find it challenging not being able to go work whenever inspiration comes, and it is difficult for inspiration to come when having no alone time, having to do so many things at the same time and carrying so much responsibility by myself,” Fernanda Feher said. The artist credited her “infantile universe of imagination,” saying, “I can easily join my child in her fantasy to play and welcome her into creating worlds with me such as the ones we painted and drew together for this exhibition.”

 

Isabelle Higgins

Isabelle Higgins, <em>A Feast</em> (2021). Photo courtesy of Trotter and Sholer, New York.

Isabelle Higgins, A Feast (2021). Photo courtesy of Trotter and Sholer, New York.

“Our culture does not support mothers or artists enough and this is something that comes to the forefront of my mind while weighing the option of taking on the role of motherhood,” Isabelle Higgins said. “So for now, I am content with mothering my artistic works through care, time, and dedication.”

 

Barbara Ishikura

Barbara Ishikura, <em>Holding Sho on Swing</em> (2022). Photo courtesy of Trotter and Sholer, New York.

Barbara Ishikura, Holding Sho on Swing (2022). Photo courtesy of Trotter and Sholer, New York.

“When I gave birth to my children in the late 1980s, there was very little support for new mothers experiencing the demands of shifting cultural roles around career and childcare,” Barbara Ishikura said. “In my painting Holding Sho on Swing, I try to visualize the feelings of isolation that many young mothers experienced at that time. Looking at young women today, I see their vulnerability, but I also witness a level of confidence that was unfamiliar to me.”

Alex McQuilkin

Alex McQuilkin, <em>Untitled (Blind Man’s Bluff)</em>, 2019. Photo courtesy of Trotter and Sholer, New York.

Alex McQuilkin, Untitled (Blind Man’s Bluff), 2019. Photo courtesy of Trotter and Sholer, New York.

“Prior to having children, that idea of self, though far from uncomplicated, could be approached in a conceptual way. Since becoming a mother, even the fantasy of a singular self is out of the question,” Alex McQuilkin said. “After having my children, I began to layer archival fragments of historical wall coverings in a claustrophobically shallow trompe l’oeil space on top of repeat patterns. The specificity of these material objects with their cracks, wrinkles, and imperfections, complicates the façade of neutrality in the repeat patterns and disrupts their grid-like ability to run rampant below the surface.”

Jessica Frances Grégoire Lancaster

Jessica Frances Grégoire Lancaster, <em>Trois gestes (Three Gestures)</em> 2022. Photo courtesy of Trotter and Sholer, New York.

Jessica Frances Grégoire Lancaster, Trois gestes (Three Gestures) 2022. Photo courtesy of Trotter and Sholer, New York.

“Outside of this trio’ed collaboration, the women who precede me possess their own creative practices to sustain a fruitful life,” Jessica Frances Grégoire Lancaster said. “The act of making for us is as ordinary as drying dishes. My grandmother supplemented her husband’s income by selling her fiber arts, woven on her basement looms in order to dress her children. My mom fills her days with quilting after retiring from a career in cancer research, having fought to be considered both a scientist and mother. And I, after losing a child, have enveloped myself in painting.”

 

Anna Marie Tendler

Anna Marie Tendler, <em>Good Mourning</em> (2021). Photo courtesy of Trotter and Sholer, New York.

Anna Marie Tendler, Good Mourning (2021). Photo courtesy of Trotter and Sholer, New York.

“I do not particularly want children, yet at 36 I froze my eggs for fear I might change my mind,” photographer Anna Marie Tendler, who divorced her husband in 2021, said. “At first glance, my two works may appear to tell the story of a woman longing for motherhood, but I urge the viewer to consider the patriarchal conditioning that leads to this interpretation. Why does a woman clad in black and positioned in a room of empty twin beds signal loss? Why are we quick to assume she is sad? Perhaps she is Lilith, first wife of Adam, who in refusing to submit to her husband, left the Garden of Eden to become the figure of primal rage, stealing men’s sperm and devouring their babies in the dark of the night.”

 

Shantel Miller

Shantel Miller, <em>Sherri and Sheryl</em> (2018). Photo courtesy of Trotter and Sholer, New York.

Shantel Miller, Sherri and Sheryl (2018). Photo courtesy of Trotter and Sholer, New York.

“These pieces are a labor of love for Black mothers in my life and for those who were not able to pro- vide love in the ways needed,” Shantel Miller said.

 

Azzah Sultan

Azzah Sultan, <em>The Sewing Kit</em> (2022). Photo courtesy of Trotter and Sholer, New York.

Azzah Sultan, The Sewing Kit (2022). Photo courtesy of Trotter and Sholer, New York.

“Although we may grow up with our mothers, we never truly know their past and who they were before motherhood. These are conversations that are difficult to have with older generations, and I wish to explore it through a memory box,” Azzah Sultan said. “Here the biscuit tin has been reappropriated. Inside are pieces of fabric that hold personal stories. My mother starts to unveil a few but still keep some for herself.”

 

Chellis Baird

Chellis Baird, <em>Hope</em>. Photo courtesy of Trotter and Sholer, New York.

Chellis Baird, Hope (2022). Photo courtesy of Trotter and Sholer, New York.

“Artists, like mothers, also wear many hats, often functioning as both assistant and boss,” Chellis Baird said. “The process of creation is often a juggle of several of these roles, with moments, sometimes unexpectedly, of absolute joy. Both job descriptions include the need for patience, love, and problem solving, with the witnessing of growth acting as a constant motivator and source of reward.”

 

Marika Thunder

Marika Thunder, <em>Hungarian Woodshop</em> (2022). Photo courtesy of Trotter and Sholer, New York.

Marika Thunder, Hungarian Woodshop (2022). Photo courtesy of Trotter and Sholer, New York.

“My mother is Hungarian and an artist herself. She didn’t allow her budding career and the inevitable challenges that came with raising a daughter to prevent her from achieving her dream. I’ll always admire her strength and courage to follow her own intuition,” Marika Thunder said. “The intuition of a mother, and intense psychic bond with the daughter always felt sacred to me. Though I am not a mother to a child, I feel very motherly toward each painting I make since they are objects that I’ve materialized from the ineffable parts of my lived experiences.”

 

Lydia Baker

Lydia Baker, <em>Birth of an Idea</em> (2022). Photo courtesy of Trotter and Sholer, New York.

Lydia Baker, Birth of an Idea (2022). Photo courtesy of Trotter and Sholer, New York.

“I’m interested in the psychological aspects of having an internal calendar—ovulation in particular, as it signifies letting go, an end, or potentially a beginning. My physical and mental experience with ovulation changes each year, and now in my early 30s, it’s become more pronounced,” Lydia Baker said. “As someone who adores children and doesn’t have them, it’s been interesting seeing my maternal energy announce itself in the studio.”

A Suitable Accomplishment” is on view at Trotter and Sholer, 168 Suffolk Street, New York, New York, January 14–February 18, 2023.

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A New Photography Exhibition at MFA Boston Is Taking Viewers Through the ‘Multiple Realities of War’ in Ukraine


For far too often in the last 11 months has the sky above Ukraine been scarred by gunfire, shells, and explosions. A new exhibition of Ukrainian war photography at the Museum of Fine Arts (MFA) Boston takes that same sky as a metaphor—and turns it into a kind of call to action. 

Who Holds Up the Sky?”, as the show is called, was organized by a trio of curators from the Wartime Art Archive at the Museum of Contemporary Art (MOCA) NGO in Kyiv, and brought to the U.S. through a collaboration with the MFA. It collects the work of Ukrainian artists who have documented the war since Russia’s invasion in February of last year. 

“Overcoming the darkness of death, shelling, genocide, and blackouts, photography captures the multiple realities of war,” the exhibition’s three MOCA NGO curators—Halyna Hleba, Olga Balashova, and Tetiana Lysun—wrote in the introductory wall text. The show, they explained, was conceived as a tribute to “everyone who is holding up the sky over Ukraine.”

Installation view of “Who Holds Up the Sky?” at the Museum of Fine Arts, Boston, January 21 to May 21, 2023. © Museum of Fine Arts, Boston.

On view are shots of missiles being launched from Russia, taken by photographer Vadym Belikov from the window of his own high-rise building, as well as a picture of the destruction that similar missiles have wrought on Ukrainian farmland, captured by war correspondent Efrem Lukatsky. 

Those two artists’ works are punctuated by several photos from Yana Kononova’s X-Scapes series, which document the physical destruction in Kyiv’s northern regions—twisted sheet metal, cratered housing structures—but are each cropped to the point of abstraction. Gone are direct indications of war, leaving the emotional devastation of the wreckage heightened.

Pillars in the MFA’s gallery are lined with illustrations from Inga Levi’s ongoing Double Exposure series, which began just days after Russia’s unprovoked invasion. Each entry in the collection depicts two realities: one of everyday life in Ukraine, one of war.  

Efrem Lukatsky, Bird’s eye view of a crater left by a Russian rocket that hit a farm field 10km from the front line. Despite
shelling, local farmers continue harvesting
(2022). Courtesy of the Museum of Fine Arts, Boston.

Rounding out the show is a video about the “Behind Blue Eyes” project, a charitable effort that provides Ukrainian kids with disposable cameras. They’re asked to carry around their cameras for a week, photographing their daily routines. The goal, according to the view’s label, is to project a “coherent and complex footprint of the war” from the perspective of those whose lives will forever be shaped by it.

The name of the project comes from the song of the same name by The Who. The curators suggest that the blue of the title is also meant to allude to the sky—a reminder, perhaps, that we’re all united by the firmament above us, even if it looks different.

See more images from “Who Holds Up the Sky?” below.

Installation view of “Who Holds Up the Sky?” at the Museum of Fine Arts, Boston, January 21 to May 21, 2023. © Museum of Fine Arts, Boston.

Kostiantyn Polishchuk, Ukrainian soldiers (2022). © Polishchuk Kostiantyn. Courtesy of the Museum of Fine Arts, Boston.

Installation view of “Who Holds Up the Sky?” at the Museum of Fine Arts, Boston, January 21 to May 21, 2023. © Museum of Fine Arts, Boston.

Yana Kononova, X‑Scapes #63‑17 (2022). Courtesy of the Museum of Fine Arts, Boston.

Installation view of “Who Holds Up the Sky?” at the Museum of Fine Arts, Boston, January 21 to May 21, 2023. © Museum of Fine Arts, Boston.

Who Holds Up the Sky?” is on view at the Museum of Fine Arts Boston through May 21, 2023.

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In Pictures: A Henry Taylor Retrospective at MOCA Spotlights the Artist’s Individual Yet Universal Portraiture


In just about every article, interview, or press release written about Henry Taylor, he is described as “an artist’s artist.” No matter what that term actually means, it’s undoubtedly a compliment, but it cuts out the non-artist’s ability to appreciate and respect the man’s great talent.

If anything, Taylor is an artist of the people. He paints, sculpts, and draws them furiously, as evidenced by the extraordinary breadth of work on view in the career retrospective “Henry Taylor: B Side” on view at the Museum of Contemporary Art in the artist’s hometown of Los Angeles.

As a chronicler of people from every cross-section of humanity, Taylor’s subjects range from family members, to fellow artists, to the patients at the Camarillo State Mental Hospital where he worked decades ago. In all of his works, there is something both universal and achingly individual, with many of his paintings serving as character studies spliced with social commentary.

In the exhibition catalogue, curator Bennett Simpson writes of Taylor: “He is also, or maybe foremost, a champion and caretaker of Black experience, suffusing his work with recognition and social commentary alike. In this role, his paintings communicate a deep sense of responsibility—to memory and community, to excellence and contingency.”

See pictures from the exhibition below.

“Henry Taylor: B Side” is on view at MOCA Grand Avenue, 250 South Grand Avenue, Los Angeles, through April 30, 2023. 

Installation view, "Henry Taylor: B Side" at MOCA Grand Avenue. Courtesy o the Museum of Contemporary Art. Photo: Jeff McLane.

Installation view, “Henry Taylor: B Side” at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art. Photo: Jeff McLane.

Henry Taylor, Screaming Head (1999). mage and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Jeff McLane.

Henry Taylor, Screaming Head (1999). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Jeff McLane.

Henry Taylor, Untitled (2022). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Jeff McLane.

Henry Taylor, Untitled (2022). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Jeff McLane.

Henry Taylor, Too Sweet (2016). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Sam Kahn.

Henry Taylor, Too Sweet (2016). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Sam Kahn.

Henry Taylor, Untitled (2021). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Ken Adlard.

Henry Taylor, Untitled (2021). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Ken Adlard.

Installation view, "Henry Taylor: B Side" at MOCA Grand Avenue. Courtesy o the Museum of Contemporary Art. Photo: Jeff McLane.

Installation view, “Henry Taylor: B Side” at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art. Photo: Jeff McLane.

Installation view, "Henry Taylor: B Side" at MOCA Grand Avenue. Courtesy o the Museum of Contemporary Art. Photo: Jeff McLane.

Installation view, “Henry Taylor: B Side” at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art. Photo: Jeff McLane.

Henry Taylor, Andrea Bowers (2010). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Robert Bean.

Henry Taylor, Andrea Bowers (2010). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Robert Bean.

Installation view, "Henry Taylor: B Side" at MOCA Grand Avenue. Courtesy o the Museum of Contemporary Art. Photo: Jeff McLane.

Installation view, “Henry Taylor: B Side” at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art. Photo: Jeff McLane.

Installation view, “Henry Taylor: B Side” at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art. Photo: Jeff McLane.

Henry Taylor, I Was King, When I Met The Queen – Syllable X’s Rhythm Equals Mumbo Jumbo (2013). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Sam Kahn.

Henry Taylor, I Was King, When I Met The Queen – Syllable X’s Rhythm Equals Mumbo Jumbo (2013). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Sam Kahn.

Henry Taylor, "Watch your back" (2013). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Sam Kahn.

Henry Taylor, “Watch your back” (2013). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Sam Kahn.

Installation view, "Henry Taylor: B Side" at MOCA Grand Avenue. Courtesy o the Museum of Contemporary Art. Photo: Jeff McLane.

Installation view, “Henry Taylor: B Side” at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art. Photo: Jeff McLane.

Henry Taylor, Untitled (1991). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Jeff McLane.

Henry Taylor, Untitled (1991). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth. Photo by Jeff McLane.

Henry Taylor, Gettin it Done (2016). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth.

Henry Taylor, Gettin it Done (2016). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth.

Henry Taylor, Cora (cornbread) (2008). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth.

Henry Taylor, Cora (cornbread) (2008). Image and work ©Henry Taylor, courtesy the artist and Hauser & Wirth.

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