School of Chairs

Artists’ Biographies

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”48px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Forrest Bess (1911-1977, Bay City, TX) Bess’ work has been shown in numerous museums, including solo exhibitions at the Whitney Museum of American Art, New York, the Museum of Contemporary Art, Chicago and Museum Ludwig, Cologne. In 2013, the Menil Collection, Houston, hosted a major survey of Bess’s work titled Seeing Things Invisible, curated by Claire Elliott, which traveled to the Hammer Museum, Los Angeles (2013-2014), the Neuberger Museum of Art, Purchase (2014), and the University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley (2014). Bess received the Mark Rothko Foundation Grant in 1973. Robert Gober presented a room of Bess’ work for the 2012 Whitney Biennial, which drew renewed critical attention to the artist.


Jason Dodge (b. 1969 in Newtown, PA) Lives and works in Berlin. Recent solo exhibitions include Jason Dodge/ Paul Thek, Schinkel Pavillon, Berlin, Behind this machine anyone with a mind who cares can enter, Institut d’Art Contemporain, Villeurbanne, Jason Dodge with CA Conrad Width of a Witch, Mercer Union and Kunstverein Toronto, Toronto, Ontario. He co-curated Enemy of the Stars with Krist Gruijthuijsen at KW Berlin 2017 and has recently participated in group exhibitions at the Hammer Museum 2018, MIT List Centre 2017, and Eli Broad Museum 2017, and will have forthcoming exhibitions at Casey Kaplan in New York, and at the Neubauer Collegium in Chicago with Dieter Roelstraete. Besides his artistic practice, Dodge is the founder of the poetry imprint five hundred places which has published 25 monographic books of poems by contemporary poets including Matthew Zapruder, Ishion Hutchinson, Eileen Myles, CAConrad, Dorothea Lasky and Matthew Dickman.


Rodney Graham was born in Abbotsford, British Columbia, Canada in 1949. He graduated from the University of British Columbia in 1971 and lives and works in Vancouver. Recent solo exhibitions include Irish Museum of Modern Art, Dublin, Ireland (2017); Baltic Centre for Contemporary Art, New Castle, United Kingdom (2017); Museum Voorlinden, Wassenaar, Netherlands (2017); Museum Frieder Burda, Baden-Baden, Germany (2017); Le Constortium, Dijon, France (2016); Sammlung Goetz, Munich, Germany (2015); Vancouver Art Gallery, Canada (2012); Museum der Moderne, Salzburg, Austria (2011); Museu D’Art Contemporani de Barcelona, Spain (2010); Jeu de Paume, Paris, France (2009); Museum of Contemporary Art Los Angeles, CA, USA (2004); Whitechapel Art Gallery, London, UK (2002); Hamburger Bahnhof, Berlin, Germany (2001); and Kunsthalle Wien, Vienna, Austria (1999). He has participated in group exhibitions such as the Carnegie International (2013), the 13th, 14th and 17th Sydney Biennales, Australia (2002, 2006, 2010), the Whitney Biennial, New York, USA (2006) and the Biennale d’Art contemporain de Lyon, France (2003). Graham represented Canada at the 47th Venice Biennale, and was appointed as an Officer of the Order of Canada in 2016 for his contributions to Canadian contemporary art. Rodney Graham is represented by 303 Gallery, New York.


Jo Hanson (1918 – 2007) was an environmental artist, author, and activist in San Francisco, California. Since the 1970s her public work has derived from the experiences and issues of her sweeping up the trash in her windy block of Buchanan Street in San Francisco. Hanson’s experiences with city street cleaning and working with recycling agencies, led to her proposing and advising an artist in residence program for San Francisco’s disposal company, Sanitary Fill Co., part of Norcal Waste Systems, Inc. Hanson has exhibited widely and taught at the University of California-Berkeley, University of California Extension Center in San Francisco, California College of Arts and Crafts in Oakland, and Otis Art Institute in Los Angeles. In 1992 Hanson received the Lifetime Achievement Award from the Northern California Regional Women’s Caucus for Art. In 1997 she received the National Women’s Caucus for Art award for Outstanding Achievement in the Visual Arts.


Los Jaichackers (Spanglish for “hijackers”) is a collaboration between Eamon Ore-Giron and Julio Cesar Morales, artists based in Los Angeles and Phoenix, respectively. As part of their multifaceted practice they create music, film, video, sculpture, installation and performance, as well collaborate with other artists and musicians. Producing programs that ‘trace the global DNA of emerging musical subcultures in Latin America, the border, the United States and abroad,’ Los Jaichackers attempt to create a mirroring effect between local and global commerce, drawing abstract connections through North and South American histories and cultures in order to reveal the presence of powerful aesthetics in our collective subconscious. Their work has been exhibited at the San Juan Triennial, Puerto Rico; Prospect 3 Biennale, New Orleans; SFMOMA, San Francisco; The Los Angeles County Museum of Art, Los Angeles; Museo Tamayo, Mexico City and the Frankfurter Kunstverein, Germany, as well as house parties and night clubs around the globe. Julio Cesar Morales is represented by Gallery Wendi Norris, San Francisco and Eamon Ore-Giron is represented by Páramo Gallery, Guadalajara, Mexico.


K.r.m. Mooney (b.1990) lives and works in Oakland, CA. Their work often inhabits a horizontal position, considering space and its inherited boundaries as an operative body. Mooney’s sculptural practice pursues abstraction and the agency of material bodies learned through the processes of jewelry and ornamentation. Using abstract forms that emerge through the interaction of various types of metals and their proximal materials, Mooney uses complex and intricate compositions to re-order our understanding of spatial and co-generative systems. Often positioned on the floor or in doorways, Mooney’s sculptures reorient how our bodies relate to these constructed forms, acknowledging the unseen and the polyvalent to consider issues of difference, embodiment and care. Solo exhibitions include Carrier at Kunstverein Braunschweig, SECA Art Award Exhibition at San Francisco Museum of Modern Art, En, Set at the Wattis Institute for Contemporary Arts, San Francisco, Oscine at Reserve Ames, Los Angeles, and Near Passerine at Pied-à-terre, Ottsville, Pennsylvania.


Feminist Land Art Retreat (est. 2010) was born with a poster on the wall of Exercise Projects in Vancouver, depicting mirrored images of Robert Smithson’s Spiral Jetty. Transforming this seminal work of land art into something resembling fallopian tubes, it invited the viewer to a fantasy event. This began Feminist Land Art Retreat’s conceptual and humorous subversion of familiar visual forms, including fashion, advertising, commemorative architecture, and aerial imagery. FLAR has continued appropriating commercial and art-historical images with irony, challenging commonly held notions of how feminism is embodied and expressed.


Anicka Yi (b. 1971, Seoul) Yi was the recipient of the 2016 Hugo Boss Prize, with an exhibition of her work at the Solomon R. Guggenheim Museum, New York in 2017. Other solo exhibitions of her work include Fridericianum, Kassel, 2016, Kunsthalle Basel, Basel, 2015, and List Visual Arts Center, MIT, Cambridge, 2015. Yi is represented by 47 Canal, New York.[/vc_column_text][/vc_column][/vc_row]