EXPO CHICAGO: CAMMIE STAROS, DANIEL GIBSON, MANAL KARA, SUMMER WHEAT, TRENTON DOYLE HANCOCK

7 - 10 April 2022
  • NAVY PIER IN THE FESTIVAL HALL | 600 E GRAND AVE, CHICAGO IL 60611 BOOTH 235 7 - 10 APRIL...
    Cammie Staros
    Coaxed Into and Out of It, 2022
    Ceramic and walnut
    36 x 18 x 17 in
    91.4 x 45.7 x 43.2 cm

    NAVY PIER IN THE FESTIVAL HALL | 600 E GRAND AVE, CHICAGO IL 60611

    BOOTH 235

    7 - 10 APRIL 2022

    VIP PREVIEW (INVITATION ONLY): THURSDAY, APRIL 7, 12–6PM

    VERNISSAGE (INVITATION ONLY): THURSDAY, APRIL 7, 6–9PM

     

    PUBLIC HOURS:

    FRIDAY, APRIL 8, 11AM–7PM

    SATURDAY,APRIL 9, 11AM–7PM

    SUNDAY, APRIL 10, 11AM–6PM

    HTTPS://WWW.EXPOCHICAGO.COM/

  • For EXPO Chicago 2022, Shulamit Nazarian is pleased to present new works by Los Angeles-based artists Cammie Staros and Daniel Gibson, Gary, IN-based artist Manal Kara, New York-based artist Summer Wheat, and Houston-based artist Trenton Doyle Hancock.

  • Cammie Staros
    Testa conchea, 2022
    Ceramic, powder-coated steel, pink marble
    29 x 23 x 12 in
    73.7 x 58.4 x 30.5 cm
  • Cammie Staros often mines images and artifacts from the Greco-Roman period that aestheticizes eroticism, violence, and victory. The artist anthropomorphizes...
    Cammie Staros
    Anomalia futura, 2022
    Ceramic and powder-coated steel
    13 x 8 x 11 in
    33 x 20.3 x 27.9 cm

    Cammie Staros often mines images and artifacts from the Greco-Roman period that aestheticizes eroticism, violence, and victory. The artist anthropomorphizes her sculptures through references to armor and dress—often a gendered divide—as traditionally depicted on Greek figure vases. Staros’ fascination with classical antiquities lies both in the objects themselves, and with how those objects have come to represent an origin story of Western art history. Her works remind us that historical narratives are told through visual languages as much as written ones. Staros contributes her own symbology to a constellation of references from far-flung regions and eras, and entices her audiences to reexamine the role of historical objects.

  • Cammie Staros (b. 1983, Nashville, TN) received her BA from Brown, Providence, in 2006 and her MFA from California Institute of the Arts, Los Angeles, in 2011. Staros has had solo exhibitions at Shulamit Nazarian, Los Angeles, Lefebvre & Fils, Paris, and Ghebaly Gallery, Los Angeles. The artist was included in the Craft Contemporary’s second clay biennial in Los Angeles. Staros’ work is featured in 100 Sculptors of Tomorrow, a survey of contemporary sculpture, authored by Kurt Beers and published by Thames & Hudson. Staros was awarded the Guggenheim Fellowship award in 2020. Staros has a forthcoming museum-wide solo exhibition at the Pitzer College.

    • Cammie Staros Scaphium evolutum, 2020 Ceramic, Plexiglas 52.5 x 12.5 x 12.5 inches
      Cammie Staros
      Scaphium evolutum, 2020
      Ceramic, Plexiglas
      52.5 x 12.5 x 12.5 inches
    • Cammie Staros Thin Air, 2021 Walnut and neon 25 x 15 1/2 x 17 in
      Cammie Staros
      Thin Air, 2021
      Walnut and neon
      25 x 15 1/2 x 17 in
    • Cammie Staros Fictile ficticium, 2020 Ceramic and powder-coated steel 49 x 18 x 12 inches
      Cammie Staros
      Fictile ficticium, 2020
      Ceramic and powder-coated steel
      49 x 18 x 12 inches
  • Employing references to the natural world while speaking to hardships, resilience, and freedom, Daniel Gibson's paintings explore a lexicon of...
    Daniel Gibson
    Butterfly in Baja, 2022
    Oil on linen
    75 x 67 in
    190.5 x 170.2 cm

    Employing references to the natural world while speaking to hardships, resilience, and freedom, Daniel Gibson's paintings explore a lexicon of symbols that relate to his familial past and his identity as a Mexican-American. Growing up along the California border with Mexico, Gibson was confronted by the harsh realities of migration to America at an early age. In an effort to face the bleak nature of these grueling journeys, he turned to his imagination—often reshaping reality with fantasy. As a self-taught artist, he has developed his visual language and painting process through intuition and imagination that shifts between the genres of portraiture, landscape, and still life. Gibson revitalizes the world around him in painting, reverently returning to familiar symbols such as flowers, butterflies, figures, desert mountains, beaches, and seas. For the artist, his works are as much autobiographical as they are collective stories that document moments of struggle and celebration that would otherwise be lost to time.

  • Daniel Gibson (b. 1977 Yuma, AZ) has had solo and two-person exhibitions at Shulamit Nazarian, Los Angeles, CA; Almine Rech,...
    Daniel Gibson
    Marsden's Vase, 2022
    Oil on linen
    25 x 20 in
    63.5 x 50.8 cm

    Daniel Gibson (b. 1977 Yuma, AZ) has had solo and two-person exhibitions at Shulamit Nazarian, Los Angeles, CA; Almine Rech, New York, NY; New Image Art, Los Angeles, CA; Ochi Projects, Los Angeles, CA; LAX Art, Los Angeles, CA; and Mexicali Rose, Baja, Mexico. Recent group exhibitions include Institute of Contemporary Art Los Angeles, CA; The Pit, Los Angeles, CA; Bozo Mag, Los Angeles, CA; and BBQLA, Los Angeles, CA. His works have been written about by WideWalls, Juxtapoz, and Brooklyn Rail.

    • Daniel Gibson Night Song, 2022 Oil on linen 20 x 25
      Daniel Gibson
      Night Song, 2022
      Oil on linen
      20 x 25
    • Daniel Gibson Purple Butterfly, 2022 Oil on linen 75 x 67 in
      Daniel Gibson
      Purple Butterfly, 2022
      Oil on linen
      75 x 67 in
  • As a self-taught interdisciplinary artist living outside of a city center, Manal Kara is immersed in the forests that surround...
    Manal Kara
    When you don't want it you can't have it, 2022
    ceramic, photographic prints on fabric
    28 x 28 x 4 in
    71.1 x 71.1 x 10.2 cm

    As a self-taught interdisciplinary artist living outside of a city center, Manal Kara is immersed in the forests that surround their studio. Chronicling a lived experience within the boundaries of an urban forest, the artist produces photographs and poems, synthesizing their diaristic practice to create hybrid sculptures that are equally cryptic and confessional.  Utilizing materials such as printed fabrics, wire, chains, hair, pins, and found objects, Kara attaches photographic imagery to forms made of glazed ceramic, establishing window-like arrangements that function as incomplete field notes, guides, or memory maps to lived experience.

     

  • Manal Kara
    Power B. All, 2022
    ceramic, AI-generated images on fabric
    30 x 24 x 4 in
    76.2 x 61 x 10.2 cm
  • Manal Kara (b. 1986 Pennsylvania, based in Gary, IN) is a Moroccan-American interdisciplinary artist. Their work has been exhibited extensively...
    Manal Kara
    When you don't have it you can't want it, 2022
    ceramic, photographic prints on fabric
    28 x 28 x 4 in
    71.1 x 71.1 x 10.2 cm

    Manal Kara (b. 1986 Pennsylvania, based in Gary, IN) is a Moroccan-American  interdisciplinary artist. Their work has been exhibited extensively in Chicago and New York as well as in Istanbul, Vienna, and Berlin. Recent solo exhibitions include XYLEM & PHLÖEM, No Place, Columbus; THE VIEWING-ROOM vs. THE ADORING-GAZE, Interstate Projects, Brooklyn; and Song of the Other Worm, Prairie, Chicago. They have participated in residencies at ACRE, Ox-Bow, September Spring at the Kesey Farm, and Project Freewill. Upcoming exhibitions include Hair + Nails, Minneapolis, and Projet Pangée, Montreal.

  • Summer Wheat
    Love Birds (Left), 2021
    Acrylic paint and gouache on aluminum mesh
    69 1/2 x 95 1/2 x 2 in
    176.5 x 242.6 x 5.1 cm
  • Favoring malleable structures and expressive color palettes, Summer Wheat’s tactile paintings merge process and narrative to ponder individual and collective human experience as seen through various moments in art history. Drawing on rich traditions from Egyptian relief sculptures to Modernist painting, Wheat’s textural art objects destabilize material boundaries and elevate quotidian life through scale and movement. Borrowing from the logic of medieval tapestries hung as symbols of authority, Wheat allows acrylic paint to ooze through fine wire mesh causing figures to emerge and dance upon lush, fiber-like surfaces that coalesce into heroic history paintings.

  • Summer Wheat
    Mothers, 2021
    Acrylic paint and gouache on aluminum mesh
    69 1/2 x 95 1/2 x 2 in
    176.5 x 242.6 x 5.1 cm
  • Summer Wheat (b. 1977, Oklahoma City, OK) received a B.A. from the University of Central Oklahoma and an M.F.A. from...
    Summer Wheat
    Open Wings, 2021
    Acrylic on aluminum mesh, framed
    69.5 x 48.5 x 2 inches

    Summer Wheat (b. 1977, Oklahoma City, OK) received a B.A. from the University of Central Oklahoma and an M.F.A. from Savannah College of Art and Design. Solo exhibitions of her work have been organized at the Mint Museum, Charlotte, NC; Kemper Museum of Contemporary Art, Kansas City, MO; KMAC Museum, Louisville, KY; Shulamit Nazarian, Los Angeles, CA; Smack Mellon, New York, NY; Henry Art Gallery, University of Washington, Seattle, WA; and Oklahoma Contemporary, Oklahoma City, OK.  Wheat’s work is in numerous public and private collections, including the Dallas Museum of Art, Dallas, TX; de Young Museum, San Francisco, CA; Peréz Art Museum Miami, Miami, FL; The Henry Art Gallery at the University of Washington, Seattle, WA; The Mint Museum, Charlotte, NC; the Speed Art Museum in Louisville, KY, and Kemper Museum of Contemporary Art, Kansas City, MO. Wheat has received several awards and prizes including, the Northern Trust Purchase Prize at EXPO Chicago in 2019 and the New York NADA Artadia Award in 2016.

  • Trenton Doyle Hancock
    They Gave Me Two Feet, and I Gave Em’ a Foot, 2022
    Acrylic on canvas
    24 x 24 in
    61 x 61 cm
  • For almost two decades, Trenton Doyle Hancock’s elaborate works have interlaced personal memoir with the history of painting and pop-cultural imagery. Raised in a Southern Baptist household, the artist spent his childhood immersed in biblical subjects whose power can now be seen in his ongoing exploration of universal themes of good and evil. Infused with both personal and cultural mythologies, Hancock’s dense and subversive storylines employ tropes, ranging from comic-strip superhero battles to medieval morality, often introducing text as a key visual component that further complicates the narrative.  Hancock’s fantastical Moundverse is a metaphorical space that reflects the everyday world that envisions characters that explore timeless polarities like good and evil alongside related issues of race, class, identity, politics, and social justice.

  • Trenton Doyle Hancock
    Trenton Doyle Hancock Presents The Moundverse, Chapter 1: What is a Mound? Page 06 & 07, 2018
    Ink on paper
    24 x 36 in
    61 x 91.4 cm
  • Trenton Doyle Hancock (b. 1974, Oklahoma City, Oklahoma) grew up in Paris, Texas. Hancock was featured in the 2000 and 2002 Whitney Biennial exhibitions, becoming one of the youngest artists in history to participate in this prestigious survey. In 2014, his exhibition Skin & Bones: 20 Years of Drawing was presented at the Contemporary Arts Museum in Houston, and traveled to Akron Art Museum; the Studio Museum in Harlem; and the Virginia Museum of Contemporary Art. His work has been the subject of one-person exhibitions at The Ringling Museum of Art; The University of South Florida Contemporary Art Museum; The Savannah College of Art and Design; The Weatherspoon Museum; The Modern Art Museum of Fort Worth; The Museum of Contemporary Art, North Miami; Institute for Contemporary Art at the University of Pennsylvania; Olympic Sculpture Park at the Seattle Art Museum; Fruitmarket Gallery; and Museum Boijmans Van Beuningen. In 2019, the artist presented his most comprehensive exhibition to date, Mind of the Mound: Critical Mass, at MASS MoCA, North Adams, MA.

  • Trenton Doyle Hancock
    Trenton Doyle Hancock Presents The Moundverse, Chapter 1: What is a Mound? Page 10 & 11, 2018
    Ink on paper
    24 x 36 in
    61 x 91.4 cm
  • The artist’s work is in the permanent collections of the Museum of Modern Art, New York; The Whitney Museum of...
    Trenton Doyle Hancock
    Trenton Doyle Hancock Presents The Moundverse, Chapter 1: What is a Mound? Page 20 & 21, 2018
    Ink on paper
    24 x 36 in
    61 x 91.4 cm

    The artist’s work is in the permanent collections of the Museum of Modern Art, New York; The Whitney Museum of American Art; Los Angeles Contemporary Museum of Art; The Metropolitan Museum of Art; Brooklyn Museum; The Studio Museum in Harlem; San Francisco Museum of Modern Art; Baltimore Museum of Art; Columbus Museum of Art; The Contemporary Museum, Honolulu; The Cooper-Hewitt National Design Museum; Dallas Museum of Art; High Museum of Art; Museum of Fine Arts, Houston; Modern Art Museum of Fort Worth; Kemper Museum of Contemporary Art; The Museum of Modern and Contemporary Art, Trento, Italy; Museum Boijmans Van Beuningen; Virginia Museum of Fine Arts; Warhol Museum; and Wexner Center for the Arts at Ohio State University.