Installation view, Expo Chicago 2018
Luis De Jesus Los Angeles is very pleased to announce our participation in EXPO Chicago 2018, Exposure Section, Booth 157, with a presentation of new works by Peter Williams and Caitlin Cherry.
Peter Williams and Caitlin Cherry create narrative figurative paintings that address contemporary social, cultural, and political issues. The artists draw attention to the injustices suffered by Black Americans, imagine alternative realities and peaceful futures, and relay poignant criticism of systemic racism in the United States.
Brooklyn-based Caitlin Cherry combines painting, sculpture, and installation with references to history and present-day politics. Her recent paintings explore the solarization and inversion effect of Liquid Crystal Display (LCD) monitor technology that occurs with a malfunctioning or tilted screen. Pushing this image distortion even further in the painting process, the effect becomes a metaphor for the overexposure and colonization of black female bodies that persists in popular culture, music, and pornography. Peter Williams' paintings have been described as "hallucinogenic, acerbic, pained, beautiful, confessional, obsessive, critical, jarring, wild, weird, and profoundly human -- born from his personal experiences of race, appetite, and physical vulnerability." Williams' works address the violence faced daily by Black Americans and the myths and heroes that are formed in public perception. The "pointillist" technique that he employs in his new paintings, in combination with psychedelic color and cartoon imagery, creates a rupture between style and content -- in effect, turning the works into scintillating, powerful visions that force the viewer to slow down in order to make sense of each picture.
Born in 1952 in Nyack, New York, Peter Williams earned his MFA from Maryland Institute College of Art and his BFA from Minneapolis College of Art and Design. Recent exhibitions include With So Little To Be Sure Of (2018), curated by Larry Ossei-Mensah, CUE Art Foundation, New York; Soul Recordings (2018), Luis De Jesus Los Angeles; Prospect.4: The Lotus In Spite Of The Swamp (2017-18), organized by Trevor
Schoonmaker, Prospect Triennial, New Orleans, LA; Dark Humor: Peter Williams (2017), Allcott Gallery, University of North Carolina, Chapel Hill, NC; The N-Word: Common and Proper Nouns (2017), Ruffin Gallery, University of Virginia, Charlottesville, VA; and Me, My, Mine: Commanding Subjectivity in Painting (2016), DC Moore Gallery, New York. Williams was included in the Whitney Biennial (2002) and is the recipient of numerous honors including the National Academy of Design (inducted 2018), the Djerassi Resident Artists Program (2018), the Joan Mitchell Award (2004 and 2007), and a Ford Foundation Fellowship (1985-87). His paintings are held in the permanent collections of the Detroit Institute of Arts, Walker Art Center, Whitney Museum of American Art, Delaware Art Museum, Howard University in Washington, DC, and the Mott-Warsh Collection in Flint, MI, among others. Peter Williams lives in Wilmington, Delaware, and is Senior Professor in the Fine Arts Department at the University of Delaware.
Caitlin Cherry was born in Chicago in 1987, and lives and works in Brooklyn, New York. Cherry received her MFA from Columbia University in 2012 and BFA from the School of the Art Institute of Chicago in 2010. Cherry had her debut solo exhibition, titled Hero Safe, in 2013 at the Brooklyn Museum. She will present her first solo exhibition with Luis De Jesus Los Angeles in January 2019. Other recent solo exhibitions include Etherpaint (2018), The Anderson at Virginia Commonwealth University, Richmond, VA; The Sun is Gone But We Have the Light, Unclebrother/Gavin Brown's Enterprise, Hancock, NY; Arctic Sovereignty (2018), Art-In-Buildings, New York, NY; and Monster Energy (2017), University Museum of Contemporary Art at UMass Amherst, MA. Group exhibitions include Soul Recordings (2018) at Luis De Jesus Los Angeles; Object[ed]: Shaping Sculpture in Contemporary Art (2016), UMOCA in Salt Lake City, Utah; Banksy's Dismaland (2015), Somerset, England; This is What Sculpture Looks Like (2014), Postmasters Gallery, New York; and Fore (2012), Studio Museum in Harlem. In 2016 she completed a residency at The Robert Rauchenberg Foundation in Captiva, Florida.