In a practice that combines painting, sculpture, and installation Caitlin Cherry addresses history, identity, and present-day politics in pursuit of cultural reclamation and the dismantling of structural oppression. To create her obliquely narrative compositions and disorienting characters, Cherry draws upon the traditions of art history, integrating contemporary cultural theories on race, gender, economics, and the impact of technologies. Mixing conventional painting genres such as portraiture, landscape, and still life with prop-like mechanical supports, her oeuvre re-examines notions of the self and the body, often featuring subjective entities that have been co-created and morphed by the individual, society, and technology.
Cherry received her MFA from Columbia University in 2012 and her BFA from the School of the Art Institute of Chicago in 2010. Her work has been the subject of solo exhibitions at Providence College Galleries, Providence, RI (2018); Anderson Gallery at Virginia Commonwealth University, Richmond, VA (2018); University Museum of Contemporary Art at University of Massachusetts, Amherst, MA (2017); and at The Brooklyn Museum as part of Raw/Cooked curated by Eugenie Tsai (2013). Recent group exhibitions include: A Wild Ass Beyond: ApocalypseRN (2018) at Performance Space, New York; Punch (2018) curated by Nina Chanel Abney at Jeffrey Deitch; Touchstone (2018) at American Medium, New York; The Sun is Gone but We Have the Light (2018) at Gavin Brown Enterprise, Hancock, NY; Object[ed]: Shaping Sculpture in Contemporary Art (2016) at UMOCA, Salt Lake City, UT; Banksy’s Dismaland Bemusement Park (2015) in Somerset, UK; This is What Sculpture Looks Like (2014) at Postmasters Gallery, New York; and Fore (2012) at the Studio Museum in Harlem. Cherry is a recipient of a Robert Rauschenberg Foundation Fellowship Residency (2016) and Leonore Annenberg Fellowship (2015), among other awards and honors.