Born 1970, Baltimore. Lives and works in Philadelphia.
Tanya Leighton, Los Angeles
Come Out, Come Out, Art on the Underground, Transport for London
What Do We Want, Neuer Berliner Kunstverein, Berlin
Whitney Biennial 2024: Even Better than the Real Real Thing, Whitney Museum of American Art, New York
Allegory of Happiness, Museum of Modern and Contemporary Art of Trento and Rovereto, Trento, Italy
On the Passage of a Few People through a Rather Brief Period of Time, University Art Gallery, University of California, Irvine
It’s Human Nature?, Kunstverein Harburger Bahnhof, Hamburg (forthcoming)
Comizi d’Amore, Georg Kargl, Vienna (forthcoming)
Contemporanea International Film Festival, Turin (forthcoming)
(Wahl-) Familie, Die, Wir, Sind, Kunstmuseum Ravensburg
What is the Proper Way to Display a Flag?, Museum für moderne Kunst, Weserburg
Paint the Protest, Off Paradise, New York
To Begin Again: Artists and Childhood, The Institute of Contemporary Art, Boston
Shifting the Silence, SFMoMA, San Francisco
Performing Past-Present: Transforming Reenactment, Cantor Fitzgerald Gallery, Haverford College, Pennsylvania
A Decade of Acquisitions of Works on Paper, The Hammer Museum, Los Angeles
After August Sander, Museum für Gegenwartskunst, Siegen
I March In The Parade of Liberty But As Long As I Love You I’m Not Free
I March In The Parade of Liberty But As Long As I Love You I’m Not Free, was a eight-part performance that took place between December 2007 and January 2008, where Hayes walked from the New Museum of Contemporary Art in New York to sites of public speech such as Union Square, Tompkins Square, Confucius Square in Chinatown, and Christopher Street Park.
In this work, I stood on the street with a bullhorn in New York City and spoke a love letter to an anonymous ‘you’. I look like I’m doing ‘public speech’ but I’m speaking to a lover who I’ve been separated from for some reason that the texts don’t quite explain. While I’m talking about love and desire, I am also bringing up the war and the way in which the war interrupts and doesn’t interrupt our daily lives, our activities, our desires, our love. For me, this work attempts to speak about certain intersections between love and politics that aren’t so often talked about. (Hayes)
Continuing the artist’s interrogation of the infinitesimal distance that separates the public from the private, this work is a reflection on the difference between speaking and listening — a kind of confession combining the idiom of politics, the transmission of secrets, and the language of love.
The subsequent audio installation is comprised of one PA system, speaker, and a single framed spray-painted work on paper.