One Escape at a Time
11th Seoul Mediacity Biennale, Seoul
8 September – 21 November 2021
Yesterday we said tomorrow
Prospect 5 Triennial, New Orleans
23 October 2021 – 23 January 2022
Born 1970, Baltimore. Lives and works in Philadelphia.
An Army Of Lovers Cannot Lose, Tanya Leighton, Berlin with Kristina Kite Gallery, Los Angeles
I March in the Parade of Liberty but as Long as I Love You I’m Not Free, New Museum, New York
Nel Mezzo, Tanya Leighton, Berlin
Echo, Moderna Museet, Stockholm
Yesterday we said tomorrow, Prospect 5 Triennial, New Orleans (forthcoming)
One Escape at a Time, 11th Seoul Mediacity Biennale, Seoul (forthcoming)
New Grit: Art & Philly Now, Philadelphia Museum of Art (forthcoming)
Glasgow International, The Common Guild, Glasgow (forthcoming)
Mapping the Collection, Museum Ludwig, Cologne
Commonwealth, Institute for Contemporary Art, Virginia
Read My Lips, Museum of Fine Arts, Boston
The Politics of Rhetoric, The Print Center, Philadelphia
For the exhibition ‘Allan Kaprow YARD’, curated by Helen Molesworth for the opening of Hauser & Wirth’s New York gallery space, Sharon Hayes presented her reinvention of Allen Kaprow’s seminal Environment ‘Yard’ - a veritable mountain of black rubber auto tires and tarpaper-wrapped forms through which visitors jumped and crawled — first made by the artist in 1961 and radically reinterpreted in other locations ten times before his death in 2006.
Hayes’ reinvention, ‘Yard (Sign)’ was exhibited in the New York Marble Cemetery at 41 ½ Second Avenue on the Lower East Side, where she filled the historic site with hand-painted signs – some small, some quite large. Hayes has been influenced in this piece by the various written statements Kaprow produced over the years for his own different reinventions of ‘Yard,’ as well as the poster he made in 1961 - his first version of the project, a large ink drawing of a classic yard sale sign. At the same time, Hayes’ work at the Marble Cemetery evoked the American archetype of the suburban yard, a private domain that is nevertheless often filled with public signs, notably for political campaigns and real estate sales.