Past Residents
Past Resident2011: Kunststiftung des Landes Sachsen-Anhalt
Katrin Heichel
Katrin Heichel scrutinizes specific topics over a long period of time, in series of works of different scales. Currently, her work addresses construction sites and how they represent human labor. Tools, temporary signs, traces of work, abandoned spaces or unidentified leftovers give evidence of the presence of people. These sites are contemporary portraits of plans and condemnations, calculated and mysterious at the same time.
Katrin Heichel studied painting at the Akademy of Visuel Arts in Leipzig, Germany. Her work has recently been presented in group exhibitions at Black Door, Istanbul, Turkey; Kunsthalle Krems, Krems, Austria; Museum Folkwang, Essen, Germany; Xawery Dunikowski Museum at Krolikarnia-Palais, National Museum Warschau, Warsow, Poland; Museum Franz Gertsch,Burgdorf, Switzerland and Museum der Moderne Salzburg Mönchsberg, Salzburg, Austria. Solo exhibitions include Gallery b2, Leipzig; Gallery Frank Schlag & Cie., Essen and BAU a collaboration between Laden Fuer Nichts, Leipzig and Schau-Fenster, Berlin. Heichel’s work belongs to the following collections: Cabinet des Estampes, Geneva, Swizterland; Graphic Collection of the Museum der Bildenden Kuenste, Leipzig; Arario Collection, South Korea and Olbricht Collection, Germany.
Katrin Heichel, Nulla Pulchritudo Sine Periculo, 2010, Mixed media on canvas, 743/4 × 63 in. (189.86 × 160.02 cm). Courtesy of the artist.
Katrin Heichel, Baustelle - Aufstieg, 2009, Oil and egg tempera on canvas, 981/16 × 1695/16 in. (249.02 × 430.1 cm). Courtesy of the artist.
Katrin Heichel, Schneller – Baustelle – Ausgang, 2010, Oil and Egg tempera on canvas, 983/8 × 1571/2 in. (249.87 × 400.05 cm). Courtesy of the artist.
Katrin Heichel, Guten Morgen Deutschland, 2010, Oil and egg tempera on canvas, 863/8 × 1065/16 in. (219.39 × 270.08 cm). Courtesy of the artist.
Katrin Heichel, Zerissener Vorhang, 2009, Oil and egg tempera on canvas, 707/8 × 825/8 in. (180.02 × 209.87 cm). Courtesy of the artist.
Residents from Germany
Past Resident2011: Lee and Fritz Michel
Zoe Crosher
Zoe Crosher’s practice deals with photography as a tool of fiction of documentary. She has long been interested in thinking through the ways that memory operates through photographs on the basis of the stories that we ourselves write. Also, her home of Los Angeles has a unique and specific relationship to fiction—truth and imagination are easily conflated here—so she is particularly interested how she can use documentary photography to the same end. Ultimately, no matter how adept we have become in reading photographs, there is still the traditional assumption of an overarching “truth” in our approach to documentary work, which Crosher hopes to complicate.
Zoe Crosher (born 1975) currently lives and works in Los Angeles. In addition to her exhibition practice, she has a monograph, Out the Window (LAX), examining space and transience around the Los Angeles airport, and an upcoming publication series of her newest project, The Michelle duBois project, published by Aperture Ideas. Crosher served as Visiting Professor at UCLA and Art Center, as well was Associate Editor at the journal Afterall after receiving her MFA from CalArts. Recently she was awarded the prestigious Art Here and Now Award by the Los Angeles County Museum of Art. Her work was included in the 2010 California Biennial at the Orange County Museum of Art, California, and she has exhibited in solo and group exhibitions throughout the United States. She is represented by Perry Rubenstein.
Zoe Crosher, LAX Adventurer Inn (From Out The Window, LAX), 2003, Digital C-Print, 27 × 27 in. (68.58 × 68.58 cm). Courtesy of the artist.
Zoe Crosher, A Star Was Born (La Cienega), 2010, LAXART Billboard. Courtesy of the artist.
Zoe Crosher, From The Unveiling Of Michelle DuBois, 2010, CA Biennial install various photographic prints. Courtesy of the artist.
Zoe Crosher, Kodak color film, 2010, Digital C-Print, 371/2 × 50 in. (95.25 × 127 cm). Courtesy of the artist.
Zoe Crosher, Where Natalie Wood Disappeared At Catalina Island, 2008, Fujiflex, 40 × 40 in. (101.6 × 101.6 cm). Courtesy of the artist.
Residents from United States
Past Resident2011: Artadia
Cecil McDonald, Jr.
Cecil McDonald, Jr. is most interested in the intersections of masculinity, familial relations, and the artistic and intellectual pursuits of black culture that emanate from the two. Through photography, video, and text, McDonald is seeking to investigate and question the norms and customs that govern our understanding of each other, our families, and the myriad of societal struggles and triumphs. In his latest body of work Looking for Baldwin, putting the word in the street, he works with the seminal essay A Stranger in the Village as his inspiration. McDonald investigates notions of artist practice and travel coupled with notions of masculinity and race. He imagines the return of the celebrated author to the place where this often referenced essay was conceived and executed.
Cecil McDonald, Jr. studied fashion, house music and dance club culture (not in any particular order) before receiving a MFA in Photography at Columbia College Chicago, where he currently serves as an adjunct professor. His work has been exhibited both nationally and internationally, with works in the permanent collection of The Cleveland Museum of Art, Bank of America, and the Joyce Foundation. McDonald has received honors from the Midwest Voices & Visions Award, the 3Arts Teaching Artist Award and the Lucerne, Switzerland, Residency, awarded by The Swiss Benevolent Society.
Events & Exhibitions
Salon: Xiaowei Chen and Cecil McDonald, Jr.
August 23, 2011
Cecil McDonald, Jr., Black As A Metaphor, 2010, Digital C-Print, 40 × 30 in. (101.6 × 76.2 cm). Courtesy of the artist.
Cecil McDonald, Jr., I Have Read Your Words Before, 2010, Digital C-Print, 40 × 30 in. (101.6 × 76.2 cm). Courtesy of the artist.
Cecil McDonald, Jr., What Does Whiteness Want, Digital C-Print, 40 × 30 in. (101.6 × 76.2 cm). Courtesy of the artist.
Cecil McDonald, Jr., Because Of Giovanni's Room, 2010, Digital C-Print, 40 × 30 in. (101.6 × 76.2 cm). Courtesy of the artist.
Cecil McDonald, Jr., The Village Knows My Name, 2010, Digital C-Print, 40 × 30 in. (101.6 × 76.2 cm). Courtesy of the artist.