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Kandis Williams has described her collages as ways of thinking through “reproduction and ideas of beauty, how images produce thoughts, how thoughts produce images, and how thoughts produce words and undo meaning.” She complicates our consumption of history and archives, a place of both celebration and contention.
Kandis Williams (b. 1985, Baltimore, Maryland) has had recent solo shows at Cooper Cole, Toronto; Printed Matter, New York, NY; EXPO Video at EXPO, Chicago; 219 Madison, Brooklyn; Night Gallery, Los Angeles; SADE, Los Angeles; St. Charles Projects, Baltimore, MD; Works on Paper, Vienna, Austria; as well as a performance and workshop at Human Resources, Los Angeles. Recent performances include “Eurydice,” organized by Alex Zhang Hungtai for Red Bull Music Academy at Gesu Cathedral, Montréal and “A Woman’s Work,” organized by Rachel Kaadzi Ghansah at MoMA, New York, as well as iterations of her ongoing performance series “Eurydice” at Blum & Poe, Los Angeles, and NAVEL LA, a project which was profiled in Artforum in March 2020. In 2020, her work will be included in the Made in L.A. Biennial hosted by the Hammer Museum and the Huntington Gardens & Libraries. Other recent group exhibitions include the Frye Museum, Seattle; The Studio Museum, Harlem; The Underground Museum, Los Angeles; the Wignall Museum of Art, Rancho Cucamonga, CA; Neu West and 68 Projects, Berlin; and The Breeder, Athens, Greece, among others. She is represented by Night Gallery, Los Angeles.
Williams has an active curatorial and writing practice, and runs Cassandra Press. Published works have explored ideas around reparations, Reconstruction, black Twitter, fetishism, and interraciality. You can read an interview with her in X-TRA. Williams is currently a visiting faculty member at the California Institute of the Arts. She lives and works in Los Angeles.