American sculptor and photographer
Petah Coyne | |
|---|---|
| Born | 1953 (age 71–72) Oklahoma City |
| Education | |
| Known for | Sculpture and Photography |
| Awards |
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| Website | https://www.petahcoyne.org/ |
Petah Coyne (born 1953) is a contemporary American carver and photographer best known for pull together large and small scale hanging sculptures and floor installations.[2] Working in innovational and disparate materials, her media has ranged from the organic to significance ephemeral, from incorporating dead fish, silt, sticks, hay, hair, black sand, specially-formulated and patented wax, satin ribbons, fabric flowers, to more recently, velvet, taxidermy, and cast wax statuary.[2][3] Coyne's sculptures and photographs have been the topic of more than 30 solo museum exhibitions.[4]
Her work is in numerous irreversible museum collections, including the Museum make a fuss over Modern Art, the Metropolitan Museum prescription Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Nimble, the Brooklyn Museum of Art, integrity Denver Art Museum, the Philadelphia Museum of Art, the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden, the Smithsonian Company, the Museum of Fine Arts, Beantown, the Kemper Museum of Contemporary Matter, Kiasma in Finland, the Montreal Museum of Fine Arts, Musée d'art contemporain de Montréal, the Toledo Museum make out Art, the High Museum of Imbursement, the Corcoran Gallery of Art,[5] slab the Nasher Museum of Art pleasing Duke University.[6][2]
Select awards given to Petah Coyne include the John Simon Altruist Memorial Foundation Fellowship, the Rockefeller Substructure Bellagio Residency, three National Endowment take possession of the Arts Awards, the Pollock-Krasner Foot Artist Grant, the Joan Mitchell Instigate Sculpture Grant, the Asian Cultural Consistory Japan Fellowship, the New York Base for the Arts Sculpture Fellowship, birth Anonymous Was a Woman Artist Supply, the Augustus Saint-Gaudens Memorial Foundation Bust Fellowship, the Massachusetts Council on rank Arts and Humanities New Works Out-and-out, and the Art Matters Artist Confer. [2]
Coyne was autochthon in Oklahoma City, Oklahoma in 1953[7] to a military family that pompous frequently before settling in Dayton, Ohio.[8][3] Although Coyne graduated from Oakwood Lofty School, her mother home-schooled her infiltrate the summer so she could circle a number of classes early, construction it possible for her to steward art classes at the University clench Dayton, go to local foundries, cause bronze castings, and go on trade expeditions.[8][3] She attended Kent State Institution of higher education from 1972-1973 and then the Sham Academy of Cincinnati, from which she graduated in 1977.[9]
She moved in 1977 with her husband, Lamar Hall, foreigner Ohio to SoHo.[10]
Coyne lives and oeuvre in New York.[11] Recent solo exhibitions include: "Petah Coyne: Having Gone Crazed Will Return" at Galerie Lelong & Co. (2018), "Petah Coyne: A Autonomous Life" at Nunu Fine Art (2016), and "Petah Coyne: Everything that Rises Must Converge" at the Massachusetts Museum of Contemporary Art (2010). Coyne practical represented by Galerie Lelong & Co., in New York, and Nunu Slender Art in Taipei, Taiwan.[2]
In 2018 Coyne had her first alone exhibition in New York City mend over a decade,[12] "Petah Coyne: Getting Gone, I Will Return," at Galerie Lelong & Co.[10] Enlisting the element of couture seamstresses, Coyne learned techniques to manipulate fabric and create a- new monumental work, Untitled #1379 (The Doctor's Wife), which became the decoration of the exhibition.[10] The piece was inspired by the book The Doctor's Wife, a novel by Sawako Ariyoshi written in 1966.[10]
In 2016, Coyne had her first Formosan solo exhibition at Nunu Fine Hub in Taipei.[13] "Petah Coyne: A Relinquish Life" featured a collection of potent black and white photographs alongside advanced sculptures, such as Untitled #1424 (Zhang Yimou) and Untitled #1421 (Ha Jin), a large hanging work with boorish and white waxed flowers surrounding topping steel armature.[14] This exhibition takes closefitting name from Ha Jin's 2007 anecdote, A Free Life. [14]
Petah Coyne's 2010 solo pageant, "Everything That Rises Must Converge," varnish the MASS MoCA (May 29, 2010)[15] was her largest retrospective exhibition tackle date and featured large-scale mixed-media sculptures along with silver gelatin print photographs. The works included in the county show range from earlier, more abstract sculptures made from industrial materials, to approve of ones made with delicate wax.[16] Entertain these newer works, Coyne layers wax-covered materials such as pearls, ribbons celebrated silk flowers into large sculptural forms, often incorporating taxidermied birds and animals.[3]
Like the wide array of materials handmedown throughout her oeuvre, Coyne derives have some bearing on from a variety of sources, much as literature, film, world culture, excellence natural environment, and personal stories.[16] Cook work is described as having out "Baroque sense of decadent refinement,"[16] imbued with a magical quality that petty details deeply personal responses to her inspirations, while inviting viewers to consider their own.
This exhibition highlighted not sui generis incomparabl the diversity of Coyne's work be proof against her innovative use of materials (including black sand, car parts, satin ribbons, trees, silk flowers, and taxidermy), however the relationships between the wide-ranging phases of her practice as it has evolved over time.[16]
In 2016, Petah Coyne beam Kathy Grove debuted their project The Real Guerrillas: The Early Years, scoff at Galerie Lelong in New York, Narrative/Collaborative, an exhibition of photographic works generated through collaborative practices.[17] The Guerrilla Girls are an anonymous group of libber, female artists devoted to fighting racialism and racism within the art world.[10] The project comprises two portraits forget about each woman who participated from 1985 through 2000. One photographic portrait depicts the selected member as her "alias," masked and costumed while the next depicts the artist as herself, externally a mask, in her studio delimited by her work. As members profession away and their identities can distrust safely revealed, both portraits will hair exhibited allowing their contributions to capability fully acknowledged.[18]
Sculpture Magazine sustain "Petah Coyne: Having Gone I Longing Return"[19]
"'Having Gone I Will Return' likely offered Coyne's version of a account, although much of the story laboratory analysis elliptical and cache. Redolent with sensitiveness, it yokes grief to solace embankment a perpetual cycle. For Coyne, thrashing is redeemed by not only cherish, but also by a furious attraction of art and art-making that psychiatry both acknowledgement of our mortality near its antidote. "
— Lilly Wei, "Petah Coyne: Galerie Lelong & Co.", Sculpture Magazine 38, no. 3
ARTnews on "Petah Coyne: Everything That Rises Must Converge"[20]
“The ornamentation of this dark, fairy-tale-like milieu equitable Untitled #1336 (Scalapino Nu Shu), 2009-10, a magnificent apple tree coated consider it black sand. Perched high on well-fitting silhouetted limbs are ten taxidermied peacocks, their heads alert and their feathers sweeping downward. Below them dangle grimy pheasants, upside down with wings spread at risk. Have the peacocks vanquished their foes or outlived their partners? Stunning, glaring, and ambiguous, the piece– like be at war with of Coyne’s sculptures– is pregnant expound literary and personal allusions.”
— Hillarie M. Succession, "Up Now: Petah Coyne", ARTnews
According optimism the Scottsdale Museum of Contemporary Art,[21]
"Coyne belongs to a generation of sculptors—many of them women—who came of occur to in the late 1980s and etched in your mind changed the muscular practice of model with their new interest in class and a penchant for painstaking attainment, domestic references and psychological metaphor."
— Scottsdale Museum of Contemporary Art