Ghada Amer

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Ghada Amer Cheim & Read

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Ghada Amer 4/3/18 12:40 PM

Ghada A mer

Cheim & Read 2018

Ghada Amer’s Material Plunder Jenni Sorkin

For the last twenty years, Ghada Amer has been celebrated for her signature embroidered canvases. Suffused with stylized, repeating images of eroticized women appropriated from pornography, she has prioritized female representation as her primary content. Her appropriation constitutes a purposeful ransacking, of both popular visual culture and art history, with feminist agency as the intent, redirecting the imagery as simultaneously assertive and pleasurable. Born in Egypt, raised in France, and a resident of New York since the mid-1990s, Amer’s decisive commitment to difficult image making is filled with an urgency to empower women whose sexuality is treated as taboo. The social stigma of female sexual agency is strongly discouraged not just in Muslim-majority countries, but throughout Western ones as well. This extends far beyond simple acknowledgement of desire, and extends to the realm of consent, the right to self-define, and the

ability to choose to engage or not in sexual activity. In the Western world, pornography narratives and imagery are largely male-driven, with male pleasure at the center. Maura Reilly, curator of her first major retrospective, has observed, “Porn, traditionally made by and for men, is transformed via Amer’s intervention.”1 While the reception for Amer’s art has varied geographically, her work has consistently addressed the deep differences between Middle Eastern and Western contexts, allowing her to remain a sharply observant outsider with the ability to span two distinctive cultures. Amer has consistently utilized a so-called feminine art form, embroidery, in nearly all of her mature works. Her needle performs as a drawing tool, creating twodimensional line drawings of Caucasian-featured women in sexually suggestive, often provocative positions. Amer has relayed that viewers sometimes describe the figures as blond and blue-eyed, but points out the wrongheadedness of this assumption, as the images are all contoured, and without color.

This flatness is purposeful: it is a critique of whiteness as a default social and cultural convention, and compliant femininity as the coveted object of heterosexual male desire. Produced as full color and monochromatic canvases, the embroidered body is nearly always doubled or tripled, and long, flowing slippery hair becomes a means of generating a vast surplus of threading, such as in A Summer in India (2017) [Plate 8]. Here, her women are cloistered in sunset colors—yellow and orange—that give way to a canvas drenched in grenadine underpainting and matching thread. Such surfaces are confusing: the colors are warm, but the imagery itself is aloof—distant, with figures that are always semi-obscured, hidden in a tangle of semi-gridded thread, a fringe of handmade selvage produced by the sewing itself. Clad in string, her consistent veiling of the female figure is a way of referencing the profound cultural silencing of women in society globally. Women’s hair—covered or uncovered—becomes a lynchpin for what Amer herself calls “an imagined idea of purity.”2 But the long strands of hair-like thread also make space for the tangibility and materiality of painting itself—an allusion to the

Jackson Pollock-like drips that flow over the surfaces of her canvases. The curator Valerie Cassel Oliver, who organized Amer’s first solo exhibition in the United States in 2000, held at the Contemporary Art Museum in Houston, has commented that, “Amer uses the language of painting—particularly of Abstract Expressionism, which was such a male-dominated movement—and subdues it, overpowers it, by sewing on top of it.”3 But concealment comes in other, more playful formats as well. In a spate of her most recent canvases, Amer parodies painterly conventions, pillorying abstract and representational ideals alike, including nude portraiture, process-driven abstraction, and landscape painting. In doing so, her language of thread provides a running, stitched commentary on painting as an exclusively male domain. Girl with Garden Carnation (2017) [Plate 20] showcases the repeat patterning of eroticized nude portraiture, found throughout the oeuvres of Chagall, Derain, Matisse, Picasso—the canonical avant-garde that Amer would have encountered as a young artist studying in a French art

academy in Nice.4 In such pre-war modernist canvases, a hired model disrobes for a masterful male painter, and is transformed into an object of purity, beauty and lust. She becomes a woman portrayed reclining, or sitting; meeting the viewer’s gaze or looking askance; posing alongside a vase of flowers or a single bud. Nearly all versions seek to enact the same irresistible combination of nascent female sensuality and coy innocence. As a pointed critique, Amer’s nudes repeat in black only, absent the colorful brushwork and domestic backdrops. Her model is not a live figure, but rather an appropriated one, taken from a men’s magazine, with legs strategically crossed, offering visual access. The carnation she is holding is completely covered over, re-directing attention downward, below her waist. The flower is thus deflowered. White Girls (2017) [Plate 17], for instance, is a textured, but entirely abstract canvas, white thread on white paint, underscoring white womanhood as dematerialized, without a solid bodily presence. Here, Amer seems to be slyly suggesting that white-on-white is blandly traditional, indistinguishable from the vaunted, monochromatic conservatism of a previous generation

of hyper-masculine painters associated with post-war modernism, including Brice Marden, Robert Ryman, and Cy Twombly. Landscape with Black Mountains-RFGA (2017) [Plate 1] pokes fun at the conventions of pastoral nature scenes, passing off the most unnatural of pornographic poses as a voluptuous topography, densely rendered in smoky red and black contouring. The allure of this compromising position, of course, is its very earthiness. Amer conflates the swells of buttocks and the splayed legs of a nude, supine woman as terrain to conquer, the toes touching in an upside down “V” shape, perfectly framing her labia, and the full consent of her owner, who turns back, sphinx-like, with a “come hither” gaze. In addition to Amer’s newest canvases, in 2014, she added a new materiality to her repertoire: ceramics. The viscosity of wet clay has affinities with the tangled embroidery of obfuscation seen in her paintings. She began taking classes at Greenwich House Pottery, in New York, a century-old workshop in the West Village that began as part of the settlement house movement early in

the twentieth century, aimed at improving the skills and job prospects of the city’s immigrants. The workshop has since morphed into a community pottery that supports children, amateurs, and working professionals alike. Soon after, she was invited to become a resident artist by Director Adam Welch, and credits this two-year experience as “very important for my development in sculpture in general . . . the means to produce works in clay.”5 In the last decade, Greenwich House Pottery has initiated a residency and fellowship program, designed to support large-scale projects by skilled ceramists in need of the Pottery’s facilities and kilns, as well as a residency (that is, space and time) extended to artists, architects, and designers who have limited, or no prior experience with clay, in order to facilitate a new body of work using the Pottery’s materials and resources. For Amer, this meant working through a challenging new set of formal problems in clay, such as the ongoing requirement for hollowness, since firing solid objects in the kiln is a surefire recipe for disaster. One of the technical solutions was using a grog-filled (bits of

already-fired clay) clay mixed with paper pulp, the latter of which burns out in the kiln. Such fillers can produce the sought-after refinement and hollowness upon which Amer’s structures depend. Because she is still fairly new to clay, her experiments run the gamut of color and shape: experiments with slip painting abound, which is painting with liquefied clay. This has allowed her to continue to work in an idiom that most closely resembles her paintings. Amer’s ceramic objects split roughly between two groups: thin, image-driven forms that repeat the kinds of female silhouettes for which she is best known, and abstract, chunky forms that play with the material itself. In the first category, Amer’s ceramics are surfaces, akin to a charger, a flat, plate-like space that functions as a fantastic vehicle for a painted image. In ceramics, the charger is akin to a mural: it offers space and ample opportunity to draw and paint. This is seen, for instance, in Portrait of the Revolutionary Woman (2017) [Plate 12], or Pietro (2017), both works that fill all available surface.

However, many of Amer’s clay slabs are actually perforated: carefully shaped and molded to create dimensionality. She manipulates the clay in a manner that befits cut and folded paper, making walls thick enough to stand, but thin enough to retain a sense of delicacy. Such is the case in the work Red, Black and Gold Sculpture (2017) [Plate 6], in which four, equally sized slab walls fold up or down slightly, lending heft and volume to a female face and her wild hair, which spreads out over three panels. The image resembles a drawing done in red conté crayon, but is instead slip-painted, and then glazed. The volume of such works is a marvel, as there is no discernable base: dependent entirely on the precariously balanced geometric formation of folding and carefully manipulating the clay’s volume, pushing the material to its limits, and then stabilizing the structure through the process of firing. In writing on these forms, Welch comments, “Though these works fit within a continuation of the ceramic figurative tradition, she defies convention, converting her clay canvases into three-dimensional form. Many artists currently converging on the medium generally do so in a

Fig. 1 Femme sur Fond Cobalt 2017 glazed ceramic 36 x 24 x 12 in 91.4 x 61 x 30.5 cm

manner distinct from their other art practice. Ghada set out to close the distance across her mediums.”6 Welch’s observation is an interesting one, in that Amer is invested in making her own mark within ceramic sculpture, embracing her own signature imagery through a series of workarounds, or translations—that is, figuring out how to recreate her own signature imagery with an entirely new set of material conditions. Her flat, folded, and malleable surfaces, such as Broken Dreams (2014) are slip-painted and inlaid with bright strips of porcelain threading through the clay, resulting in colorful lines that trace the stylized facial features of lips, eyebrows, and sensuous, now-multi-hued hair, seen in Femme sur Fond Cobalt [Woman on a Cobalt Background] (2017) [Fig. 1].

Fig. 2 Study for a Sculpture on a Peach Base 2017 glazed ceramic 6 x 2 1/2 x 5 1/8 in 15.2 x 6.4 x 13 cm

In the second category, her purely abstract works function as studies, experiments that might grow into larger pieces, and are also a way of sketching, as it were, in a new medium. For instance, one of her techniques is to mold a shape using her non-dominant (left) hand, out of a ball of scrap clay while using only her right, dominant hand to consciously make a figure. This differentiation between muscle memory and conscious labor is a way of maximizing the haptic qualities of clay. Ceramics also permits formal experimentation with tropes of modernist sculpture, such as the attached sculptural base. In an ongoing series of works, Amer explores this most pedantic of sculptural questions, and enlivens the tradition of the attached base through effects of color,

Fig. 3 The Blue Knot 2014 glazed ceramic 5 x 6 x 8 in 12.7 x 15.2 x 20.3 cm

trying out vivid surface effects. She performs this experiment across three different black forms. “Lava” in two of the titles refers to the glaze chemistry: a lava glaze is named for its cascading properties, bubbling up and flowing over the surface of the vessel, like a boiled-over pot. Three abstract works perform a simple sleight of hand, changing the color of the base: Lava Sculpture, Lava Sculpture on a White Base, and Study for a Black Sculpture on a Blue Base (all 2017). These works use squared-off coils to build vertically, creating organic, branch-like structures. In the first work, the base is glazed black, merging seamlessly with the sculpture. In the second, the base is partially glazed white, leaving the clay body nominally exposed. The beige stoneware peeks out—a third, unplanned, color. In the third, the base rises exponentially, and provides a shiny, reflective surface to

Fig. 4 Indonesian Dreams 2015 glazed ceramic 12 3/4 x 10 1/2 x 8 1/4 in 32.4 x 26.7 x 21 cm

the sculpture itself. A fourth, more compact composition slyly enters this series, Study for a Sculpture on a Peach Base (2017) [Fig. 2], in which Amer adds a red overglaze, giving her twisted black shapes more definition. The red also offsets the warmth of the coral-colored base, a bare rectangle that is a vehicle for the slick of color. Amer’s ceramic objects split roughly between two groups: abstract, chunky forms which play with the material itself, and thin, image-driven forms that repeat the kinds of female silhouettes for which she is best known. In the first category, a number of these abstract works, true to Amer’s interests in art history, borrow liberally from architectonic forms and object making redolent of the non-Western world. One of these is The Blue Knot (2014) [Fig. 3], for example, is a vessel-like shape with a thick

and bulbous base like a pepper. Its color references the tradition of Egyptian faience, a material made from powdered quartz (closer, in fact, to glass than clay), which was utilized for beadwork, jewelry, and scarab amulets throughout the ancient world. Another work in this vein is Indonesian Dreams (2015) [Fig. 4], a work utilized by cutting the slab with her right hand, then carefully sculpting them into a tall, colorful formation that resembles the sophisticated religious architecture of Hindu temples, built during the early classical period on the island of Java (now Indonesia). Amer’s fragments contain bits and pieces of pigmentation and imagery carried over from other projects, creating a playful tower structure. Ghada Amer has utilized the lush landscape of art historical past from which to plunder—re-casting the role of women as subject, versus object. Her overarching emphasis on the figure, on portraiture that is, ultimately, buried behind a curtain of reticulated threads, underscores art historian Elissa Auther’s observation, “Given [its] immense semiotic capacity . . . fiber has indeed achieved a new legitimacy as a material of contemporary art.”7

Responding to modernism’s historic neglect and disdain for textiles and clay, in combination with the low status of pornographic imagery, Amer’s work seeks to elevate low and debased modalities of production. Her exuberant material plunder is a long-term reclamation project: a deep and productive well from which to draw as a means of producing her process-driven artworks, which appraise the role of women in societies across the globe through a boundless commitment to provocative, unabashedly sexual imagery. Maura Reilly, “Writing the Body: The Art of Ghada Amer,” Ghada Amer (New York: Gregory R. Miller & Co., 2010), 22. Curated by Reilly, Ghada Amer: Love Has No End, was held at the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum of Art, February 16–October 19, 2008. 2 Ghada Amer in conversation with the author, September 25, 2017, Harlem, New York. 3 Hilarie M. Sheets, “Stitch by Stitch, a Daughter of Islam Takes on Taboos,” New York Times (November 25, 2001). 4 Amer has recounted the sexism she encountered as a female art student at the École Pilote Internationale d’Art et de Recherche in Nice, as painting courses were only offered to male students during her time there in the mid-1980s. See Reilly, op. cit., 8. 5 Ghada Amer, September 25, ibid. 6 Adam Welch, “Playing in the Mud: The Ceramic Art of Ghada Amer,” Ghada Amer: Earth Love Fire, (Dubai: Leila Heller Gallery, 2015), 9. 7 Elissa Auther, “Conclusion: Fiber, Craft, and Contemporary Art,” String, Felt, Thread: The Hierarchy of Art and Craft in American Art, (Minneapolis and London: University of Minnesota Press, 2010), 171.Amer’s work is featured in this section of the book as well. 1

1. Landscape with Black Mountains-RFGA 2017 acrylic, embroidery and gel medium on canvas 45 × 45 in 114.3 × 114.3 cm

2. Sculpture in Black, Red and White 2017 glazed ceramic 22 ½ x 34 × 21 in 57.2 × 86.4 x 53.3 cm

3. Glimpse into a New Painting 2018 acrylic, embroidery and gel medium on canvas 64 Ă— 72 in 162.6 Ă— 182.9 cm

4. The Girl in the Box 2015 glazed ceramic 24 x 21 x 18 in 61 × 53.3 × 45.7 cm

5. Three Girls in Black and White 2016 acrylic, embroidery and gel medium on canvas 42 × 42 in 106.7 × 106.7 cm

6. Red, Black and Gold Sculpture 2017 glazed ceramic 23 ¼ x 14 × 34 in 59.1 x 35.6 × 86.4 cm

7. Women in White 2016 acrylic, embroidery and gel medium on canvas 70 × 59 in 177.8 × 149.9 cm

8. A Summer in India 2017 acrylic, embroidery and gel medium on canvas 45 × 45 in 114.3 × 114.3 cm

9. Sisters 2017 acrylic, embroidery and gel medium on canvas 48 × 50 in 121.9 × 127 cm

10. Lovers in Red 2015 glazed ceramic 44 × 16 × 11 in 111.8 × 40.6 × 27.9 cm

11. Pour Agnès 2017 embroidery and gel medium on canvas 45 × 45 in 114.3 × 114.3 cm

12. Portrait of the Revolutionary Woman 2017 glazed ceramic 36 × 24 × 8 in 91.4 × 61 × 20.3 cm

13. White-RFGA 2018 acrylic, embroidery and gel medium on canvas 64 × 72 in 162.6 × 182.9 cm

14. The Gypsy Girl 2017 glazed ceramic 25 x 35 × 11 in 63.5 × 88.9 × 27.9 cm

15. Hend 2017 acrylic, embroidery and gel medium on canvas 50 × 50 in 127 × 127 cm

16. Lovers in Blue 2017 glazed ceramic 24 × 33 × 12 in 61 × 83.8 × 30.5 cm

17. White Girls 2017 acrylic, embroidery and gel medium on canvas 64 × 72 in 162.6 × 182.9 cm

18. Ma Venus de Milo 2017 glazed ceramic 24 × 39 × 9 ½ in 61 × 99.1 × 24.1 cm

19. The Black Sculpture 2017 glazed ceramic 22 ¾ × 19 × 30 1/8 in 57.8 × 48.3 × 76.5 cm

20. Girl with Garden Carnation 2017 acrylic, embroidery and gel medium on canvas 72 × 64 in 182.9 × 162.6 cm


Born in Cairo, Egypt Lives and works in New York

EDUCATION 1991 1989 1987 1986

Institut des Hautes Études en Arts Plastiques, Paris MFA in Painting, Villa Arson École Nationale Supérieure d’Art, Nice School of the Museum of Fine Arts, Boston BFA in Painting, Villa Arson École Nationale Supérieure d’Art (formerly École Pilote Internationale d’Art et de Recherche), Nice, France

SOLO EXHIBITIONS 2018 Dallas Contemporary, Dallas, Texas Dark Continent, Centre de Création Contemporaine Olivier Debré, Tours, France Ghada Amer, Cheim & Read, New York Ghada Amer & Reza Farkhondeh / Love Is a Difficult Blue, Goodman Gallery, Cape Town, South Africa 2017 Ghada Amer: Déesse Terre, Jane Hartsook Gallery, Greenwich House Pottery, New York 2016 Ghada Amer, Kewenig, Berlin 2015 Earth. Love. Fire, Leila Heller Gallery, Dubai 2014 Rainbow Girls, Cheim & Read, New York 2013 Référence à Elle, Kukje Gallery, Seoul

2012 The Other I, Tina Kim Gallery, New York Ghada Amer, Musée d’Art Contemporain de Montréal, Montréal Ghada Amer and Reza Farkhondeh at the M Building, The M Building, Miami 2011 100 Words of Love, Cheim & Read, New York No Romance: Ghada Amer, Reza Farkhondeh and Collaborative Work, Goodman Gallery, Johannesburg, South Africa 2010 The Gardens Next Door: Ghada Amer and Reza Farkhondeh, Galeria Filomena Soares, Lisbon Ghada Amer: Color Misbehavior, Cheim & Read, New York 2009 Ghada Amer: Failing Sharazad, Dirimart, Istanbul Ghada Amer and Reza Farkhondeh: Roses Off Limits, Pace Prints Chelsea, New York 2008 Ghada Amer and Reza Farkhondeh: A New Collaboration on Paper, Singapore Tyler Institute, Singapore Ghada Amer: Love Has No End, organized by Maura Reilly, Elisabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York 2007 Ghada Amer and Reza Farkhondeh: Collaborative Drawings, Kukje Gallery, Seoul; traveled to Tina Kim Gallery, New York Ghada Amer: Another Spring, Kukje Gallery, Seoul Ghada Amer, curated by Danilo Eccher, Museo d’Arte Contemporanea Roma (MACRO), Rome Ghada Amer and Reza Farkhondeh: An Indigestible Dessert, Galleria Francesca Minini, Milan Le Salon Courbé, Galleria Francesca Minini, Milan Ghada Amer, Franklin Art Works, Minneapolis, Minnesota 2006 Ghada Amer: Paintings and RFGA Drawings, curated by Jos Poodt, Stedelijk Museum s’–Hertogenbosch, s’–Hertogenbosch, Netherlands Ghada Amer: Breathe Into Me, Gagosian Gallery, Chelsea, New York

2005 Ghada Amer: Naughty and Nice, curated by Raechell Smith, H&R Block Artspace at Kansas City Art Institute, Kansas City, Missouri The Reign of Terror, curated by Anja Chávez, Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts 2004 Ghada Amer, Gagosian Gallery, Beverly Hills, California Ghada Amer, curated by Teresa Millet, Institut Valencià d’Art Modern (IVAM), Valencia, Spain 2003 Forefront 45: Ghada Amer, curated by Lisa Freiman, Indianapolis Museum of Art, Indianapolis, Indiana Ghada Amer, Galleria Massimo Minini, Brescia, Italy Universal Strangers, curated by Rosa Martínez, Galeria Filomena Soares, Lisbon 2002 Ghada Amer, Gagosian Gallery, London Ghada Amer, curated by Saskia Bos, De Appel Foundation, Amsterdam, Netherlands Works by Ghada Amer, San Francisco Art Institute, San Francisco Ghada Amer, Galerie Guy Bärtschi, Geneva 2001 Encyclopedia of Pleasure, Deitch Projects, New York Reading Between the Threads, curated by Selene Wendt, Henie-Onstad Kunstsenter, Oslo; traveled to Museum Kunst Palast, Düsseldorf, Germany; Bildmuseet, University of Umeå, Umeå, Sweden Ghada Amer: Pleasure, curated by Valerie Cassel Oliver, Contemporary Art Museum, Houston, Texas Ghada Amer: Recent Work, Rhona Hoffman Gallery, Chicago 2000 Ghada Amer: Monographies et Jardins, curated by Alain Julien-Laferrière, Centre Culturel Contemporain, Tours, France Ghada Amer Drawings, Anadil Gallery, Jerusalem Intimate Confessions, Deitch Projects, New York; traveled to Tel Aviv Museum of Art, Tel Aviv; Kunst-Werke, Berlin Ghada Amer, University of Wisconsin Institute of Visual Arts, Milwaukee, Wisconsin

1999 Ghada Amer, curated by Margarita Aizpuru, Centro Andaluz de Arte Contemporáneo, Seville, Spain Ghada Amer, Galerie Brownstone, Corréard & Cie, Paris The Freedom Salon, Project Room, Deitch Projects, (ARCO) Feria Internacional de Arte Contemporáneo, Madrid 1998 Ghada Amer, Espace Karim Francis, Cairo Ghada Amer, Galerie Karin Sachs, Munich Ghada Amer, Annina Nosei Gallery, New York 1997 Ghada Amer, Espace Karim Francis, Cairo Ghada Amer, Galerie Météo, Paris 1996 Ghada Amer, Hanes Art Center, University of North Carolina, Chapel Hill, North Carolina Ghada Amer, Annina Nosei Gallery, New York 1994 Ghada Amer, Espace Jules Verne, Brétigny-sur-Orge, France Ghada Amer, Zoo Galérie, Nantes, France 1993 Ghada Amer, Galerie Météo, Paris 1992 Ghada Amer, Hôpital Ephémère, Paris Ghada Amer, curated by Barbara Fässler, Projekt Raum, Zürich 1990 Ghada Amer, Villa Arson, Nice, France

GROUP EXHIBITIONS 2018 All Things Being Equal, Zeitz Museum of Contemporary Art Africa (MOCAA), Cape Town, South Africa Le Grand monnayage, curated by Frédéric Legros and Chloé Hipeau-Diskos, Biennale de Melle, Melle, France Chaos and Awe: Painting for the 21st Century, Frist Center, Nashville, Tennessee Une Nouvelle humanité, curated by Simon Njami, 13th Biennale of Dakar, Dak’art, Dakar, Sénégal 2017 Do We Dream Under the Same Sky, curated by Thomas Vu and Rirkrit Tiravanija, Leroy Neiman Gallery, New York Eternal Light: Something Old, Something New, curated by Nadine A. Ghaffar, Egyptian Museum, Cairo D’un monde à l’autre, Abbaye d’Annecy Le Vieux, Annecy, France In Rebellion: Female Narratives in the Arab World, curated by Juan Vicente Aliaga, Institut Valencià d’Art Modern (IVAM), Valencia, Spain Ceramics Now: Ghada Amer, Judy Hoffman, Alice Mackler, Ellen Robinson, Greenwich House Pottery, New York Uptown, organized by Deborah Cullen, Wallach Art Gallery, Columbia University, New York Ways of Seeing, curated by Sam Bardaouil and Till Fellrath, ARTER – Space for Art, Istanbul I Go, You Go, Good to Go, Unclebrother, Hancock, New York Being Her(e): Meditations on African Femininities, curated by Refilwe Nkomo and Thato Mogotsi and mentored by Paula Nascimento and Violet Nantume, Kauru Contemporary African Art Project, Constitution Hill, Johannesburg, South Africa Converging Voices: Gender and Identity, curated by Karen T. Albert, Emily Lowe Gallery, Hofstra University Museum, Hempstead, New York Entangled: Threads & Making, curated by Karen Wright, Turner Contemporary, London Third Space / Shifting Conversations about Contemporary Art, Birmingham Museum of Art, Birmingham, Alabama Lucy’s Iris: Contemporary African Artists, curated by Orlando Britto Jinorio, Centro Atlántico de Arte Moderno (CAAM) and Casa África, Las Palmas de Gran Canaria, Spain 2016 In Context: Africans in America, curated by Liza Essers and Hank Willis Thomas, Goodman Gallery, Johannesburg, South Africa The Female Gaze, Part Two: Women Look at Men, Cheim & Read, New York

New Revolutions: Goodman Gallery at 50, curated by Liza Essers, Goodman Gallery, Johannesburg, South Africa Women in Print, Pace Prints, New York Looking at the World Around You: Contemporary Works from Qatar Museums, Santander Art Gallery, Madrid 2015 Winter in America: A Mulitmedia Group Exhibition, The School, Jack Shainman Gallery, Kinderhook, New York Art_Textiles, Whitworth Art Gallery, University of Manchester, England The Worlds Turned Upside Down – Contemporary Art and Folk Cultures, BPS22, Hainaut Province’s Art Museum, Charleroi, Belgium New Editions, Pace Prints Chelsea, New York A l’ombre d’eros – l’amour, la mort, la vie!, Monastère Royal de Brou, Bourg-en-Bresse, France Speaking Back, curated by Natasha Becker, Goodman Gallery, Cape Town, South Africa You Love Me You Love Me Not, Galeria Municipal do Porto, Porto, Portugal GHP Exhibition: Amer, Baga, Cameron, Greenbaum, Lins, Mackler, Salle, curated by Adam Welch, with assistance from Derek Weisberg, Jane Hartsook Gallery at Greenwich House Pottery, New York Words Words Words, Elizabeth Leach Gallery, Portland, Oregon Le fil rouge, Espace Louis Vuitton, Munich 2014 Draw: Mapping Madness, curated by Thomas Vu and Yuan Zuo, Inside Out Art Museum, Beijing Seeing Through Light: Selections from the Guggenheim Abu Dhabi Collection, organized by Susan Davidson, Solomon R. Guggenheim Foundation, with Sasha Kalter-Wasserman, Guggnheim Abu Dhabi Project, and Maisa Al Qassimi, Guggenheim Abu Dhabi, Abu Dhabi Tourism & Cultural Authority, Manarat Al Saadiyat, Abu Dhabi Killer Heels: The Art of the High-Heeled Shoe, Brooklyn Museum, New York; traveled to Albuquerque Museum, New Mexico; Palm Springs Art Museum, Palm Springs, California; Currier Museum of Art, Manchester, New Hampshire Mauvais Genre, proposal by Laetitia Hecht and Samantha Barroero, Addict Galerie, Paris Cruce de Colecciones, Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, Spain Slow Learner, curated by Andreas Leventis, Timothy Taylor Gallery, London Monoprints and Recent Editions, Pace Prints Chelsea, New York GIRL, curated by Pharrell Williams, Galerie Emmanuel Perrotin / Salle de Bal, Paris Songs of Loss and Songs of Love: Oum Kulthum and Lee Nan-Young, curated by Sam Bardaouil and Till Ferhat, Gwangju Museum of Art, Gwangju, South Korea

Recent Prints, Pace Prints Chelsea, New York The Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists, curated by Simon Njami, MMK1, Museum Für Moderne Kunst, Frankfurt am Main, Germany; traveled to Savannah College of Art and Design, Savannah, Georgia; and National Museum of African Art, Smithsonian Institution, Washington, D.C. 2013 Sculptrices, Villa Datris Foundation: Contemporary Sculpture, L’Isle-sur-la-Sorgue, France Earth Matters: Land as Material and Metaphor in the Arts of Africa, National Museum of African Art, Smithsonian Institution, Washington, D.C. ART & TEXTILES – Fabric as Material and Concept in Modern Art from Klimt to the Present, Kunstmuseum Wolfsburg, Wolfsburg, Germany; traveled to Staatsgalerie Stuttgart, Stuttgart, Germany New Intersections – Make it New, 4th Thessaloniki Biennale of Contemporary Art, Thessaloniki State Museum of Contemporary Art, Thessaloniki, Greece 2012 Tea with Nefertiti: The Making of the Artwork by the Artist, the Museum and the Public, curated by Sam Bardaouil and Till Ferhat, Mathaf: Arab Museum of Modern Art, Doha; traveled as Le Théorème de Nefertiti, Institut du Monde Arabe, Paris Stretching the Limits: Fibers in Contemporary Painting, Savannah College of Art and Design Museum of Art, Savannah, Georgia Elles: SAM – Singular Works by Seminal Women Artists, Seattle Art Museum, Seattle, Washington The Mediterranean Approach, SESC Pinheiros, São Paulo, Brazil The Fertile Crescent: Gender, Art, and Society, Bernstein Gallery, Woodrow Wilson School of Public & International Affairs, Princeton University, Princeton, New Jersey Le Corps Découvert, Institut du Monde Arabe, Paris Prism. Drawings from 1990 to 2011, curated by Gavin Jantjes, The National Museum of Art, Architecture and Design, Oslo Loin des yeux prés du corps. Entre théorie et création (Far from the eyes close to the body. Between theory and creation), curated by Thérèse St-Gelais, Galerie de l’Uqam (UQÀM), Université du Québec à Montréal, Montréal, Québec 2011 Les 100 et 10 ans de l’Hôpital Bretonneau, Hôpital Bretonneau, Paris Summer Group Show, Pace Prints Chelsea, New York Flowers, Elizabeth Schwartz, LLC, New York The Women in Our Life: A Fifteen Year Anniversary Exhibition, Cheim & Read, New York The Mediterranean Approach, curated by Adelina von Fürstenberg and Thierry Ollat, Palazzo

Zenobio, Venice, Italy; traveled to Musée d’art Contemporain, Marseille, France; SESC Pinheiros, São Paolo, Brazil Women’s Modesty and Anger (Pudeurs et colères de femme), Fondation Boghossian, Villa Empain, Brussels No Romance, Goodman Gallery Johannesburg, South Africa The Unbearable Lightness of Being (L’insoutenable legereté de l’etre), Galerie Yvon Lambert, Paris 2010 TOLD / UNTOLD / RETOLD, Mathaf: Arab Museum of Modern Art, Doha Residua, Maraya Art Center, Al Qasba, Sharjah, United Arab Emirates In Context: A 2010 Initiative, Goodman Gallery, Johannesburg, South Africa Until Now: Collecting the New (1960–2010), Minneapolis Institute of Arts, Minneapolis, Minnesota America Now + Here, Artrain, Ann Arbor, Michigan I Love You!, curated by Pernille Taagaard Dienesen, ARoS Aarhus Kunstmuseum, Aarhus, Denmark 185th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, New York Wild Is the Wind, curated by Laurie Ann Farrell, Gustein Gallery, Savannah College of Art and Design, Savannah, Georgia 2009 In Stitches, curated by Beth Rudin DeWoody, Leila Taghinia-Milani Heller Gallery, New York Against Exclusion, curated by Jean-Huber Martin, 3rd Moscow Biennale, Dasha Zhukova’s Garage Center for Contemporary Culture, Moscow Abstractions by Gallery Artists, Cheim & Read, New York The Female Gaze: Women Look at Women, Cheim & Read, New York Elles@centrepompidou: Artistes femmes dans la collection du Museé national d’art modern, centre de creation industrielle, curated by Camille Morineau, Musée d’Art Moderne, Centre Georges Pompidou, Paris 2008 Demons, Yarns and Tales: Tapestry by Contemporary Artists, curated by Banners of Persuasion, The Dairy Art Centre, London; traveled to The Loft, Miami Prospects I, curated by Don Cameron, Contemporary Arts Center, New Orleans, Louisiana The Future Must Be Sweet: The Lower East Side Printshop Celebrates 40 Years, curated by Marilyn S. Kushner, International Print Center, New York Valeurs croisées, Biennale d’Art Contemporain, Rennes, France Pandora’s Box, Dunlop Art Gallery, Regina, Canada Far from Home, North Carolina Museum of Arts, Raleigh, North Carolina

2007 Pricked: Extreme Embroidery, Museum of Art and Design, New York Alles klar? Zeitgenössische kunst aus Ägypten, Salzburger Kunstverein, Salzburg, Austria Dialogues Méditerranéens, curated by Susanne Van Hagen, St. Tropez, France Afterglow, curated by Laurie Ann Farrell and Celina Jeffrey, Savannah College of Art and Design, Lacoste, France Substance and Surface, Bortolami Gallery, New York Reconstruction #2, Sudeley Castle Winchombe, Gloucestershire, England Check-List Luanda Pop, curated by Fernando Alvim and Simon Njami, African Pavillion, Arsenale, La Biennale di Venezia 52nd, Venice, Italy Commemorating 30 Years: Part Three, Rhona Hoffman Gallery, Chicago Inscribing Meaning: Writing and Graphic Systems in African Art, National Museum of African Art, Smithsonian Institution, Washington, D.C.; traveled to Fowler Museum at University of California, Los Angeles (UCLA), California Global Feminisims, curated by Maura Reilly and Linda Nochlin, Brooklyn Museum, New York; traveled to Wellesley College, Wellesley, Massachusetts Gender Stitchery: Artist Knit/Sew Art, curated by Laurel Bradley, Carleton College, Northfield, Minnesota What F Word?, curated by Carol Cole Levin, Cynthia Broan Gallery, New York Collective One, Guy Bärtschi Gallery, Geneva 2006 Hot off the Press: Prints of 2006 from New York Printshops, curated by Janice Carlson Oresman, Grolier Club, New York Showcase for Contemporary Works on Paper, INK Miami Art Fair, Miami Kitaj: Little Pictures, Marlborough Fine Art, London C’era una volta un re: La Fiaba contemporanea. Opere di 18 artisti internazionali, curated by Dobrila Denegri, Museo d’Arte Contemporanea Sannio (ARCOS), Benevento, Italy Insolence, curated by Caroline Messensee, Foire International d’Art Contemporain (FIAC), Maison Guerlain, Paris Grand Promenade, curated by Anna Kafetsi, National Museum of Contemporary Art, Athens Reconstruction No. 1, curated by Mollie Dent-Brocklehurst and Elliot McDonald, Sudeley Castle, Gloucestershire, England Zones of Contact, 15th Biennale of Sydney, Sydney, Australia Word into Art, British Museum, London La force de l’art, Paris Triennial, Grand Palais, Paris The Garden Party, Deitch Projects, New York Without Boundary: Seventeen Ways of Looking, curated by Fereshteh Daftari, Museum of Modern Art, New York

Threads of Memory, curated by Margaret Matthews-Berenton, Dorsky Gallery, Long Island City, New York Soie, Centre d’Art Contemporain Le Rectangle, Lyon, France 2005 Donna donne. Uno sguardo sul feminile nell’arte contemporanea, curated by Adelina von Fürstenberg, Palazzo Strozzi, Florence, Italy Centre of Gravity, curated by Rosa Martínez, Istanbul Museum of Modern Art, Istanbul Hanging by a Thread, curated by Nina Arias and Jose Diaz, The Moore Space, Miami Here Comes the Sun, curated by Daniel Birnbaum, Rosa Martínez, Jérôme Sans, and Sarit Shapira, Magasin 3 Stocholm Konsthall, Stockholm Fairy Tales Forever: International Homage to H. C. Andersen, AroS Aarhus Kunstmuseum, Aarhus, Denmark Down the Garden Path: The Artist’s Garden After Modernism, curated by Valerie Smith, Queens Museum of Art, New York Vertigo, curated by Mollie Dent-Brocklehurst, Sudeley Castle, Winchcombe, Gloucestershire, England Always a Little Further, curated by Rosa Martínez, 51st International Art Exhibition, La Biennale di Venezia, Venice Identità and nomadismo, Palazzo delle Papesse, Centro Arte Contemporanea, Siena, Italy Works on Paper, Gagosian Gallery, Beverly Hills, California Femme(s), curated by Adelina von Fürstenberg and organized by ART for The World, Ville de Carouge, Carouge, Switzerland; traveled as Donna Donne to Palazzo Strozzi, Florence, Italy; and as Mulher Mulheres to SESC Paulista, São Paulo, Brazil TEXTures: Word and Symbol in Contemporary African Art, National Museum of African Art, Smithsonian Institution, Washington, D.C. Confluence, curated by Jennifer Gately, Sun Valley Center for the Arts, Sun Valley, Idaho 2004 De leur temps, collections privées françaises, curated by Evelyne Dorothée Allemand and Michel Poitevin, Association pour la Diffusion Internationale de l’Art Français (ADIAF), Musée des Beaux-Arts, Tourcoing, France Freedom Salon, Imagine Festival of Arts, Issues & Ideas, Deitch Projects, New York Africa Remix: Contemporary Art of a Continent, curated by Jean-Hubert Martin, Museum Kunst Palast, Düsseldorf, Germany; traveled to Hayward Gallery, London; Centre Georges Pompidou, Paris; Mori Art Museum, Tokyo, Japan; Moderna Museet, Stockholm Monument to Now: The Dakis Joannou Collection, Deste Foundation, Athens Le opere e i giorni, curated by Achille Bonito Oliva, La Vanitas, Certosa di San Lorenzo, Padula, Italy

Il Periplo del Mediterraneo, curated by Maurizio Calvesi and Marisa Vescovo, Museo dell’Accademia Ligustica di Belli Arti e Loggia di Banchi o della Mercanzia, Genova, Italy Hommage à Georges Pompidou: Parcours dans les collections du Musée d’Art Moderne, Centre Pompidou, Paris Ghada Amer, Shirazeh Houshiary, Sue Williams, Kukje Gallery, Seoul Kunst stoff, curated by Elisabeth von Samsonow and Rosemarie Schwarzwälder, Galerie Nächst St. Stephan, Rosemarie Schwarzwälder, Vienna Beyond East and West: Seven Transnational Artists, curated by David O’Brien and David Prochaska, Krannert Art Museum, University of Illinois at Urbana-Champaign, Champaign, Illinois; traveled to Louisiana State University Museum of Art, Baton Rouge, Louisiana; Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Williams College Museum of Art, Williamstown, Massachusetts L’Ecriture, le signe, le motif (The Scripture, the Sign, the Motif), Diocèse du Puy-en-Velay, Le Puyen-Velay, France 2003 Looking Both Ways: Art of the Contemporary African Diaspora, curated by Laurie Ann Farrell, Museum of African Art, Long Island City, New York; traveled to Peabody Essex Museum, Salem, Massachusetts; Cranbrook Academy of Art, Bloomfield Hills, Michigan; City Art Centre, Edinburgh, Scotland; Museum of the African Diaspora, San Francisco Reverie: Works from the Collection of Douglas S. Cramer, Speed Art Museum, Louisville, Kentucky 2nd Echigo-Tsumari Art Triennial 2003, Echigo-Tsumari Region, Japan Corporal Identity: Körpersprache, 9. Trienniale für Form und Inhalte: USA und Deutschland (Corporal Identity: Body Language, 9th Triennial for Form and Content: USA and Germany), curated by Eric de Chassey, Museum für Angewandte Kunst, Frankfurt am Main, Germany; Klingspor Museum, Offenbach, Germany; traveled to American Craft Museum, New York Il racconto del filo: Ricamo e cucito nell’arte contemporanea, curated by Francesca Pasini and Giorgio Verzotti, Museo di Arte Moderna e Contemporanea di Trento e Roverto, Roverto, Italy Inscribing Meanings: African Arts of Communication, National Museum of African Art, Smithsonian Institution, Washington, D.C. Feminine Persuasion: Contemporary Women’s Sexualities, School of Fine Arts Gallery and the Kinsey Institute of Research in Sex, Gender and Reproduction, Indiana University, Bloomington, Indiana Aligned, Florence Lynch Gallery, New York Sites of Recurrence, Madras Craft Foundation, DakshinaChitra Museum, Chennai, India; traveled to Borås Konstmuseum, Borås, Sweden; Karnataka Chitrakala Parishad Museum, Bangalore, India Harem Fantasies and the New Scheherazades, curated by Rose Issa, Centro de Cultura Contemporània de Barcelona (CCCB), Barcelona

cíudadMULTIPLEcity. Art > Panamá 2003. Una experiencia en contexto (Urban Art and Global Cities: An Experiment in Context), curated by Gerardo Mosquera and Adrienne Samos, Arte Panama, Panama City, Panama 2002 Doble filo, curated by Xabier Arakistain, Fundación BilbaoArte Fundazio, Bilbao, Spain Go Figure, curated by Michael Steinberg and Stefan Stoyanov, Luxe Gallery, New York Contemporary Art Project, Seattle Art Museum, Seattle, Washington 2001 Best of 2001, Galerie Loevenbruck, Paris Accrochage, Galerie Guy Bärtschi, Geneva Sous-titrée X, la pornographie entre image et propos (Sub-titled X, the Pornography Between Image and About), curated by Ramon Tio Bellido, Ecole Supérieure des Beaux-Arts de Tours, Tours, France Mediterraneo: um novo muro? (The Mediterranean: A New Wall?), Culturgest, Lisbon Unfolding Perspective, ARS 01, curated by Tuula Arkio, Maaretta Jaukkuri, Patrik Nyberg and Jari-Pekka Vanhala, Museum of Contemporary Art Kiasma, Helsinki Threads of Vision: Toward a New Feminine Poetics, curated by Kristin Chambers, Cleveland Center for Contemporary Art, Cleveland, Ohio Experiences, Barcelona Art Report 2001, curated by Rosa Martínez, Barcelona Uncommon Threads: Contemporary Artists and Clothing, Cornell University, Ithaca, New York The Short Century: Independence and Liberation Movements in Africa, 1945–1994, curated by Okwui Enwezor, Museum Villa Stuck, Munich; traveled to Martin-Gropius-Bau, Berlin; Museum of Contemporary Art, Chicago; MoMA, PS 1, Long Island City, New York Heureux le visionnaire dont la seule arme est le stylet du graveur (Happy Is the Visionary Whose Weapon Is the Engraver’s Needle), Centre de la Gravure, La Louvière, Belgium Kunst gjennon nåløyet: Henie onstad kunstsenter (Art Through the Eye of the Needle), Henie-Onstad Kunstsenter, Høvikodden, Norway Entretejidos-texturas: Arte contemporáneo y artesanía Francés (Interwoven-Textures: Contemporary Art and French Crafts), curated by Yves Sabourin, Museo de Arte de Lima (MALI), Peru; traveled to Museo Nacional, Rio de Janeiro; Centro Cultural Recoleta, Buenos Aires 2000 Cross Female. Metaphern des Weiblichen in der Kunst der 90er Jahre, curated by Barbara Höffer and Valerie Schulte-Fischedick, Berlin Innuendo, Dee/Glasoe Gallery, New York 5th Biennale d’art contemporain de Lyon: Partage d’exotismes (Sharing of Exoticisms), curated by Jean-Hubert Martin, Thierry Prat, and Thierry Raspail, Halle Tony Garnier, Lyon, France

Stanze e segreti (Rooms and Secrets), curated by Achille Bonito Oliva, Rotonda della Besana, Milan Man and Space, Kwangju Biennial 2000, curated by René Block, Kwangju, South Korea Whitney Biennial, curated by Maxwell Lincoln Andersen, Michael G. Auping, Valerie Cassel Oliver, Hugh M. Davies, Jane Farver, Andrea Miller-Keller, and Lawrence R. Rinder, Whitney Museum of American Art, New York Friends and Neighbors: EV+A 2000, curated by Rosa Martínez, Limerick City Gallery of Art, Limerick, Ireland Greater New York: New Art in New York Now, MoMA PS 1, Long Island City, New York Leaving the Island, curated Rosa Martínez, Pusan International Contemporary Art Festival 2000, Pusan Museum of Art, Pusan, South Korea Continental Shift: A Journey Between Cultures, African Artists in Europe, Ludwig Forum, Aachen, Germany; traveled to Bonnefanten Museum, Maastricht, Netherlands; Musée d’Art Moderne, Liège, Belgium; Stadsgalerij Heerlen, Netherlands Fait maison, curated by Frédéric Roux, Musée International des Arts Modestes, Sète, France 1999 Skin, curated by Andrea Gilbert, Deste Foundation Center for Contemporary Art, Athens Radicalité dire les qualités, Galerie Brownstone & Corréard, Paris Corps social, curated by Eric de Chassey, École Nationale Supérieure des Beaux-Arts, Paris Looking for a Place, curated by Rosa Martínez, Third International Biennial, SITE Santa Fe, Santa Fe, New Mexico APERTO Over All, 48th International Art Exhibition, curated by Harald Szeeman, La Biennale di Venezia, Venice 1998 Mar de fondo, curated by Rosa Martínez, Teatre Romano de Sagunto, Valencia, Spain L’Un et l’autre et vice et versa, Espace Paul Riquet, Béziers, France Loose Threads, curated by Lisa Corrin, Serpentine Gallery, London The Edge of Awareness, curated by Adelina von Fürstenberg, World Health Organization Headquarters, Geneva; traveled to United Nations Buliding, New York; MoMa PS 1, Long Island City, New York; SESC Pompéia, São Paulo, Brazil; WHO Regional Office/The Rabindra Bahvan Lalitkala Academy, New Delhi, India L’Entrelacement et l’enveloppe pratiques et métaphores textiles, Villa du Parc, Annemasse, France Métissages: Regard contemporain sur la broderie, la dentelle et la passementerie, Musée du Luxembourg, Paris; traveled to Musée de Louviers, Louviers ,France; Musée d’Art et d’Histoire de Saint-Brieuc, St. Brieuc, France; Château de Vogüé, Aubenas, France; Musée des BeauxArts et de la Dentelle, Alençon, France; Espace Saint-Jacques, San Quentin, France Exposition de groupe, Espace Louise Michel, Paris Echolot, curated by René Block, Museum Fridericianum, Kassel, Germany

L’Envers du décor, dimensions décoratives dans l’art du XXème siècle, Musée d’Art Moderne Lille Métropole, Villeneuve d’Ascq, France; traveled to Institut D’Art Contermporain, Villeurbanne/ Rhône-Alpes, France 1997 French Kiss, Contemporary Art Gallery and Artspeak Gallery, Vancouver, Canada Alternating Currents, 2nd Johannesburg Biennale, curated by Okwui Enwezor and Octavio Zaya, Johannesburg, South Africa Produire, créer, collectionner: aides à la production de la Caisse des dépôts et consignations, Musée du Luxembourg, Paris Ici et maintenant, Parc de la Villette, Paris Thread, Cristinerose Gallery, New York Amitiés et autres catastrophes: la carte du tendre, Le Crestet Centre d’Art, Le Crestet, France What’s Next On Canvas, Elga Wimmer, New York Vraiment feminisme et art, curated by Laura Cottingham, Le Magasin Centre National d’Art Contemporain de Grenoble, Grenoble, France Ici et maintenant (encore), 13 Quai Voltaire, Paris Sous le manteau, Galerie Thaddaeus Ropac, curated by Caroline Smulders, Paris Heureux le visionnaire dont la seule arme est le stylet du graveur: 40 artistes, 30 ateliers, Commande publique du Centre National des Arts Plastiques (CNAP), Maison Levanneur de l’Estampe et de l’Art Imprimé, Chatou, France 1996 Le Bonheur de vivre, ses ravages sur l’inconscient, Galerie Météo, Paris Ceremonial, curated by Barry Schwabsky, Apex Art Gallery, New York Die Raüber der Strandguts, Künstlerhaus Bethanien, Berlin; traveled to Künstlerwerkstatt Lothringer Straße, Munich Miniatures, Espace Karim Francis, Cairo The Sense of Order, curated by Zdenka Badovinac, Moderna Galerija, Ljubljana, Slovenia Container ’96, Cultural Capital of Europe, Copenhagen Sans regrets, Toxic Gallery, Luxembourg 1995 Figures, Centre d’Art du Parvis, Tarbes, France Tampons d’artistes, Musée de la Poste, Paris Group Invitational Show, Annina Nosei Gallery, New York Territoires occupés/Kunst konversion, curated by Béatrice Josse and Maximilian G. Van de Sand, Fonds Régional d’Art Contemporain (FRAC) Lorraine, Metz, France; traveled to Arge Kunst Südwestpfalz, Zweibrücken, Germany

Orient/ation: The Vision of Art in a Paradoxical World, 4th International Istanbul Biennial, curated by René Block, Istanbul Etrangères au paradis, curated by Michel Nuridsany, Le Monde de l’Art, Paris Pittura/Immedia, curated by Peter Weibel, Neue Galerie am Landesmuseum Joanneum, Graz, Austria The Mutated Painting, Galerie Martina Detterer, Frankfurt am Main, Germany Le Duc sur un le noyau de cerise et la princesse au petit pois…, Schloss Friedenstein Kunstverlag, Gotha, Germany; traveled to Fonds Régional d’Art Contemporain (FRAC) Auvergne, Villeneuve Lembron, France …wie gemalt, Neuer Aachener Kunstverein, Aachen, Germany 1994 Group show curated by Catherine Arthus Bertrand, Centre d’Art Contemporain (CAC), St. Léger, Pougues-les-Eaux, France Bifurcations, Abbaye Saint André, Centre d’Art Contemporain, Meymac, France; traveled to Musée des Beaux-Arts, Dôle, France; Cimaise et Portique, Albi, France Mété(vous)o-show, Galerie Météo, France Snark, cabinet des desseins, Galerie Pierre Nouvion, Monte Carlo 1993 June, curated by Oliver Zahm, Galerie Thaddaeus Ropac, Paris The Armoire Show, curated by Hans Ulrich Obrist, Hôtel Carlton Palace, Paris SMGP2A, Galerie Barbier-Beltz, Galerie Météo, Paris 1992 37éme salon de Montrouge, Centre Culturel et Artistique de Montrouge, Montrouge, France Montrouge à Montbélliard, curated by Nicole Ginoux, Musée de Montbélliard, Montbélliard, France I Love Paris, Hôpital Ephémère, Paris Les Mystères de l’auberge Espagnole, Villa Arson, Nice, France Une Rose est une rose, Galerie Météo, Paris 1990 My Beautiful Lady, Villa Arson, Nice, France

PUBLIC COLLECTIONS Arab Museum of Modern Art (MATHAF), Qatar Museums Authority, Doha Art Institute of Chicago, Chicago Barjeel Art Foundation, Sharjah, United Arab Emirates Birmingham Museum of Art, Birmingham, Alabama Brooklyn Museum, New York Centre Georges Pompidou, Paris Crystal Bridges Museum of American Art, Bentonville, Arkansas Detroit Institute of Art, Detroit, Michigan Fond National d’Art Contemporain (FNAC), Paris Fonds Régional d’Art Contemporain (FRAC), Auvergne, France Fonds Régional d’Art Contemporain (FRAC), Provence-Alpes-Côte d’Azur, France Guggenheim Museum, Abu Dhabi, United Arab Emirates Hood Art Museum, Dartmouth College, Hanover, New Hampshire Indianapolis Museum of Art, Indianapolis, Indiana Israel Museum, Jerusalem Istanbul Modern, Istanbul Lille Métropole Museum of Modern, Contemporary and Outsider Art, Villeneuve d’Ascq, France Minneapolis Institute of Art, Minneapolis, Minnesota Museum of Arts and Design, New York Museum Kunstpalast, Dusseldorf, Germany Neuberger Berman Art Collection, New York Sammlung Goetz, Munich Samsung Museum, Seoul Savannah College of Art and Design, Savannah, Georgia Seattle Art Museum, Seattle, Washington Smith College Museum of Art, Northampton, Massachusetts Speed Art Museum, Louisville, Kentucky Tel Aviv Museum of Art, Tel Aviv

Published on the occasion of the Cheim & Read exhibition, April 5–May 12, 2018. Special thanks to my assistants: Sindy Butz, Lisa Kettlewell, Trini Soelaeman and Lulu White. Special thanks to Adam Welch and Greenwich House Pottery. Photography Chris Burke. Portrait Brian Buckley. Editorial Assistant Sarah Dansberger. Color separation Altaimage. Printer Trifolio. ISBN 978–1–944316–13-6.

Ghada A mer Cheim & Read 2018

Design John Cheim. Essay Jenni Sorkin. Editor Ellen Robinson.

Ghada Amer Cheim & Read

Amer cover v4.indd 1

Ghada Amer 4/3/18 12:40 PM