The Front Room: Carrie Schneider

CANDICE MADEY and CHART are pleased to announce Deep Like, co-presenting two exhibitions with new work by Carrie Schneider. Deep Like marks CANDICE MADEY’s second iteration of The Front Room, which offers a focused introduction to an artist in the new gallery’s program. CHART will open their solo exhibition in TriBeCa May 15 – July 2.

Schneider’s work challenges the camera’s presumed capacity for documentation and exactitude, employing multiple exposures, light bleeds and obstructions to express an associative collection of images and influences. Abstractions are comprised of images from the artist’s own archive and from intimate and personal moments from her artistic life, including screenshots of her friends’ work and social media feeds, and appropriations of art works that were formative to her ideas about art (Chantal Akerman, Pina Bausch, Francisco Goya, Sigmar Polke and Jeff Wall appear here)–affectionately referred to by the artist as her poetic blazon. Schneider works intuitively, often in the dark hours before sunrise, in a diaristic process akin to automatic writing. She repeats motifs ad infinitum until they are fully exhausted and a new exemplar emerges—one based not on a singular view, but one generated by unexpected commonalities and the affect of others.

Works in Deep Like began with a technical challenge: to build a camera. Schneider constructed a camera from acrylic sheets, industrial grade plastic and a 300mm Rodenstock lens, and experimented with exposing existing images directly to photographic paper. The process allows ample space for failure and discovery—a shift in Schneider’s work which previously originated with research and defined strategies for making images. The resulting photographs, each a unique print, share the aura of mystery often associated with early experiments in photography, but rediscovered using the visual vocabulary of social media, pop culture and art historical references.

The title of the show, Deep Like, reads like a hashtag and suggests the contemporary desire to express affection and interact with friends and colleagues. However, in practice Schneider’s work digs deeper—offering us, the viewers, the residue of the artist’s hand as it traces memories from a year in isolation, the longing for connection, and the relational-cultural value of art and the conversations it inspires.

BIO:
Carrie Schneider (b. 1979, Chicago) is based in Brooklyn and Hudson, New York. She has exhibited her photographs and videos at the Museum of Contemporary Art, Chicago; the Pérez Art Museum Miami; The Andy Warhol Museum, Pittsburgh; The Art Institute of Chicago; and The Kitchen, New York; Kunsthal Charlottenborg, Copenhagen; the Finnish Museum of Photography, Helsinki; Galería Alberto Sendros, Buenos Aires; santralistanbul, Istanbul; Monique Meloche Gallery, Chicago. Her work has been reviewed in The New York Times, ArtForum, VICE, Modern Painters, and The New Yorker. She received a Creative Capital Award, a Fulbright Fellowship, and attended the Whitney Museum of American Art’s Independent Study Program and the Skowhegan School of Painting & Sculpture. Her work is in numerous public collections including The Art Institute of Chicago; Museum of Contemporary Photography, Chicago; Haggerty Museum of Art, Milwaukee; Centre Canadien d’Architecture, Montreal; Art in Embassy, Mbabane, Swaziland; University Galleries, Illinois State University, Illinois; DePaul University Public Collection, Chicago. She received an MFA from the School of the Art Institute of Chicago and a BFA from Carnegie Mellon University, Pittsburgh. Carrie serves on the boards of Iceberg Projects and A.I.M by Kyle Abraham.

The gallery is open to the public Thursday to Saturday, 11am to 6pm, with a limited number of visitors permitted at a time and with enhanced safety measures in place. Advance appointments are recommended. To schedule an appointment online, click HERE or email: info@candicemadey.com.

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