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Fred Wilson (artist)

February 10, 2024

For other people named Fred Wilson, see Fred Wilson (disambiguation).

Fred Wilson (born 1954) is an American artist and describes himself as of "African, Native American, European and Amerindian" descent.[1] He received a BFA from Purchase College, State University of New York.[2] Wilson challenges colonial assumptions on history, culture, and race – encouraging viewers to consider the social and historical narratives that represent the western canon.[3] Wilson received a MacArthur Foundation "genius grant" in 1999 and the Larry Aldrich Foundation Award in 2003. Wilson represented the United States at the Biennial Cairo in 1992 and the Venice Biennale in 2003.[4] In May 2008, it was announced that Wilson would become a Whitney Museum trustee replacing Chuck Close.[5]

Fred Wilson
Born1954
New York City, US
EducationBFA, SUNY Purchase
Known forConceptual art
AwardsMacArthur Fellowship
Larry Aldrich Foundation Award

Career edit

An alumnus of Music & Art High School in New York, Wilson received a BFA from SUNY Purchase in 1976, where he was the only black student in his program.[1] While studying Wilson worked as a guard at the Neuberger Museum.[6] Between 1978 and 1980, he worked as an artist in East Harlem as part of the Comprehensive Employment and Training Act's (CETA) employment of artists.[7]

He says that he no longer has a strong desire to make things with his hands. "I get everything that satisfies my soul," he says, "from bringing together objects that are in the world, manipulating them, working with spatial arrangements, and having things presented in the way I want to see them."[8]

An installation artist and political activist, Wilson's subject is social justice and his medium is museology. In the 1970s, he worked as a free-lance museum educator for the American Museum of Natural History, the Metropolitan Museum of Art and the American Craft Museum. Beginning in the late 1980s, Wilson used his insider skills to create "Rooms with a View", a series of "mock museums" that address how museums consciously or unwittingly reinforce racist beliefs and behaviors.[9] This strategy, which Wilson refers to as "a trompe l'oeil of museum space,"[10] has increasingly become the focus of his life's work.[11]

In 1987, as part of his outdoor "Platform" series, Wilson created No Noa Noa, Portrait of a History of Tahiti, designed to illustrate "how Western societies turn Third World peoples into exotic sideshow creatures to entertain and titillate but who are not to be taken seriously."[12]

In his 1992 seminal work co-organized with the Contemporary Museum Baltimore, Mining the Museum, Wilson reshuffled the Maryland Historical Society's collection to highlight the history of Native and African Americans in Maryland. In 1994, Wilson continued in this vein with Insight: In Site: In Sight: Incite in Winston-Salem, North Carolina, where, according to art historian Richard J. Powell, his "re-positioning of historical objects and manipulation of exhibition labels, lighting, and other display techniques helped reveal aspects of the site's tragic African-American past that (because of the conspiratorial forces of time, ignorance, and racism) had largely become invisible."[13]

In 2001, Wilson was the subject of a retrospective, Fred Wilson: Objects and Installations, 1979–2000, organized by Maurice Berger for the Center for Art, Design and Visual Culture at the University of Maryland, Baltimore County. The show traveled to numerous venues, including the Santa Monica Museum of Art, Berkeley Museum of Art, Blaffer Gallery (University of Houston), Tang Teaching Museum and Art Gallery (Skidmore College, Saratoga Springs, NY), The Addison Gallery of American Art in Andover, Massachusetts, Chicago Cultural Center, Studio Museum in Harlem. For the 2003 Venice Biennale, Wilson created a multi-media installation that borrowed its title from a line in Othello. His elaborate Venice work "Speak of Me as I Am" focused on representations of Africans in Venetian culture.[1]

In 2007 Fred Wilson was invited to be a part of the Indianapolis, Indiana, Cultural trail. Wilson proposed to redo the sole African American depicted in the Soldiers and Sailors Monument in downtown Indianapolis. The African American represents a recently freed slave reaching up to lady liberty. Wilson planned on using a scan of the African American to make an entirely new work, which would give the African American a more proud and strong posture, holding a flag composed of all of the African countries' flags.[14] The proposed work was entitled, E Pluribus Unum, and was met with much controversy, eventually leading to the project's rejection.

In 2009, Wilson was awarded the Cheek Medal[15] by William & Mary's Muscarelle Museum of Art. The Cheek Medal is a national arts award given by The College of William & Mary to those who have contributed significantly to the field of museum, performing or visual arts.

2011 saw the publication of Fred Wilson: A Critical Reader by Ridinghouse, edited by Doro Globus. An anthology of critical texts about and interviews with the artist, this publication focuses on the artist's pivotal exhibitions and projects, and includes a wide range of significant texts that mark the critical reception of Wilson's work over the last two decades.[16]

Major themes edit

 
Artemis / Bast (1992) at the Baltimore Museum of Art in 2022

Wilson's unique artist approach is to examine, question, and deconstruct the traditional display of art and artifacts in museums. With the use of new wall labels, sounds, lighting, and non-traditional pairings of objects, he leads viewers to recognize that changes in context create changes in meaning. Wilson's juxtaposition of evocative objects forces the viewer to question the biases and limitations of cultural institutions and how they have shaped the interpretation of historical truth, artistic value, and the language of display.[8] According to Wilson, "Museums ignore and often deny the other meanings [of objects]. In my experience it is because if an alternate meaning is not the subject of the exhibition or the focus of the museum, it is considered unimportant by the museum."[17] Wilson uses these objects to analyze the representation of race in museums and to examine the power and privileges of cultural institutions.[18]

For example, for his installation at the 2003 Venice Biennale he employed a tourist to pretend to be an African street vendor selling fake designer bags — in fact his own designs. He also incorporated "blackamoors", sculptures of black people in the role of servants, into the show.[19] Such figures were often used as stands for lights. Wilson placed his wooden blackamoors carrying acetylene torches and fire extinguishers. He noted that such figures are so common in Venice that few people notice them, stating, "they are in hotels everywhere in Venice...which is great, because all of a sudden you see them everywhere. I wanted it to be visible, this whole world which sort of just blew up for me."[19]

Mining the Museum exhibition edit

Mining the Museum was an exhibition created by Fred Wilson held from April 4, 1992, to February 28, 1993, at the Maryland Historical Society.

Background

The title of the exhibition refers to how Wilson extracted and unearthed objects from the Maryland Historical Society collections to create this exhibition.The purpose of the exhibition was to address the biases museums have, often omitting or under-representing oppressed peoples and focusing on "prominent white men".[20] Wilson took the existing museum's collection and reshuffled them to highlight the history of African-American and Native American Marylanders. This reassembly created a new viewpoint of colonization, slavery and abolition through the use of satire and irony.

Artifacts

Wilson juxtaposed historically important artifacts with each other to address the injustices in history and the injustices of not being properly exhibited. The entrance of the exhibition displayed three busts of important individuals: Napoleon, Andrew Jackson and Henry Clay displayed on pedestals. To the left of these busts were empty black pedestals with the names of three important, overlooked African American Marylanders: Frederick Douglass, Benjamin Banneker, and Harriet Tubman. Arranged in the center of these pedestals is a silver-plated copper globe with the word "Truth" inscribed on it in a case.[21]

Wilson extracted paintings from the eighteenth century and nineteenth century featuring African Americans from the MHS collection. Within this collection Wilson renamed the paintings in order to shift the focus towards African Americans in them. One of the oil paintings titled "Country Life" was renamed "Frederick Serving Fruit" in order to emphasize and underline the young African American that was serving "well-dressed whites at a picnic".[21] Other paintings featuring slave children were paired with audiotape recordings that played on a loop in which visitors were able to hear these children in the paintings ask various poignant questions. Wilson used these paintings to force visitors to recognize how the depiction of African Americans and their invisibility in portrayals of American life is "paradoxical".[21]

The installation titled "metalwork" arranged ornate silverware with slave shackles to address that the prosperity of one could not have been achieved without the other. Similarly, "Cabinet Making" addresses more subjugation by having antique chairs gathered around and facing an authentic whipping post, incorrectly reported by several publications to have been used on slaves. In fact, the post had been used to punish wife-beaters in the Baltimore City jail.[22] However, these false assumptions helped bolster Wilson's idea that the exhibit was "charged by what you bring to it."[22] Pieces such as "Cabinet Making" encouraged visitors to interpret the works however they saw it, to think critically and acquire a new perspective. Other works included cigar-store Indians turned away from visitors, a KKK mask in a baby carriage, a hunting rifle with runaway slave posters and a black chandelier hung in the museum's neoclassical pavilion made for the exhibition.

Impact

The exhibition was successful in that it made visitors more historically conscious of the racism that is an integral part of American history. ""Mining the Museum" worked because it was suggestive rather than didactic, provocative rather than moralizing" [20] More than 55,000 people viewed Wilson's exhibit and helped him create other similar exhibitions around the United States. Critics would coin this new type of work as "museumist art".[23]

50th Venice Biennale edit

Wilson represented the United States at the 50th Venice Biennale, staging the solo exhibition Speak of Me as I Am (2003) in the American pavilion. A series of works was a reworking of Shakespeare's Othello that consisted of various objects such as mirrors and chandeliers that were used to comment on the text. These works have been extended on in the exhibition, Fred Wilson: Sculptures, Paintings, and Installations, 2004–2014. These objects are made of black Murano glass, which indicates how Wilson has transferred the context of Othello into a world where race is not ignored and is instead is a crucial central focus.[24]

Afro Kismet, a mixed-media installation also included in the exhibition, focused on issues and representations of race in Venice, specifically the history of black people in Venice. The installation consisted of prints, paintings, and other artifacts from the Pera Museum collections and underlined the "discarded" or "hidden" history of African people in the Ottoman Empire.[25]

Other activities edit

From 1988 to 1992, Wilson served on the board of directors at Artists Space in TriBeCa, New York.[26] He currently serves on the board of trustees of the Whitney Museum of American Art in New York.

Wilston co-chaired (with Naomi Beckwith) the jury that chose the winners of the Rome Prize for the 2023–24 cycle.[27]

Exhibitions edit

Wilson has staged a large number of solo shows and exhibitions in the United States and internationally. His notable solo shows include Primitivism: High & Low (1991), Metro Pictures Gallery, New York;[28] Mining the Museum (1992-1993), Maryland Historical Society, Baltimore, and Contemporary Museum Baltimore;[29] Fred Wilson: Objects and Installations 1979-2000 (2001-2003), originating at the Center for Art, Design and Visual Culture, Baltimore;[30] Speak of Me as I Am (2003), American pavilion, 50th Venice Biennale;[31] and Fred Wilson: Works 2004-2011 (2012-2013), Cleveland Museum of Art[32]

He has also participated in many group exhibitions, including the Whitney Biennial (1993);[33] Liverpool Biennial (1999);[34] Glasstress (2009, 2011);[35] and the NGV Triennial (2020).[36]

Notable works in public collections edit

References edit

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  2. ^ "Pace Gallery - Fred Wilson". Pace Gallery. Retrieved 2019-03-30.
  3. ^ resume at Rena Bransten Gallery
  4. ^ Vogel, Carol. "Lauder Steps Down as Whitney Museum Chairman." The New York Times, May 27, 2008. [1]
  5. ^ Berger, M (2001). Fred Wilson: Objects and Installations 1979 - 2000. University of Maryland. p. 33.
  6. ^ Africana: The Encyclopedia of the African and African-American Experience, Oxford University Press, 2005
  7. ^ a b PBS art:21 biography.
  8. ^ Stein, Judith E. "Sins of Omission." Art in America, October 1993, pp. 110–115.
  9. ^ "Fred Wilson: Museums and Collections". Art21. Retrieved 2017-01-28.
  10. ^ Fitzpatrick, Tracy. "Wilson, Fred". Oxford Art Online. Oxford University Press. Retrieved 2017-01-17.
  11. ^ Otfinoski, Steven (2011). African Americans in the Visual Arts. Infobase Publishing. pp. 229. ISBN 978-0816078400.
  12. ^ Powell, Richard J. (1997-01-01). Black art and culture in the 20th century. Thames & Hudson. ISBN 0500202958. OCLC 36243884.
  13. ^ . Archived from the original on 2012-02-08. Retrieved 2012-01-14.{{cite web}}: CS1 maint: archived copy as title (link)
  14. ^ "Special Collections Research Center Knowledgebase".
  15. ^ "Fred Wilson: A Critical Reader". Ridinghouse.
  16. ^ Graham, Mark A. (September 2007). "An Interview with Artist Fred Wilson". Journal of Museum Education. 32 (3): 209–217. doi:10.1080/10598650.2007.11510571. ISSN 1059-8650. S2CID 191544890.
  17. ^ A., González, Jennifer (2008). Subject to display : reframing race in contemporary installation art. Cambridge, Mass.: MIT Press. ISBN 9780262072861. OCLC 75390017.{{cite book}}: CS1 maint: multiple names: authors list (link)
  18. ^ a b The Shock of the Familiar, New York Metro, 2003.
  19. ^ a b Ginsberg, Elisabeth. "Mining the Museum". Beautiful Trouble. Beautiful Trouble, n.d. Web. November 11, 2014.
  20. ^ a b c Frankel, Noralee (July 1993). "Mining the Museum Fred Wilson". The Public Historian. 15 (3): 105–108. doi:10.2307/3378741. JSTOR 3378741.
  21. ^ a b Maryland Historical Society Library Department. "Return of the Whipping Post: Mining the Museum". Maryland Historical Society. Underbelly, n.d. Web. October 13, 2013.
  22. ^ Garfield, Donald. "MAKING THE MUSEUM MINE: AN INTERVIEW WITH FRED WILSON", Museum News, May 1993: 47-49+90. Web. November 11, 2014.
  23. ^ Erickson, Peter (2016). "Concluding Othello: Contrasting Endings by Shakespeare and Fred Wilson". Shakespeare Bulletin. 34 (2): 277–293. doi:10.1353/shb.2016.0030. ISSN 1931-1427. S2CID 194532816.
  24. ^ Erel, Tuçe (2018-09-02). "Istanbul Biennial 2018: A Good Neighbour". Journal of Visual Art Practice. 17 (2–3): 227–229. doi:10.1080/14702029.2018.1435058. ISSN 1470-2029. S2CID 150197137.
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  41. ^ "Untitled". Harvard Art Museums. Harvard University. from the original on 27 December 2022. Retrieved 27 December 2022.
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  77. ^ "To Die Upon a Kiss". NGV. National Gallery of Victoria. from the original on 27 December 2022. Retrieved 27 December 2022.
  78. ^ "LIBERATION". Allen Art Collection. Oberlin College. from the original on 27 December 2022. Retrieved 27 December 2022.
  79. ^ "I Saw Othello's Visage in His Mind". CMOG. Corning Museum of Glass. from the original on 27 December 2022.
  80. ^ "I Saw Othello's Visage in His Mind". SAAM. Smithsonian Institution. from the original on 16 May 2022. Retrieved 27 December 2022.
  81. ^ "Iago's Desdemona". Currier. Currier Museum of Art. Retrieved 27 December 2022.
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External links edit

  • The Pace Gallery
  • Biography, interviews, essays, artwork images and video clips from PBS series Art:21 -- Art in the 21st-century - Season 3 (2005).
  • Fred Wilson at the Minneapolis Institute or Art, Minneapolis, MN

February 10, 2024
fred, wilson, artist, other, people, named, fred, wilson, fred, wilson, disambiguation, fred, wilson, born, 1954, american, artist, describes, himself, african, native, american, european, amerindian, descent, received, from, purchase, college, state, universi. For other people named Fred Wilson see Fred Wilson disambiguation Fred Wilson born 1954 is an American artist and describes himself as of African Native American European and Amerindian descent 1 He received a BFA from Purchase College State University of New York 2 Wilson challenges colonial assumptions on history culture and race encouraging viewers to consider the social and historical narratives that represent the western canon 3 Wilson received a MacArthur Foundation genius grant in 1999 and the Larry Aldrich Foundation Award in 2003 Wilson represented the United States at the Biennial Cairo in 1992 and the Venice Biennale in 2003 4 In May 2008 it was announced that Wilson would become a Whitney Museum trustee replacing Chuck Close 5 Fred WilsonBorn1954New York City USEducationBFA SUNY PurchaseKnown forConceptual artAwardsMacArthur Fellowship Larry Aldrich Foundation Award Contents 1 Career 2 Major themes 3 Mining the Museum exhibition 4 50th Venice Biennale 5 Other activities 6 Exhibitions 7 Notable works in public collections 8 References 9 External linksCareer editAn alumnus of Music amp Art High School in New York Wilson received a BFA from SUNY Purchase in 1976 where he was the only black student in his program 1 While studying Wilson worked as a guard at the Neuberger Museum 6 Between 1978 and 1980 he worked as an artist in East Harlem as part of the Comprehensive Employment and Training Act s CETA employment of artists 7 He says that he no longer has a strong desire to make things with his hands I get everything that satisfies my soul he says from bringing together objects that are in the world manipulating them working with spatial arrangements and having things presented in the way I want to see them 8 An installation artist and political activist Wilson s subject is social justice and his medium is museology In the 1970s he worked as a free lance museum educator for the American Museum of Natural History the Metropolitan Museum of Art and the American Craft Museum Beginning in the late 1980s Wilson used his insider skills to create Rooms with a View a series of mock museums that address how museums consciously or unwittingly reinforce racist beliefs and behaviors 9 This strategy which Wilson refers to as a trompe l oeil of museum space 10 has increasingly become the focus of his life s work 11 In 1987 as part of his outdoor Platform series Wilson created No Noa Noa Portrait of a History of Tahiti designed to illustrate how Western societies turn Third World peoples into exotic sideshow creatures to entertain and titillate but who are not to be taken seriously 12 In his 1992 seminal work co organized with the Contemporary Museum Baltimore Mining the Museum Wilson reshuffled the Maryland Historical Society s collection to highlight the history of Native and African Americans in Maryland In 1994 Wilson continued in this vein with Insight In Site In Sight Incite in Winston Salem North Carolina where according to art historian Richard J Powell his re positioning of historical objects and manipulation of exhibition labels lighting and other display techniques helped reveal aspects of the site s tragic African American past that because of the conspiratorial forces of time ignorance and racism had largely become invisible 13 In 2001 Wilson was the subject of a retrospective Fred Wilson Objects and Installations 1979 2000 organized by Maurice Berger for the Center for Art Design and Visual Culture at the University of Maryland Baltimore County The show traveled to numerous venues including the Santa Monica Museum of Art Berkeley Museum of Art Blaffer Gallery University of Houston Tang Teaching Museum and Art Gallery Skidmore College Saratoga Springs NY The Addison Gallery of American Art in Andover Massachusetts Chicago Cultural Center Studio Museum in Harlem For the 2003 Venice Biennale Wilson created a multi media installation that borrowed its title from a line in Othello His elaborate Venice work Speak of Me as I Am focused on representations of Africans in Venetian culture 1 In 2007 Fred Wilson was invited to be a part of the Indianapolis Indiana Cultural trail Wilson proposed to redo the sole African American depicted in the Soldiers and Sailors Monument in downtown Indianapolis The African American represents a recently freed slave reaching up to lady liberty Wilson planned on using a scan of the African American to make an entirely new work which would give the African American a more proud and strong posture holding a flag composed of all of the African countries flags 14 The proposed work was entitled E Pluribus Unum and was met with much controversy eventually leading to the project s rejection In 2009 Wilson was awarded the Cheek Medal 15 by William amp Mary s Muscarelle Museum of Art The Cheek Medal is a national arts award given by The College of William amp Mary to those who have contributed significantly to the field of museum performing or visual arts 2011 saw the publication of Fred Wilson A Critical Reader by Ridinghouse edited by Doro Globus An anthology of critical texts about and interviews with the artist this publication focuses on the artist s pivotal exhibitions and projects and includes a wide range of significant texts that mark the critical reception of Wilson s work over the last two decades 16 Major themes edit nbsp Artemis Bast 1992 at the Baltimore Museum of Art in 2022Wilson s unique artist approach is to examine question and deconstruct the traditional display of art and artifacts in museums With the use of new wall labels sounds lighting and non traditional pairings of objects he leads viewers to recognize that changes in context create changes in meaning Wilson s juxtaposition of evocative objects forces the viewer to question the biases and limitations of cultural institutions and how they have shaped the interpretation of historical truth artistic value and the language of display 8 According to Wilson Museums ignore and often deny the other meanings of objects In my experience it is because if an alternate meaning is not the subject of the exhibition or the focus of the museum it is considered unimportant by the museum 17 Wilson uses these objects to analyze the representation of race in museums and to examine the power and privileges of cultural institutions 18 For example for his installation at the 2003 Venice Biennale he employed a tourist to pretend to be an African street vendor selling fake designer bags in fact his own designs He also incorporated blackamoors sculptures of black people in the role of servants into the show 19 Such figures were often used as stands for lights Wilson placed his wooden blackamoors carrying acetylene torches and fire extinguishers He noted that such figures are so common in Venice that few people notice them stating they are in hotels everywhere in Venice which is great because all of a sudden you see them everywhere I wanted it to be visible this whole world which sort of just blew up for me 19 Mining the Museum exhibition editMining the Museum was an exhibition created by Fred Wilson held from April 4 1992 to February 28 1993 at the Maryland Historical Society BackgroundThe title of the exhibition refers to how Wilson extracted and unearthed objects from the Maryland Historical Society collections to create this exhibition The purpose of the exhibition was to address the biases museums have often omitting or under representing oppressed peoples and focusing on prominent white men 20 Wilson took the existing museum s collection and reshuffled them to highlight the history of African American and Native American Marylanders This reassembly created a new viewpoint of colonization slavery and abolition through the use of satire and irony ArtifactsWilson juxtaposed historically important artifacts with each other to address the injustices in history and the injustices of not being properly exhibited The entrance of the exhibition displayed three busts of important individuals Napoleon Andrew Jackson and Henry Clay displayed on pedestals To the left of these busts were empty black pedestals with the names of three important overlooked African American Marylanders Frederick Douglass Benjamin Banneker and Harriet Tubman Arranged in the center of these pedestals is a silver plated copper globe with the word Truth inscribed on it in a case 21 Wilson extracted paintings from the eighteenth century and nineteenth century featuring African Americans from the MHS collection Within this collection Wilson renamed the paintings in order to shift the focus towards African Americans in them One of the oil paintings titled Country Life was renamed Frederick Serving Fruit in order to emphasize and underline the young African American that was serving well dressed whites at a picnic 21 Other paintings featuring slave children were paired with audiotape recordings that played on a loop in which visitors were able to hear these children in the paintings ask various poignant questions Wilson used these paintings to force visitors to recognize how the depiction of African Americans and their invisibility in portrayals of American life is paradoxical 21 The installation titled metalwork arranged ornate silverware with slave shackles to address that the prosperity of one could not have been achieved without the other Similarly Cabinet Making addresses more subjugation by having antique chairs gathered around and facing an authentic whipping post incorrectly reported by several publications to have been used on slaves In fact the post had been used to punish wife beaters in the Baltimore City jail 22 However these false assumptions helped bolster Wilson s idea that the exhibit was charged by what you bring to it 22 Pieces such as Cabinet Making encouraged visitors to interpret the works however they saw it to think critically and acquire a new perspective Other works included cigar store Indians turned away from visitors a KKK mask in a baby carriage a hunting rifle with runaway slave posters and a black chandelier hung in the museum s neoclassical pavilion made for the exhibition ImpactThe exhibition was successful in that it made visitors more historically conscious of the racism that is an integral part of American history Mining the Museum worked because it was suggestive rather than didactic provocative rather than moralizing 20 More than 55 000 people viewed Wilson s exhibit and helped him create other similar exhibitions around the United States Critics would coin this new type of work as museumist art 23 50th Venice Biennale editWilson represented the United States at the 50th Venice Biennale staging the solo exhibition Speak of Me as I Am 2003 in the American pavilion A series of works was a reworking of Shakespeare s Othello that consisted of various objects such as mirrors and chandeliers that were used to comment on the text These works have been extended on in the exhibition Fred Wilson Sculptures Paintings and Installations 2004 2014 These objects are made of black Murano glass which indicates how Wilson has transferred the context of Othello into a world where race is not ignored and is instead is a crucial central focus 24 Afro Kismet a mixed media installation also included in the exhibition focused on issues and representations of race in Venice specifically the history of black people in Venice The installation consisted of prints paintings and other artifacts from the Pera Museum collections and underlined the discarded or hidden history of African people in the Ottoman Empire 25 Other activities editFrom 1988 to 1992 Wilson served on the board of directors at Artists Space in TriBeCa New York 26 He currently serves on the board of trustees of the Whitney Museum of American Art in New York Wilston co chaired with Naomi Beckwith the jury that chose the winners of the Rome Prize for the 2023 24 cycle 27 Exhibitions editWilson has staged a large number of solo shows and exhibitions in the United States and internationally His notable solo shows include Primitivism High amp Low 1991 Metro Pictures Gallery New York 28 Mining the Museum 1992 1993 Maryland Historical Society Baltimore and Contemporary Museum Baltimore 29 Fred Wilson Objects and Installations 1979 2000 2001 2003 originating at the Center for Art Design and Visual Culture Baltimore 30 Speak of Me as I Am 2003 American pavilion 50th Venice Biennale 31 and Fred Wilson Works 2004 2011 2012 2013 Cleveland Museum of Art 32 He has also participated in many group exhibitions including the Whitney Biennial 1993 33 Liverpool Biennial 1999 34 Glasstress 2009 2011 35 and the NGV Triennial 2020 36 Notable works in public collections editColonial Collection 1990 Nasher Museum of Art Durham North Carolina 37 Guarded View 1991 Whitney Museum New York 38 Addiction Display 1991 Perez Art Museum Miami Florida 39 Queen Esther Harriet Tubman 1992 Jewish Museum New York 40 Untitled 1992 Baltimore Museum of Art 41 Untitled 1992 Harvard Art Museums Cambridge Massachusetts 42 Grey Area 1993 Tate London 43 Mine Yours 1994 Whitney Museum New York 44 Atlas 1995 Studio Museum in Harlem New York 45 Me and It 1995 San Francisco Museum of Modern Art 46 Speak of Me as I Am Chandelier Mori 2003 High Museum of Art Atlanta 47 Untitled Venice Biennale 2003 Mary and Leigh Block Museum of Art Evanston Illinois 48 and Smith College Museum of Art Northampton Massachusetts 49 The Wanderer 2003 Berkeley Art Museum and Pacific Film Archive California 50 Arise 2004 British Museum London 51 Museum of Modern Art New York 52 National Gallery of Art Washington D C 53 and Toledo Museum of Art Ohio 54 Convocation 2004 Metropolitan Museum of Art New York 55 National Gallery of Art Washington D C 56 and Toledo Museum of Art Ohio 57 We Are All in the Gutter But Some of Us are Looking at the Stars 2004 National Gallery of Art Washington D C 58 Studio Museum in Harlem New York 59 and Toledo Museum of Art Ohio 60 X 2005 Berkeley Art Museum and Pacific Film Archive California 61 Metropolitan Museum of Art New York 62 and Whitney Museum New York 63 Pssst 2005 National Gallery of Art Washington D C 64 Dark Day Dark Night 2006 Nasher Museum of Art Durham North Carolina 65 The Mete of the Muse 2006 National Gallery of Victoria Melbourne 66 and New Orleans Museum of Art 67 The Ominous Glut 2006 Nelson Atkins Museum of Art Kansas City Missouri 68 Ota Benga 2008 Tate London 69 Flag 2009 Tate London 70 Iago s Mirror 2009 Des Moines Art Center Iowa 71 Museum of Fine Arts Boston 72 and Toledo Museum of Art Ohio 73 To Die Upon a Kiss 2011 Cleveland Museum of Art 74 Corning Museum of Glass Corning New York 75 Museum of Fine Arts Houston 76 Museum of Modern Art New York 77 and National Gallery of Victoria Melbourne 78 LIBERATION 2012 Allen Memorial Art Museum Oberlin Ohio 79 I Saw Othello s Visage in His Mind 2013 Corning Museum of Glass Corning New York 80 and Smithsonian American Art Museum Smithsonian Institution Washington D C 81 Iago s Desdemona 2013 Currier Museum of Art Manchester New Hampshire 82 Act V Scene II Exeunt Omnes 2014 Wichita Art Museum Kansas 83 Grinding Souls 2016 Allen Memorial Art Museum Oberlin Ohio 84 The Way the Moon s in Love with the Dark 2017 Denver Art Museum 85 Mother 2022 LaGuardia Airport Terminal C New York 86 References edit a b c Rena Bransten Gallery articles Fred Wilson Art21 Retrieved 2019 03 30 Pace Gallery Fred Wilson Pace Gallery Retrieved 2019 03 30 resume at Rena Bransten Gallery Vogel Carol Lauder Steps Down as Whitney Museum Chairman The New York Times May 27 2008 1 Berger M 2001 Fred Wilson Objects and Installations 1979 2000 University of Maryland p 33 Africana The Encyclopedia of the African and African American Experience Oxford University Press 2005 a b PBS art 21 biography Stein Judith E Sins of Omission Art in America October 1993 pp 110 115 Fred Wilson Museums and Collections Art21 Retrieved 2017 01 28 Fitzpatrick Tracy Wilson Fred Oxford Art Online Oxford University Press Retrieved 2017 01 17 Otfinoski Steven 2011 African Americans in the Visual Arts Infobase Publishing pp 229 ISBN 978 0816078400 Powell Richard J 1997 01 01 Black art and culture in the 20th century Thames amp Hudson ISBN 0500202958 OCLC 36243884 Archived copy Archived from the original on 2012 02 08 Retrieved 2012 01 14 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Special Collections Research Center Knowledgebase Fred Wilson A Critical Reader Ridinghouse Graham Mark A September 2007 An Interview with Artist Fred Wilson Journal of Museum Education 32 3 209 217 doi 10 1080 10598650 2007 11510571 ISSN 1059 8650 S2CID 191544890 A Gonzalez Jennifer 2008 Subject to display reframing race in contemporary installation art Cambridge Mass MIT Press ISBN 9780262072861 OCLC 75390017 a href Template Cite book html title Template Cite book cite book a CS1 maint multiple names authors list link a b The Shock of the Familiar New York Metro 2003 a b Ginsberg Elisabeth Mining the Museum Beautiful Trouble Beautiful Trouble n d Web November 11 2014 a b c Frankel Noralee July 1993 Mining the Museum Fred Wilson The Public Historian 15 3 105 108 doi 10 2307 3378741 JSTOR 3378741 a b Maryland Historical Society Library Department Return of the Whipping Post Mining the Museum Maryland Historical Society Underbelly n d Web October 13 2013 Garfield Donald MAKING THE MUSEUM MINE AN INTERVIEW WITH FRED WILSON Museum News May 1993 47 49 90 Web November 11 2014 Erickson Peter 2016 Concluding Othello Contrasting Endings by Shakespeare and Fred Wilson Shakespeare Bulletin 34 2 277 293 doi 10 1353 shb 2016 0030 ISSN 1931 1427 S2CID 194532816 Erel Tuce 2018 09 02 Istanbul Biennial 2018 A Good Neighbour Journal of Visual Art Practice 17 2 3 227 229 doi 10 1080 14702029 2018 1435058 ISSN 1470 2029 S2CID 150197137 St James Guide to Black Artists Detroit MI St James Press 1997 pp 579 581 ISBN 1 55862 220 9 Maximiliano Duron 24 April 2023 Artists Win Coveted Rome Prize Including Dread Scott and Nao Bustamante ARTnews Fred Wilson MetroPictures Metro Pictures Gallery Archived from the original on 27 November 2022 Retrieved 27 December 2022 Albot Damon 10 October 2013 Return of the Whipping Post Mining the Museum MDHistory Maryland Center for History and Culture Archived from the original on 28 July 2021 Retrieved 27 December 2022 Fred Wilson Objects and Installations 1979 2000 CADVC University of Maryland Baltimore County Archived from the original on 4 July 2022 Retrieved 27 December 2022 Harris Lindsay Summer 2003 Re focus Fred Wilson at the 50th Venice Biennale The Brooklyn Rail Archived from the original on 27 December 2022 Retrieved 27 December 2022 Fred Wilson Works 2004 2011 ClevelandArt Cleveland Museum of Art Archived from the original on 11 August 2022 Retrieved 27 December 2022 1993 Whitney Biennial Whitney Whitney Museum Archived from the original on 26 September 2022 Retrieved 27 December 2022 Fred Wilson Biennial Liverpool Biennial Archived from the original on 4 July 2022 Retrieved 27 December 2022 Fred Wilson Glasstress Archived from the original on 27 December 2022 Retrieved 27 December 2022 NGV Triennial 2020 NGV National Gallery of Victoria Archived from the original on 24 December 2022 Retrieved 27 December 2022 Colonial Collection Nasher Duke University Archived from the original on 27 December 2022 Retrieved 27 December 2022 Guarded View Whitney Whitney Museum Archived from the original on 27 December 2022 Retrieved 27 December 2022 Addiction Display Artsy Retrieved 11 August 2023 Queen Esther Harriet Tubman Jewish Museum Retrieved 27 December 2022 Untitled ArtBMA Baltimore Museum of Art Archived from the original on 18 June 2022 Retrieved 27 December 2022 Untitled Harvard Art Museums Harvard University Archived from the original on 27 December 2022 Retrieved 27 December 2022 Grey Area Tate Archived from the original on 8 August 2022 Retrieved 27 December 2022 Mine Yours Whitney Whitney Museum Archived from the original on 27 December 2022 Atlas StudioMuseum Studio Museum in Harlem 18 December 2018 Archived from the original on 27 December 2022 Retrieved 27 December 2022 Me and It SFMoMA San Francisco Museum of Modern Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Speak of Me as I Am Chandelier Mori High High Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Untitled Venice Biennale BlockMuseum Northwestern University Archived from the original on 27 December 2022 Retrieved 27 December 2022 Untitled Five Colleges Museums Smith College Archived from the original on 27 December 2022 Retrieved 27 December 2022 The Wanderer BAMPFA University of California Berkeley Archived from the original on 27 December 2022 Retrieved 27 December 2022 Arise British Museum Archived from the original on 27 December 2022 Retrieved 27 December 2022 Arise MoMA Museum of Modern Art Archived from the original on 24 May 2022 Retrieved 27 December 2022 Arise NGA National Gallery of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Arise ToledoMuseum Toledo Museum of Art Retrieved 27 December 2022 Convocation MetMuseum Metropolitan Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Convocation NGA National Gallery of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Convocation Toledo Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 We Are All in the Gutter But Some of Us are Looking at the Stars NGA National Gallery of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 We Are All In the Gutter but Some of Us Are Looking at the Stars StudioMuseum Studio Museum in Harlem 14 May 2020 Archived from the original on 27 December 2022 Retrieved 27 December 2022 We Are All in The Gutter But Some of Us Are Looking At The Stars ToledoMuseum Toledo Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 X from Exit Art Portfolio BAMPFA University of California Berkeley Archived from the original on 27 December 2022 Retrieved 27 December 2022 X MetMuseum Metropolitan Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Project X Whitney Whitney Museum Archived from the original on 5 July 2022 Retrieved 27 December 2022 Pssst NGA National Gallery of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Dark Day Dark Night Nasher Duke University Archived from the original on 27 December 2022 Retrieved 27 December 2022 The Mete of the Muse NGV National Gallery of Victoria Archived from the original on 27 December 2022 Retrieved 27 December 2022 The Mete of the Muse NOMA New Orleans Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 The Ominous Glut Nelson Atkins Nelson Atkins Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 Ota Benga Tate Archived from the original on 6 July 2022 Retrieved 27 December 2022 Flag Tate Archived from the original on 21 October 2022 Retrieved 27 December 2022 Iago s Mirror Des Moines Art Center Archived from the original on 27 December 2022 Retrieved 27 December 2022 Iago s Mirror MFA Museum of Fine Arts Boston Archived from the original on 27 December 2022 Retrieved 27 December 2022 Iago s Mirror ToledoMuseum Toledo Museum of Art Archived from the original on 21 February 2020 Retrieved 27 December 2022 To Die Upon a Kiss ClevelandArt Cleveland Museum of Art Archived from the original on 27 December 2022 Retrieved 27 December 2022 To Die Upon a Kiss CMOG Corning Museum of Glass Archived from the original on 27 December 2022 Retrieved 27 December 2022 To Die Upon a Kiss MFAH Museum of Fine Arts Houston Archived from the original on 4 October 2021 Retrieved 27 December 2022 To Die Upon a Kiss MoMA Museum of Modern Art Archived from the original on 30 November 2021 Retrieved 27 December 2022 To Die Upon a Kiss NGV National Gallery of Victoria Archived from the original on 27 December 2022 Retrieved 27 December 2022 LIBERATION Allen Art Collection Oberlin College Archived from the original on 27 December 2022 Retrieved 27 December 2022 I Saw Othello s Visage in His Mind CMOG Corning Museum of Glass Archived from the original on 27 December 2022 I Saw Othello s Visage in His Mind SAAM Smithsonian Institution Archived from the original on 16 May 2022 Retrieved 27 December 2022 Iago s Desdemona Currier Currier Museum of Art Retrieved 27 December 2022 Act V Scene II Exeunt Omnes WAM Wichita Art Museum Archived from the original on 27 December 2022 Retrieved 27 December 2022 Grinding Souls Allen Art Collection Oberlin College Archived from the original on 27 December 2022 Retrieved 27 December 2022 The Way the Moon s in Love with the Dark Denver Art Museum Archived from the original on 27 December 2022 Retrieved 27 December 2022 A New Way to Travel Delta Airlines X Queens Museum Queens Museum Archived from the original on 27 December 2022 Retrieved 27 December 2022 External links editThe Pace Gallery Biography interviews essays artwork images and video clips from PBS series Art 21 Art in the 21st century Season 3 2005 Fred Wilson at the Minneapolis Institute or Art Minneapolis MN Retrieved from https en wikipedia org w index php title Fred Wilson artist amp oldid 1170848769, wikipedia, wiki, book, books, library,

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