Candice Breitz

Candice Breitz (born 1972)[1] is a South African white artist who works primarily in video and photography.[2][3] She won a 2007 Prince Pierre de Monaco Prize.[4] Her work is often characterized by multi-channel moving image installations, with a focus on the “attention economy” of contemporary media and culture,[5] often represented in the parallelism of the identification with fictional characters and celebrity figures and widespread indifference to global issues.[6] In 2017, she was selected to represent South Africa at the Venice Biennale.[7]

Candice Breitz
Born1972  (age 50)
Johannesburg 
Alma mater
OccupationArtist, photographer, video artist 
Stylevideo art, installation artwork 
Awards
  • Prince Pierre Award 
Websitehttp://www.candicebreitz.net 

Life

Breitz was born in Johannesburg.[1] She currently lives in Berlin, and has been a tenured professor at the Braunschweig University of Art since 2007. Breitz uses found video footage, appropriating video from popular culture.[8] Breitz is represented by KOW (Berlin), Kaufmann Repetto (Milan / NYC) and the Goodman Gallery (Johannesburg / Cape Town / London). Breitz holds degrees from the University of the Witwatersrand, the University of Chicago, and Columbia University.[9] She has been holding lectures and workshops at institutions such as Zentrum Paul Klee,[10] Stony Brook Manhattan,[11] Smith College Museum of Art,[12] and the mentorship program Forecast.[13]

Work

Breitz's 2016 seven-channel installation, Love Story, shares the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini, who escaped war-torn Syria; José Maria João, a former child soldier from Angola; Mamy Maloba Langa, a survivor from the Democratic Republic of the Congo; Shabeena Francis Saveri, a transgender activist from India; Luis Ernesto Nava Molero, a political dissident from Venezuela; and Farah Abdi Mohamed, an idealistic young atheist from Somalia.[14]

Exhibitions

References
  1. Phaidon Editors (2019). Great women artists. Phaidon Press. p. 76. ISBN 978-0714878775. {{cite book}}: |last1= has generic name (help)
  2. White Cube.
  3. "Kunsthaus Bregenz" (PDF).
  4. "Prix International d'Art Contemporain | Fondation Prince Pierre". www.fondationprincepierre.mc (in French). Archived from the original on 16 July 2018. Retrieved 16 July 2018.
  5. "Candice Breitz: Love Story". Museum of Fine Arts, Boston. 1 March 2018. Retrieved 27 November 2018.
  6. "CANDICE BREITZ". www.candicebreitz.net. Retrieved 27 November 2018.
  7. "The Jewish Museum". thejewishmuseum.org. Retrieved 3 March 2019.
  8. Spont, M. (2010). "Analyzing Mass Media through Video Art Education: Popular Pedagogy and Social Critique in the Work of Candice Breitz". Studies in Art Education. 51 (4): 295–314. doi:10.1080/00393541.2010.11518810. S2CID 193017284.
  9. "Candice Breitz". Archived from the original on 6 March 2019. Retrieved 3 March 2019.
  10. Bern, Zentrum Paul Klee, Monument im Fruchtland 3, CH-3000. "Lecture Candice Breitz". Zentrum Paul Klee. Retrieved 24 August 2019.
  11. "Art History & Criticism Lecture Series". Department of art. Retrieved 24 August 2019.
  12. College, Smith. "Miller lecture—Candice Breitz: From A to B and Back Again". Smith College Museum of Art. Retrieved 24 August 2019.
  13. "Open Call for Forecast". Berlin Art Link. 1 February 2019. Retrieved 24 August 2019.
  14. Russeth, Andrew (12 May 2017). "Alec Baldwin and Julianne Moore Address Refugee Crises in Candice Breitz's Piece in South Africa's Pavilion". ARTnews. Retrieved 3 March 2019.
  15. Johnson, Ken. "Art in Review". query.nytimes.com.
  16. "Kunsthaus Bregenz". www.kunsthaus-bregenz.at.
  17. "Extra! « Mahala".
  18. "Candice Breitz: The Character | ACMI". 2015.acmi.net.au.
  19. "Candice Breitz: Love Story". Museum of Fine Arts, Boston. 1 March 2018. Retrieved 3 March 2019.
  20. "Vorschau_Details - Kunstmuseum Stuttgart". kunstmuseum-stuttgart.de.

Further reading
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