Kathryn Andrews (b. 1973, Mobile, Alabama) channels the legacies of both pop art and minimalism, often juxtaposing readymades and found imagery (such as certified film props and licensed photographs) with fabricated, meticulously finished forms. The reflective surfaces of Andrews’s work call attention to the act of looking and reveal the ways in which images and cultural symbols are rooted in the physical world. Through such combinations, she examines latent power dynamics in acts of desire and consumption, and addresses the implied violence of dominant image histories from a feminist perspective, opening up new, more critically aware ways of seeing. Her work takes shape in a variety of media, including sculpture, large-scale printmaking, and performance; the viewer’s body is always an implied, and often direct, subject of her practice.
Andrews was the subject of the travelling solo exhibition Kathryn Andrews: Run for President at the Nasher Sculpture Center, Dallas (2016) and the Museum of Contemporary Art (MCA) Chicago (2015). Other solo exhibitions include Field Station: Kathryn Andrews, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing (2017); Sunbathers I & II, High Line, New York (2016); Kathryn Andrews, TC: Temporary Contemporary, Bass Museum of Art, Miami (2014); and Special Meat Occasional Drink, Museum Ludwig, Cologne (2013). Among her recent group exhibitions are In Production: Art and the Studio System, Yuz Museum, Shanghai; Graphic Pull: Contemporary Prints from the Collection, Nasher Museum of Art at Duke University, Chapel Hill; Mad World, Marciano Art Foundation, Los Angeles (2018); Good Dreams, Bad Dreams: American Mythologies, Aïshti Foundation, Beirut (2016); NO MAN’S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami (2015); The Los Angeles Project, Ullens Center for Contemporary Art, Beijing (2014); and Made in L.A. 2012, Hammer Museum, Los Angeles (2012). Andrews lives and works in Los Angeles.
Kathryn Andrews
Yellow Pop, 2018
stainless steel, aluminum, ink, and paint
83 7/8 x 54 5/8 x 10 inches
(213 x 138.7 x 25.4 cm)
Kathryn Andrews
Black Bars: Déjeuner No. 6 (Girl with Bocce Balls, Milkshake, Meyer Lemon, Napkin, Gummy Bear and Cocktail Parasol), 2016
aluminum, Plexiglass, ink, and paint
92 x 73 1/4 x 4 1/2 inches
(233.7 x 186.1 x 11.4 cm)
Kathryn Andrews
Orange Crush, 2016
stainless steel, ink, and paint
90 x 44 x 24 7/8 inches
(228.6 x 111.8 x 63.2 cm)
Kathryn Andrews
Cinco de Mayo, 2015
aluminum, Plexiglass, and archival pigment print
84 x 36 x 4 inches
(213.4 x 91.4 x 10.2 cm)
Kathryn Andrews
Hobo (Candy Man), 2014
ink on paper and Plexiglas, aluminum, paint, and mixed media
43 3/4 x 37 x 2 1/4 inches
(111.1 x 94 x 5.7 cm)
Kathryn Andrews
Still Life (Woman with Fruit), 2012
stainless steel, resin, foam, paint, with performance
85 x 26 x 26 inches
(215.9 x 66 x 66 cm)
Kathryn Andrews
Massacre (Selection), 2012
silkscreen on paper, “Allen Ruppersberg, Screamed from Life, 1986, silkscreen on paper, 40 x 25 inches”
40 x 56 inches
(101.6 x 142.2 cm)
Kathryn Andrews
Mr. and Mrs. Smith (2005), 2011
powder-coated aluminum and certified film prop
41 x 57 x 35 inches
(104.1 x 144.8 x 88.9 cm)
Kathryn Andrews
Bowman, 2011
aluminum, paper, and ink
71 1/2 x 48 x 60 inches
(181.6 x 121.9 x 152.4 cm)
Kathryn Andrews
Gift, 2011
serigraph and painted aluminum
44 x 352 x 1 1/2 inches
(111.8 x 894.1 x 3.8 cm)
Edition 1 of 2, with 2 AP
Kathryn Andrews
January 23, 2010
chrome-plated steel and balloons
metal component:
66 x 56 1/2 x 10 inches
(167.6 x 143.5 x 25.4 cm)
balloons:
dimensions variable
Kathryn Andrews
Clown Rack, 2010
stainless steel and found wigs
84 x 140 x 36 inches
(213.4 x 355.6 x 91.4 cm)