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.