CARRIE SCHNEIDER:
I don’t know her
JANUARY 19 — FEBRUARY 18, 2023
I don't know her, 2023 (clip), 16mm film with sound by Cecilia Lopez, 4 minutes.
CHART is pleased to announce the gallery’s second solo exhibition with New York-based artist Carrie Schneider. I don't know her centers on two major new works: a 16mm color film and two unique chromogenic photographs made in-camera that span 400 feet. The photographic and moving image works exemplify the artist’s ongoing investigation of the photographic medium’s foundations and the principle motif of image transmission and proliferation.
For I don't know her, Schneider produced a multiple portrait as a means to explore subject authority and formation. Situated on two levels of the gallery, the floor-to-ceiling film installation and amorphous photographic scroll reveals an ecstatic combination of visuals that span one hundred and sixty three frames. The stills are bombastic surfaces comprised of painted and collaged elements interwoven with images of the artist's hands holding up a phone. Once animated, the film projection reveals the artist Mariah Carey emphatically shaking and nodding her head—a clip excerpted from an interview during which Carey is asked to offer an opinion about another singer and actress.
Conceptually devouring and elevating the operation of a meme, Schneider formally dissects the technical and material processes involved to create the underlying and often sensational realities of her narratives. In the same way that the artist has portrayed creative authority and posed relationships among artists in the past—namely, through the framing device of subjects holding and reading another author's work, as in the series Reading Women (2012–2014)—Schneider, here, looks to another artist who commands and precisely orchestrates her image.
For I don't know her, Schneider produced a multiple portrait as a means to explore subject authority and formation. Situated on two levels of the gallery, the floor-to-ceiling film installation and amorphous photographic scroll reveals an ecstatic combination of visuals that span one hundred and sixty three frames. The stills are bombastic surfaces comprised of painted and collaged elements interwoven with images of the artist's hands holding up a phone. Once animated, the film projection reveals the artist Mariah Carey emphatically shaking and nodding her head—a clip excerpted from an interview during which Carey is asked to offer an opinion about another singer and actress.
Conceptually devouring and elevating the operation of a meme, Schneider formally dissects the technical and material processes involved to create the underlying and often sensational realities of her narratives. In the same way that the artist has portrayed creative authority and posed relationships among artists in the past—namely, through the framing device of subjects holding and reading another author's work, as in the series Reading Women (2012–2014)—Schneider, here, looks to another artist who commands and precisely orchestrates her image.
The film’s soundtrack is created by the composer, musician and multimedia artist Cecilia Lopez, and reflects Lopez’ work in sound and performance installation and the creation of sound devices and systems. The composition is audibly striking in its mixing of Carey’s lead singles Fantasy (1995), Honey (1997) and Obsessed (2009). Lopez’ digital rendering and sampling of the singer-songwriter’s vocals and hooks, overlaid with staccato transitions and the sound of a running projector is an analogous and collaborative contribution to Schneider’s image constructions, as it equally emphasizes the hidden mechanics and the undisclosed work of image and sound composition.
The exhibition expands on multiple ongoing themes in Schneider’s work, among them: self-portraits that reference feminine icons who share the artist’s name (Carey/Carrie), feminine relationality and authorship, and the formal image processes involved in their making. Encompassing this focus, Schneider looks to the subject of an iconic producer and composer who, like herself, references and has notably introduced novel influences to her medium. As an additional collaborative element, I don't know her includes a booklet companion with contributions by fellow artists and writers Abigail DeVille, Aristilde Kirby, Carmen Maria Machado, Emily Mello, Lee Conell, and Shayla Lawz, as well as a visual score by Cecilia Lopez.
The exhibition expands on multiple ongoing themes in Schneider’s work, among them: self-portraits that reference feminine icons who share the artist’s name (Carey/Carrie), feminine relationality and authorship, and the formal image processes involved in their making. Encompassing this focus, Schneider looks to the subject of an iconic producer and composer who, like herself, references and has notably introduced novel influences to her medium. As an additional collaborative element, I don't know her includes a booklet companion with contributions by fellow artists and writers Abigail DeVille, Aristilde Kirby, Carmen Maria Machado, Emily Mello, Lee Conell, and Shayla Lawz, as well as a visual score by Cecilia Lopez.
— Olga Dekalo
Voice's Owner (I don't know her), 2023
two unique chromogenic photographs made in camera
20 x 4800 inches
Installation dimensions variable
Installation dimensions variable
Detail images.
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Installation views at CHART. Photos by Elisabeth Bernstein.
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Carrie Schneider (b. 1979, Chicago) is co-represented by CHART and CANDICE MADEY in New York. In March 2023, she will open Sphinx, a major museum solo exhibition at Mass MoCA, curated by Susan Cross. 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 Skowhegan School of Painting & Sculpture. Carrie serves on the board A.I.M by Kyle Abraham and lives and works in Hudson and New York City.
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© 2023 CHART
ALL ART WORKS COPYRIGHT THE ARTIST
ALL ART WORKS COPYRIGHT THE ARTIST