Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Born 1970, Baltimore. Lives and works in New York City.
Echo, Moderna Museet, Stockholm
Tanya Leighton, Berlin (forthcoming)
If They Should Ask, Rittenhouse Square, Philadelphia
In My Little Corner of the World, Anyone Would Love You, The Common Guild, Glasgow
In My Little Corner of the World, Anyone Would Love You, Studio Voltaire, London
Nothing Will Be As Before, Tanya Leighton, Berlin
Artists for Studio Voltaire, Studio Voltaire, London
Department of Contemporary Art, Minneapolis Institute of Art, Minnesota
I can call this progress to halt, LACE, Los Angeles
Change of State, Essex Street, New York
The Revolution Will Not Be Gray, Aspen Art Museum, Colorado
Curators’ Series #9. Way of Living (curated by Arcadia Missa), David Roberts Art Foundation, London
For the exhibition ‘Allan Kaprow YARD’, curated by Helen Molesworth for the opening of Hauser & Wirth’s New York gallery space, Sharon Hayes presented her reinvention of Allen Kaprow’s seminal Environment ‘Yard’ - a veritable mountain of black rubber auto tires and tarpaper-wrapped forms through which visitors jumped and crawled — first made by the artist in 1961 and radically reinterpreted in other locations ten times before his death in 2006.
Hayes’ reinvention, ‘Yard (Sign)’ was exhibited in the New York Marble Cemetery at 41 ½ Second Avenue on the Lower East Side, where she filled the historic site with hand-painted signs – some small, some quite large. Hayes has been influenced in this piece by the various written statements Kaprow produced over the years for his own different reinventions of ‘Yard,’ as well as the poster he made in 1961 - his first version of the project, a large ink drawing of a classic yard sale sign. At the same time, Hayes’ work at the Marble Cemetery evoked the American archetype of the suburban yard, a private domain that is nevertheless often filled with public signs, notably for political campaigns and real estate sales.