b. 1986, Perth Amboy, New Jersey. U.S.; lives and works in Newark, New Jersey, U.S.
Sondra Perry works with video, computer-based media, installation, sculpture and performance. The work is preoccupied with blackness and lineage. More specifically, Perry’s work explores the portrayal and representation of black people and considers how blackness influences technology, image-making, and the broader visual culture. Perry not only deploys digital media as a medium and subject matter for the work but also frequently uses open-source software to edit and produce, while simultaneously leasing it digitally for use in galleries and classrooms. This commitment is taken further by making all her videos available for free online. For Perry, blackness is a technology which creates fissures in systems of surveillance and is thus centered in this work not as a problem but as an opportunity for resistance, a problem for power.
Sondra Perry's recent exhibitions include Lineage for a Phantom Zone, created for Muse, the Rolls-Royce Art Programme's Dream Commission, Fondation Beyeler, Basel (2022); In Search of the Present, Espoo Museum of Modern Art, Espoo, (2022); The Condition of Being Addressable, Institute of Contemporary Art, Los Angeles, (2022); La Biennale di Venezia 2022, 59th International Art Exhibition: The Milk of Dreams, Venice (2022); IT’S IN THE GAME ’17 or Mirror Gag for Vitrine and Projection, Davis Museum at Wellesley College, Wellesley (2021); Flesh Wall, Midnight Moment: Times Square Arts, New York (2021); Off the Wall: Sondra Perry, The Raymond and Susan Brochstein Pavilion, Rice University, Houston, Texas (2020); A Terrible Thing, Kunsthal Aarhus, Aarhus; Museum of Contemporary Art Cleveland, Cleveland (2019); Typhoon coming on, Luma Westbau, Zürich; Institute of Contemporary Art Miami, Florida; Serpentine Sackler Gallery, London (2018); Chromatic Saturation, Disjecta, Portland, Oregon, (2018); Eclogue for [in]HABITABILITY, Seattle Art Museum, Seattle, (2017).
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