Galleri Opdahl is honored to present Time Warp / other tellings, Todd Gray’s first solo exhibition in Norway. The exhibition features a new body of work, which will be shown in dialogue with pieces from the Rome Work series, made during his residency as a Rome Prize Fellow in 2022-2023.
On view April 26, 2024 - May 30th, 2024
Time Warp (Chuck), 2024, archival pigment prints in artist frames, UV laminate, 51 x 38 x 3in, 129.5 x 96.5 x 7.6cm
Triple Play, 2023, archival pigment prints in artist frames, UV laminate, 43 x 69 x 2in, 109.2 x 175.2 x 5.1cm
Vielmetter Los Angeles is pleased to announce Todd Gray’s solo exhibition Rome Work, featuring Gray’s photographic works based on his recent six-month residency as a 2022-23 Rome Prize Fellow
On view November 18, 2023 - January 18, 2024
Lehmann Maupin presents, On Point, the gallery’s first exhibition with Todd Gray, and the artist’s first in London. Working between Los Angeles and Akwidaa, Ghana, Gray’s photo-based work aims to destabilize assumptions about the veracity of photography and provoke reconsiderations of long-accepted norms and beliefs about the medium. The artist’s lush photo assemblages are composed of images ranging from imperial European gardens, Baroque architecture, and Ghanian landscapes, to rock icons, seascapes, and portraits of the artist himself, all carefully arranged to create critical juxtapositions that examine ideas of African diaspora, colonialism, societal power structures, and dominant cultural beliefs.
On Point is on view March 14 - May 6, 2023.
Green Green, 2023, archival pigment prints in artist frames, UV laminate, 58 x 90 in, 147.3 x 228.6 cm
On Pointe, Plato’s Cave, 2023, three archival pigment prints in artist frame, UV laminate, 44 x 35 in, 111.8 x 88.9 cm
Installation view, On Point, Lehmann Maupin, London, England
Installation view, On Point, Lehmann Maupin, London, England
Installation view, On Point, Lehmann Maupin, London, England
Installation view, On Point, Lehmann Maupin, London, England
Installation view, On Point, Lehmann Maupin, London, England
Installation view, On Point, Lehmann Maupin, London, England
Installation view, On Point, Lehmann Maupin, London, England
Todd Gray
Atlantic lullabies, Other tellings
David Lewis
53 the Circle, East Hampton NY
August 12-28, 2022
URL
David Lewis is pleased to present Todd Gray, Atlantic lullabies, Other tellings. It is the artist’s third exhibition with the gallery, and his first solo exhibition at David Lewis’s East Hampton location. Expanding his work from his previous solo exhibition with the gallery, the hidden order of the whole, this new series on and about the Atlantic Ocean, offers viewers entries to the past while recounting other tellings.
“The past -- or more accurately, pastness -- is a position. Thus, in no way can we identify the past as past." (Trouillot 1997, Silencing the Past: Power and the Production of History (1995))
– Silvi Naçi
Atlantic (trail of Tears), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 5/8 x 49 1/8 x 4 1/2 in
Installation view, Atlantic lullabies, Other tellings, David Lewis, East Hampton NY
Atlantic (Double Dutch), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 5/8 x 49 1/8 x 5 in
Atlantic (Octavia), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 5/8 x 49 1/8 x 5 in
Installation view, Atlantic lullabies, Other tellings, David Lewis, East Hampton NY
Atlantic (Keisha’s Redemption Song), 2022, Five archival pigment prints with UV laminate in artist's frames, 72 5/8 x 49 1/8 x 5 3/4 in
Installation view, Atlantic lullabies, Other tellings, David Lewis, East Hampton NY
Atlantic (Eyo), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 5/8 x 49 1/8 x 4 1/4 in
Atlantic (Jesuits), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 5/8 x 49 1/8 x 5 in
Atlantic (Barry and Glodean), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 1/2 x 49 1/8 x 5 1/4 in
Atlantic (falling), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 1/2 x 49 1/8 x 4 1/2 in
Atlantic (the Dancer), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 1/2 x 49 1/8 x 4 1/2 in
Atlantic (Mapping Time), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 1/2 x 49 1/8 x 5 in
Atlantic (Tiepolo), 2022, Four archival pigment prints with UV laminate in artist's frames, 72 5/8 x 49 1/8 x 5 in
Todd Gray
September 9 — October 30, 2021
David Lewis
57 Walker Street, New York
The title of the exhibition—also the title of each individual work in the exhibition—is drawn from a passage by French-Caribbean theorist Édouard Glissant:
The position of each part within this whole: that is, the acknowledged validity of each specific Plantation yet at the same time the urgent need to understand the hidden order of the whole—so as to wander there without getting lost.
the hidden order of the whole (jim), 2021, Five archival pigment prints in artist's frames, UV laminate, 60 3/4 x 181 1/8 x 2 3/4 in
Installation view, the hidden order of the whole, David Lewis, New York
Installation view, the hidden order of the whole, David Lewis, New York
Installation view, the hidden order of the whole, David Lewis, New York
Installation view, the hidden order of the whole, David Lewis, New York
the hidden order of the whole (atlantic), 2021, Four archival pigment prints in artist's frames, UV laminate, 72 1/2 x 49 1/8 x 4 1/2 in
Installation view, the hidden order of the whole, David Lewis, New York
Wadsworth Atheneum Museum of Art
On view March 4 – July 18, 2021
For his MATRIX project, Gray embraces the experimental nature of MATRIX program to expand his practice with his most ambitious work to date: a fourteen-part work exceeding thirty feet in length. The scale and imagery will envelop the viewer in a historical, cultural, and spiritual experience that directly connects with the renewed contemporary discourse to face past and present transgressions. Four recent multi-part works will accompany the monumental work in Gray’s MATRIX project.
The Nature of Reality According to Todd Gray, Exhibition essay by Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art.
PUBLIC PROGRAMS
March 8 | Artist Talk: Todd Gray / MATRIX 186
May 12 | Panel Discussion: Todd Gray: Euclidian Gris Gris
David Lewis Gallery
Nova, Booth N11
Miami Beach Convention Center, Miami Beach, FL
December 05—08, 2019
Cosmic Blues (Makes Me Wanna Holler), 2019, Four archival pigment prints in artist's frames, UV laminate, 60 1/4 x 84 1/4 x 4 1/2 in
Art Basel Miami Beach Nova, David Lewis, Booth N11, Miami Beach Convention Center, Miami Beach, FL, December 05—08, 2019
Art Basel Miami Beach Nova, David Lewis, Booth N11, Miami Beach Convention Center, Miami Beach, FL, December 05—08, 2019
Art Basel Miami Beach Nova, David Lewis, Booth N11, Miami Beach Convention Center, Miami Beach, FL, December 05—08, 2019
Euclidean Gris Gris (The Young Shall Inherit the Earth), 2019, Three archival pigment prints in artist's frames and found frames, UV laminate, 30 3/4 x 40 3/4 x 3 in
Euclidean Gris Gris (Tropic of Entropy), 2019, Four archival pigment prints in artist's frames and found frames, UV laminate, 72 x 87 x 3 in
Pomona College Museum of Art
September 03, 2019—May 17, 2020
URL
The exhibition project “Todd Gray: Euclidean Gris Gris” activates the Pomona College Museum of Art’s largest gallery throughout the 2019/2020 academic year and consists of a site-specific wall drawing and an evolving selection of photographs from Gray’s ongoing artistic examination of the legacies of colonialism in Africa and Europe. A series of monthly programs, Longing on a Large Scale, and a publication accompany the exhibition.
The exhibition is curated by Rebecca McGrew with Hannah Grossman and is accompanied by a publication designed by Kimberly Varella of Content Object.
Exhibition supported by Andy Warhol Foundation and Mike Kelley Foundation For the Arts.
Installation II, November 12, 2019 - May 17, 2020
Parisian Hoods in Bamboo Village, 2019, Two archival pigment prints in artist's frames, 45 x 57 x 2 in
Installation II, November 12, 2019 - May 17, 2020
Installation II, November 12, 2019 - May 17, 2020
Todd Gray, Euclidean Gris Gris, Pomona College, Museum of Art
Kenturah, 2019, Two archival pigment prints in artist's frames, 25 x 41 x 1.5 in
Installation I, November 12, 2019 - May 17, 2020
Euclidean Gris Gris (Paris/Cape Town), 2019, Two archival pigment prints in artist's frames, 60 3/8 x 89 1/2 x 2 1/2 in
Installation II, September 3 - November, 10, 2019
Euclidean Gris Gris (Love and Happiness), 2019, Two archival pigment prints in artist's frames, 37 7/8 x 47 3/4 x 2 3/4 in
Euclidean Gris Gris (Ship of Fools), 2019, Two archival pigment prints in artist's frames, 60 x 81 3/4 x 2 1/2 in
Installation II, November 12, 2019 - May 17, 2020
Euclidean Gris Gris (Tropic of Entropy), 2019, Four archival pigment prints in artist's frames, 73 3/4 x 90 x 4 1/2 in
Euclidean Gris Gris (The Young Shall Inherit the Earth), 2019, Three archival pigment prints in artist's frames, 30 3/4 x 30 5/8 x 3 1/4 in
Installation I, September 3 - November, 10, 2019
Euclidean Gris Gris (Francis), 2019, Three archival pigment prints in artist's frames, 49 5/8 x 37 5/8 x 1 3/4 in
Installation II, November 12, 2019 - May 17, 2020
Euclidean Gris Gris (Gifty/Versailles), 2019, three archival pigment prints in artist’s frames, 48 5/8 x 41 x 3 5/8 in. Pomona College Collection
May 17–Oct 27, 2019
The 2019 Whitney Biennial is organized by Jane Panetta and Rujeko Hockley, with Ramsay Kolber.
Installation view, “Whitney Biennial 2019,” Whitney Museum of American Art, New York, NY, 2019
Slipping into Darkness, all the Honey Gone, 2018, Three archival pigment prints in artist's frames and found frames with UV laminate, 51 1/2 x 60 1/2 x 4 1/2 in
Installation view, “Whitney Biennial 2019,” Whitney Museum of American Art, New York, NY, 2019
Euclidian Gris Gris (2), 2018, Four archival pigment prints in artist's frames and found frames, 74 x 47.5 x 5.5 in
Pax 3, 2018, Three archival pigment prints in artist's frames and found frames, 48 3/4 × 38 1/2 × 3 1/2 in
David Lewis, New York
April 30—June 30, 2019
Press Release
Press
Artist Talk: Todd Gray in Conversation with Mabel O. Wilson
In Stuart Hall’s 1996 essay “Cultural identity and diaspora,” Hall quotes Franz Fanon’s description of how the colonial subject, the subject of the diaspora, is formed by the gaze of the colonizer: The movements, the attitudes, the glances of the other fixed me there, in the sense in which a chemical solution is fixed by a dye. I was indignant; I demanded an explanation. Nothing happened. I burst apart. Now the fragments have been put together again by another self.
Installation view, Cartesian Gris Gris, David Lewis, New York
Palm House Blues, 2019, Three archival pigment prints in artist's frames and found frames, UV laminate, 47 1/4 x 60 x 3 3/4 in
Installation view, Cartesian Gris Gris, David Lewis, New York
Coretta, 2019, Two archival pigment prints in artist's frames and found frames, UV laminate, 51 1/2 x 67 x 3 1/2 in
Installation view, Cartesian Gris Gris, David Lewis, New York
Euclidian Gris Gris (3), 2019, Three archival pigment prints in artist's frames and found frames, 58 1/4 x 69 1/4 x 4 1/4 in
Installation view, Cartesian Gris Gris, David Lewis, New York
Cartesian Gris Gris (Stairways), 2019, Three archival pigment prints in artist's frames and found frames, UV laminate, 47 x 58 1/4 x 3 1/2 in
Cartesian Gris Gris (Water), 2019, Two archival pigment prints in artist's frames, UV laminate, 58 3/4 x 66 x 3 in
Installation view, Cartesian Gris Gris, David Lewis, New York
Installation view, Cartesian Gris Gris, David Lewis, New York
Hoods in the Garden, 2019, Two archival pigment prints in artist's frames and found frames, UV laminate, 51 3/4 x 25 x 2 1/4 in
Euclidean Gris Gris Francis, 2019, Three archival pigment prints in artist's frames and found frames, UV laminate 49 5/8 × 375/8 × 13/4 in
Installation view, Cartesian Gris Gris, David Lewis, New York
Onisimo | Leopold, 2019, Three archival pigment prints in artist's frames and found frames, UV laminate, 39 1/4 x 56 x 3 in
Installation view, Cartesian Gris Gris, David Lewis, New York
The Haunted House of Olympia (Francis), 2019, Four archival pigment prints in artist's frames and found frames, UV laminate 66 3/8 x 54 3/4 x 5 in
Akwidaa | Luxembourg, 2019, Two archival pigment prints in artist's frames and found frames, UV laminate, 34 x 26 x 2 in
Meliksetian Briggs, Los Angeles, CA
June 15—September 15, 2018
For this exhibition, Gray extends the visual language of his ongoing Exquisite Terribleness series, characterized by images Gray made while working for Michael Jackson as his exclusive photographer in the 1980s, offering complex representations of blackness, the African diaspora and the African landscape itself. Several of his new works include images taken during Gray’s recent stay in Italy as part of a Rockefeller Foundation Bellagio Residency. Portraits of other residency participants, writers and leaders among them, are juxtaposed with landscapes of the wilderness in South Africa and the manicured gardens of the estate in Italy as a counterpoint, provoking a critical visual dialogue.
Portraits, 2018, Installation view at 313 N. Fairfax Avenue
Samita, 2018, three archival pigment prints with found and artist’s frames and UV laminate, 39 x 46 x 3.5 in
Portraits, 2018, Installation view at 313 N. Fairfax Avenue
Portraits, 2018, Installation view at 313 N. Fairfax Avenue
Flora Africanus (D.C.) 2018, Two archival pigment prints in found frames and artist's frames and UV laminate, 31 1/4 x 40 x 2 in
Portraits, 2018, Installation view at 313 N. Fairfax Avenue
Purnima, 2018, three archival pigment prints in found frames and artist's frames and UV laminate, 55 x 48 x 3.5 in
Portraits, 2018, Installation view at 313 N. Fairfax Avenue
Akwidaa: Phase Patterns, Unit Structures, 2018, four archival pigments prints in artist's frames and found frames with UV laminate, 52 1/2 x 38 1/2 x 5 in
Portraits, 2018, Installation view at 313 N. Fairfax Avenue
Portraits, 2018, Installation view at 313 N. Fairfax Avenue
Samsøñ
Caliban in the Mirror: Exquisite Terribleness
May 1 - June 13, 2015
Boston Globe Review
Meliksetian | Briggs
Exquisite Terribleness
September 11 – October 18, 2014
Atlanta by Boat, 2015, two archival pigment prints with artist’s frames, 43x5 x 61.5 x 2.5 in
Installation view, Caliban in the Mirror: Exquisite Terribleness, Samsøñ, Boston, MA
Mirror Mirror, 2014, two archival pigment print with found antique frames, 29.5 x 23.5 x 2 in
Three Women, 2015, archival pigment prints found antique frames, wood, 44 x 30 x 2 in
Installation view, Caliban in the Mirror: Exquisite Terribleness, Samsøñ, Boston, MA
Installation view, Caliban in the Mirror: Exquisite Terribleness, Samsøñ, Boston, MA
Installation view, Caliban in the Mirror: Exquisite Terribleness, Samsøñ, Boston, MA
Installation view, Caliban in the Mirror: Exquisite Terribleness, Samsøñ, Boston, MA
Installation view, Exquisite Terribleness, Meliksetian & Briggs, Los Angeles, CA
Installation view, Exquisite Terribleness, Meliksetian & Briggs, Los Angeles, CA
Installation view, Exquisite Terribleness, Meliksetian & Briggs, Los Angeles, CA
Installation view, Exquisite Terribleness, Meliksetian & Briggs, Los Angeles, CA
Installation view, Exquisite Terribleness, Meliksetian & Briggs, Los Angeles, CA
Installation view, Exquisite Terribleness, Meliksetian & Briggs, Los Angeles, CA
Installation view, Exquisite Terribleness, Meliksetian & Briggs, Los Angeles, CA
Immaculate
20 November 2004 – 29 January 2005
Luckman Gallery, Cal State L.A.
Todd Gray: Immaculate will be accompanied by a 56-page, color-illustrated exhibition catalog. Texts include an interview between the artist and internationally recognized artist, Carrie Mae Weems; an essay by independent writer and curator, Malik Gaines; and an essay by Julie Joyce, exhibition curator and Gallery Director of the Luckman Fine Arts Complex.
Conjur Man, 2011, archival pigment print 28.5 x 40 in
Conjur Man 1.3, 2012, archival pigment print 28.5 x 40 in
Conjur Man 1.2, 2011, archival pigment print, 40 x 28.5
Beauty Boar, 2004, archival pigment print, boar’s head 68 x 44 x 16 in
Shaman 10, 2005, archival pigment print and acrylic, 17 x 13 in
Shaman 3.8, 2005, archival pigment print and acrylic, 13 x 10 in
Shaman Horse, 2004, archival pigment print, 34 x 28 in
Shaman 4, 2005, archival pigment print 13 x 10 in
Meliksetian | Briggs
June 10 – August 13, 2016
Time Machine / Hippie Dandy, a solo exhibition of new work by artist Todd Gray features photo based work, painting and ephemera complimenting his social sculpture / performance piece Ray running concurrently and for the duration of the Made in LA biennial at the Hammer Museum, Los Angeles.
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Time Machine No. 4, 2016, four archival pigment prints with found and artists frames, 38 1/2 x 2 1/2 in depth
Time Machine No. 5, 2016, four archival pigment prints with found and artist’s frames, 37 ¾ x 33 ¼ in
Time Machine No. 3, 2016, three archival pigment prints with artist’s frames, 38 1/2 x 2 1/2 in depth
Time Machine No. 1, 2016, two archival pigment prints with artist’s frames, 38 1/2 x 2 in depth
Time Machine No. 2, 2016, three archival pigment prints with artist’s frames, 38 1/2 x 2 1/2 in depth
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Installation view, Time Machine / Hippie Dandy, Meliksetian | Briggs
Museum of the African Diaspora
April 26, 2017 - August 27, 2017
Museum of the African Diaspora is pleased to present Todd Gray: My Life in the Bush with MJ and Iggy. Stemming from the archival images of Gray’s time as Michael Jackson’s personal photographer through the 1980s and his experience living and documenting rock & roll in Los Angeles, these works problematize images and demonstrate the ways in which we highlight and obfuscate black cultural roots in our collective social memory.
