New York-based artist Paul Mpagi Sepuya, in Chicago for a residency at The Hyde Park Art Center, comes to LATITUDE for a public conversation with Whitney Biennial artist and SAIC instructor Elijah Burgher. The talk will be moderated by Paul Hopkin, the director of slow gallery. The artists will discuss the roll of the studio in their practices and the ways that the space itself becomes part of their work. The two also will consider alternative vs. official histories.
Paul Mpagi Sepuya (1982, San Bernardino, CA) lives and works in Brooklyn, New York. He studied photography and imaging at New York University’s Tisch School of the Arts. His work has been exhibited nationally and internationally in New York, Los Angeles, Basel, Sydney, Toronto, Paris, Berlin and Hamburg. His work has been featured and reviewed in The New Yorker, The New York Times, Interview, SLEEK, Capricious, V, HUNTER, Paper, and BUTT, among other publications. Awards include the Lower Manhattan Cultural Council’s Workspace Residency (2009-2010) and Artist-in-Residence at the Center for Photography at Woodstock (2010), and Artist-in-Residence at the Studio Museum in Harlem (2010-2011). His most recent artist publication, STUDIO WORK, was published in 2012 and the related body of work has been exhibited at The Studio Museum in Harlem, New York City, The Center for Photography at Woodstock, NY, Franklin Art Works, Minneapolis, and Artspeak, Vancouver.
Elijah Burgher lives and works in Chicago, and he works as an instructor at the School of the Art Institute. He is represented by Western Exhibitions and is a 2014 Whitney Biennial artists. From Artsy.net: "Burgher's artwork indoctrinates viewers into a mystical cult of queer sexual energies. He produces small colored pencil drawings, as well as paintings on large canvas drop cloths. The latter works include sigil motifs—abstract glyphs that are concerned with semiotics but also evoke Modernist abstract painting. Burgher’s drawings of nude men feature his friends and illustrate environments from his daily life; they function as relics of rituals, and have a quasi-erotic quality, grounding the works’ more abstract components in the realm of reality. 'At base, I want to know whether an artwork, any artwork, can possess meaning—to truly embody it somehow,' Burgher said."