Karyn Olivier

– casa wabi 2023

Community Project

The students and I will design a new type of billboard. We will consider various questions in our consideration. Should it reflect their size and scale? Can it be a horizon plane? Can it incorporate a seat(s) for easy writing/drawing? Can it include a walkway? Can there be multiple blackboards and should they be portable? Can we create an individually sized one for a more intimate use? The blackboard use can take infinite forms—a site for conversations, drawing, games, play, a site for poetry, a place for fleeting thoughts or urgent/difficult inquiries (I believe young people hold this capacity more than assume)—a democratic site for all/anyone to be heard. And in turn the malleability of blackboards—where words can be erased, allows for these new thoughts/ideas to blend (as often chalk traces remain from earlier writings), or completely replaced with the new, which might in fact lead us back to earlier sentiments penned.

Log-Piece

Trinidad and Tobago

Philadelphia

Karyn Olivier, who was born in Trinidad and Tobago, creates sculptures, installations and public art. In 2023 and 2024, Olivier will unveil two memorials in Philadelphia—honoring a former slave at Stenton House, and commemorating more than 5,000 African Americans buried at Bethel Burying Ground. Last year Olivier participated in Documenta 15 and installed a permanent commission for Newark Airport’s new terminal.

Olivier has exhibited at the Gwangju and Busan biennials, the World Festival of Black Arts and Culture (Dakar, Senegal), The Studio Museum in Harlem, The Whitney Museum of Art, MoMA P.S.1, The Museum of Fine Arts Houston, Contemporary Art Museum Houston, The Mattress Factory (Pittsburgh), SculptureCenter (New York), ICA Watershed Boston, among others. Solo exhibitions include Everything That’s Alive Moves at Institute of Contemporary Art in Philadelphia (2020), and A Closer Look at Laumeier Sculpture Park in St. Louis (2007). Olivier presented her first solo exhibition at Tanya Bonakdar Gallery (New York) in 2021.

Olivier has received numerous awards, including the 2020 Anonymous Was a Woman Award, the 2018–2019 Nancy B. Negley Rome Prize, a John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts Award, a Pollock- Krasner Foundation grant, the William H. Johnson Prize, the Louis Comfort Tiffany Foundation Biennial Award, a 2019 PEW Fellowship, a Creative Capital Foundation grant, and a Harpo Foundation grant.

Olivier’s work has been reviewed in ArtForum, The New York Times; Time Out New York; The Village Voice; Art in America; Flash Art; Mousse; The Washington Post; Nka: Journal of Contemporary African Art; Frieze; the Philadelphia Inquirer and Hyperallergic, among others.

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