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Bethany Collins
updated: 12/31/2015
website: www.bethanyjoycollins.com
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Colorblind Dictionary
Black and Blue Dictionary
Southern Review, 1985 (Special Edition)
Southern Review, 1985 (Special Edition)
Temper, 1968
Skin, 1968
Bound, 1968
A Pattern or Practice (details)
Between Green and Violet
Between Green and Violet (details)
Positive Obsession I
(Unrelated)
Do People Ever Think You're White? III
I Wish I Was Black
(Unrelated)
 
Portfolio Keywords:  abstract, conceptual, identity, historical, language, memory, text, repetition, race, obsessive
 
 
Colorblind Dictionary by Bethany Collins
Colorblind Dictionary
Found Webster's New World Dictionary with all color terms erased
2013-2014
8.25" x  10"  x 2.25" 
Black and Blue Dictionary by Bethany Collins
Black and Blue Dictionary
Found Webster's New American Dictionary with black and blue color terms erased
2014
6.25" x  9.25"  x 2.75" 
Southern Review, 1985 (Special Edition) by Bethany Collins
Southern Review, 1985 (Special Edition)
Charcoal on found paper
2015
57.5" x  104" 
Southern Review, 1985 (Special Edition) by Bethany Collins
Southern Review, 1985 (Special Edition)
Charcoal on found paper
2015
57.5" x  104" 
Temper, 1968 by Bethany Collins
Temper, 1968
Toner and graphite on Somerset paper
2015
30" x  44" 
Skin, 1968 by Bethany Collins
Skin, 1968
Toner and graphite on American Masters paper
2014
30" x  22" 
Bound, 1968 by Bethany Collins
Bound, 1968
American Masters paper and Pink Pearl eraser
2015
Dimensions variable
A Pattern or Practice (details) by Bethany Collins
A Pattern or Practice (details)
Blind embossed Somerset paper (Ed 1/3)
2015
10.75" x  8.5" 
Between Green and Violet by Bethany Collins
Between Green and Violet
Toner and graphite on American Masters paper (29 parts)
2015
30" x  22" 
Between Green and Violet (details) by Bethany Collins
Between Green and Violet (details)
Toner and graphite on American Masters paper (29 parts)
2015
30 " x  22 " 
Positive Obsession I by Bethany Collins
Positive Obsession I
Pastel on Tiziano paper
2014
79" x  55" 
(Unrelated) by Bethany Collins
(Unrelated)
Chalk and charcoal on chalkboard
2012
48" x  70"  x 3" 
Do People Ever Think You're White? III by Bethany Collins
Do People Ever Think You're White? III
Chalk and charcoal on chalkboard
2012
48" x  70"  x 3" 
I Wish I Was Black by Bethany Collins
I Wish I Was Black
Digital photograph of chalk dust
2012
36 " x  36 " 
(Unrelated) by Bethany Collins
(Unrelated)
Digital photograph of chalk dust
2012
36" x  36" 

Artist Statement

I am interested in the unnerving possibility of multiple meanings, dual perceptions, and limitlessness in the seemingly binary. Drawing repeatedly allows me to fully understand objects in space, while defining and redefining my own racial landscape.

For me, racial identity has neither been instantly formed nor conjured in isolation. Rather, identity entangles memory: actual and revisited, cultural and historical, individual and collective. Through the dissolution of dichotomies and exploration of language, this work recalls moments in the formation of my racial identity as Black and Biracial.


From my earlier White Noise to more recent Southern Review series, each new body of work borders on an obsessive preoccupation with language- it’s ability and inability to negotiate a way of being in the world. But I have found in my practice a delight in these obsessive preoccupations. And in the solutions they slowly, ever so slowly, but inevitably offer.

Artist Bio / CV

BETHANY COLLINS

EDUCATION

Georgia State University, MFA

University of Alabama, BA Studio Art & Visual Journalism   

 

SOLO EXHIBITIONS

2016  

lobby project: Bethany Collins, Birmingham Museum of Art, Birmingham, AL


2015 

Inquiry’s End, Richard Gray Gallery, Chicago, IL [cat.]

2012        

(Unrelated), Ernest G. Welch Gallery, Atlanta, GA

GROUP EXHIBITIONS

2016       

Lines of Flight, Miriam and Ira D Wallach Art Gallery at Columbia University, New York, NY

2015       

To Be Young, Gifted & Black, Goodman Gallery, Johannesburg, South Africa
I lost an arm on my last trip home: Derrick Adams, Emma Amos, Bethany Collins, Sara Rahbar, RYAN LEE Gallery, New York, NY
Venturing Out of the Heart of Darkness, Curated by Rehema Barber, Harvey B. Gantt Center, Charlotte, NC

2014           

Material Histories, The Studio Museum in Harlem, Curated by Lauren Haynes, New York, NY [cat.]
Retreat, Curated by Theaster Gates, Valerie Carberry Gallery & Richard Gray Gallery, Chicago, IL [cat.]
Point of View: African American Art from the Elliot and Kimberly Perry Collection, Flint Institute of Art, Flint, MI
Space For Possibility, Contemporary Art Museum St. Louis, St. Louis, MO
       
2013       

Drawing Inside the Perimeter, Curated by Michael Rooks, High Museum of Art, Atlanta
ONE ONE, Museum of Contemporary Art of Georgia, Atlanta

2012       

From Cosmology to Neurology and Back Again, Whitespace Gallery, Atlanta, GA

2011        

Pre-Emergent, Aqua Art Miami Contemporary Art Fair, Miami, FL       
Hammonds House Museum Art Atlanta, Bill Lowe Gallery, Atlanta, GA

2010      

Southern Art?, Ernest G. Welch Gallery, Atlanta, GA

AWARDS & RESIDENCIES

The Studio Museum in Harlem, Artist-in-Residence      Hudgens Prize, The Hudgens Art Center
The Pollock-Krasner Foundation Grant
MacDowell Colony, Peterborough, NH
Bemis Center for Contemporary Arts, Omaha, NE
Artadia Award : 2014 Atlanta

PUBLIC COLLECTIONS

Agnes Scott University
High Museum of Art
Pennsylvania Academy of Fine Arts Museum
The Studio Museum in Harlem
Zuckerman Museum of Art