Coleman Collins is an interdisciplinary artist, writer, and researcher whose work explores notions of diaspora in relation to technological methods of transmission, translation, copying, and reiteration. His most recent projects examine the connections between things-in-the-world and their digital approximations, paying particular attention to the ways in which real and virtual spaces are socially produced. Working across sculpture, video, photography, and text, Collins' practice attempts to locate a synthesis between seemingly opposed terms: subject and object; object and image; original and duplicate; freedom and captivity.
Recent exhibitions and screenings have taken place at Ehrlich Steinberg, Los Angeles; Herald Street, London; Soldes, Los Angeles; the Palestine Festival of Literature, Jerusalem/Ramallah; Larder, Los Angeles; Hesse Flatow, New York; Brief Histories, New York; Carré d’Art, Nîmes; and the Kunsthalle Wien in Vienna. His work is in the permanent collection of the Hammer Museum, Los Angeles. Collins is a 2022 recipient of a Graham Foundation research grant. He has also received support from NYFA and Cafe Royal Cultural Foundation. He received an MFA from UCLA in 2018, and was a 2017 resident at the Skowhegan School for Painting and Sculpture. In 2019, he participated in the Whitney Museum’s Independent Study Program. He is currently an Assistant Professor of Art at the University of California, Irvine. He lives and works in Los Angeles.
mail@colemancollins.info
RECENTLY
«ON LANDSCAPES, RUINS, AND PATTERNS OF REMEMBERING» | E-FLUX | BROOKLYN, NY (2024)
«DISPLAY» | EHRLICH STEINBERG | LOS ANGELES, CA (2024)
«LEVELING» | EHRLICH STEINBERG | LOS ANGELES, CA (2024)
«WE’LL BE YOUR MIRROR» | HERALD STREET | LONDON, UK (2024)
«VIRTUAL VOLUME» | SOLDES | LOS ANGELES, CA (2023)
«ATAVISM FOR THE FUTURE» | EHRLICH STEINBERG | LOS ANGELES, CA (2023)
«SOLID PROJECTIONS» | LARDER GALLERY | LOS ANGELES, CA (2023)
«AI ASSEMBLY» | MONTALVO ARTS CENTER | SARATOGA, CA (2023)
«DISTANCING, DETERMINING» | PALFEST | JERUSALEM/RAMALLAH (2023)
«BODY ERRATA» | BRIEF HISTORIES | NEW YORK, NY (2022)
«POST-PERFORMANCE VIDEO» | MUSÉE CARRÉ D’ART | NÎMES, FRANCE (2022)
«CYBERNETICS OF THE POOR» | KUNSTHALLE WIEN | WIEN, ÖSTERREICH (2021)
«WET CONCEPTUALISM» | THE OPENING GALLERY | NEW YORK, NY (2023)
«AUGURYTHMS » | HESSE FLATOW | NEW YORK, NY (2022)
«INHERITANCE» | BRIEF HISTORIES | NEW YORK, NY (2022)
«ONEIROCRITICA» | NOTHING SPECIAL | LOS ANGELES, CA (2020)
PRESS
«‘VIRTUAL VOLUME’ MAKES SPACE A THOUGHT EXPERIMENT» | DOCUMENT JOURNAL (2023)
«ARTIST, WRITER, EDUCATOR» | UC IRVINE (2023)
«SOLID PROJECTIONS» | ARTILLERY MAGAZINE (2023)
«COLEMAN COLLINS + BRIEF HISTORIES» | BROOKLYN RAIL(2023)
«WET CONCEPTUALISM» | BROOKLYN RAIL (2023)
«NOT YOUR GRANDFATHER’S AXE: COLEMAN COLLINS AT BRIEF HISTORIES» | ART IN AMERICA (2022)
«REFLECTIONS ON COLEMAN COLLINS’ BODY ERRATA AT BRIEF HISTORIES, NY » | THIRD TEXT (2022)
«DEVIN KENNY + COLEMAN COLLINS » | OUTLAND (2021)
OLDER WORKS
A GOOD MAN IS HARD TO FIND (2018)
LES BARBIERS DE SÉBASTOPOL (2017)
LOST WAX POSITIVE, RED (2019)
WATER ALWAYS FINDS ITS OWN LEVEL (2018)
DISTANCING, DETERMINING (2018)
THE CLOUD OF WITNESSES (2018)
MISE-EN-ABYME (2017)
SELECTED WRITING
DIVE | SIBYL’S MOUTHS | MIT PRESS (2023)
ON ROMANCE IN MARSEILLE | BOMB MAGAZINE (2020)
INTIMACY AT A DISTANCE | NADNOW JOURNAL (2020)
THE DANGER OF WALKING TALL | ESPN (2015)
ON LEAVING UKRAINE | ESPN (2014)