Ann Craven
Blue Song, 2008
Huile sur toile
213 x 153cm
83.86 x 60.24 in
Huile sur toile
213 x 153cm
83.86 x 60.24 in
Brussels Fade Red and Pink (Silhouette), 2006
Huile sur toile
122 x 92cm
48.03 x 36.22 in
Huile sur toile
122 x 92cm
48.03 x 36.22 in
Wasn't Sorry, 2007
Huile sur toile
150 x 600cm
59.06 x 236.22 in
Huile sur toile
150 x 600cm
59.06 x 236.22 in
Moon Stripe (Reims), 2007
Huile sur toile
163 x 560cm
64.17 x 220.47 in
Huile sur toile
163 x 560cm
64.17 x 220.47 in
Brussels Fade Red and Red (Silhouette), 2006
Huile sur toile
122 x 92cm
48.03 x 36.22 in
Huile sur toile
122 x 92cm
48.03 x 36.22 in
Ann Craven
Les oeuvres d'Ann Craven ont intégré plusieurs collections comme les Musées d’Art Contemporain de Chicago ou de Floride, le Whitney Museum of American Art, le MoMA, ou encore le Frac Champagne Ardenne. Elle exposera prochainement au Confort Moderne, à Poitiers, France (été 2014).
Des astres, un pont et des oiseaux...
Ann Craven / Marianne Vitale
Commissariat d'exposition : Yann Chevallier
L'exposition réunit des oeuvres d’Ann Craven et Marianne Vitale pour la première fois. Elles sont toutes les deux nées dans les années 70 et vivent à New-York. L'une est peintre, l'autre sculpteur. Le titre « Des astres, un pont et des oiseaux » laisse imaginer une scène poétique, esquisse les contours d'un paysage idéal. C'est aussi une énumération partielle et objective de ce que nous trouvons dans l'exposition. Les oeuvres de ces artistes partagent un attachement fort à leur pouvoir d'évocation tout en essayant de réduire les images convoquées à l'état de motifs. Deux stratégies sont à l'oeuvre, là ou Ann Craven reproduit, multiplie pour vider les images de leur charge émotionnelle, Marianne Vitale brûle la matière, la rudoie, pour faire basculer ses objets dans un réel vécu.
La relation au temps et à la mémoire est également une problématique commune aux deux artistes. Elles tentent toutes les deux de fixer le temps, de construire des souvenirs avant que la mémoire ne les altère. Ainsi des fantômes d'émotions traversent les peintures de Craven, des personnes chères, des moments inoubliables se métamorphosent en oiseaux, en arbres ou en une multitude de lunes. Marianne Vitale, quant à elle, convoque l'histoire des pionniers de l'ouest américain, métaphore d'une histoire de l'art genrée qu'elle met au bûcher pour se les réapproprier avec une énergie hors norme.
Des astres, un pont, des oiseaux, une stèle, des souvenirs, une façade, le feu, des histoires éparses, une mémoire mécanique, des conflits enfouis, des gestes connus : l'art et la vie confondus.
Texte de Yann Chevallier, 2014.
Des astres, un pont et des oiseaux...
Ann Craven / Marianne Vitale
Commissariat d'exposition : Yann Chevallier
L'exposition réunit des oeuvres d’Ann Craven et Marianne Vitale pour la première fois. Elles sont toutes les deux nées dans les années 70 et vivent à New-York. L'une est peintre, l'autre sculpteur. Le titre « Des astres, un pont et des oiseaux » laisse imaginer une scène poétique, esquisse les contours d'un paysage idéal. C'est aussi une énumération partielle et objective de ce que nous trouvons dans l'exposition. Les oeuvres de ces artistes partagent un attachement fort à leur pouvoir d'évocation tout en essayant de réduire les images convoquées à l'état de motifs. Deux stratégies sont à l'oeuvre, là ou Ann Craven reproduit, multiplie pour vider les images de leur charge émotionnelle, Marianne Vitale brûle la matière, la rudoie, pour faire basculer ses objets dans un réel vécu.
La relation au temps et à la mémoire est également une problématique commune aux deux artistes. Elles tentent toutes les deux de fixer le temps, de construire des souvenirs avant que la mémoire ne les altère. Ainsi des fantômes d'émotions traversent les peintures de Craven, des personnes chères, des moments inoubliables se métamorphosent en oiseaux, en arbres ou en une multitude de lunes. Marianne Vitale, quant à elle, convoque l'histoire des pionniers de l'ouest américain, métaphore d'une histoire de l'art genrée qu'elle met au bûcher pour se les réapproprier avec une énergie hors norme.
Des astres, un pont, des oiseaux, une stèle, des souvenirs, une façade, le feu, des histoires éparses, une mémoire mécanique, des conflits enfouis, des gestes connus : l'art et la vie confondus.
Texte de Yann Chevallier, 2014.
The cool factor
Ann Craven’s paintings are all different. When you look at one you feel lucky. If you put one of her paintings on the wall it just looks good. It doesn’t matter if you want something tough or something sweet, one of Ann’s paintings will fill the void. When you see Ann Craven’s art somewhere, it starts working to separate itself from everything aroud it. It exists in its own time. the paintings themselves are beautiful objects. Each one looks as it has always existed. As if caring hands have moved it from wall to wall over a lenght of time. This gives the works a warm weight. It is hard for me to say that I like this type of work, but then I start to realize that Ann’s work is not «this» type of work. It is really ist own thing. Ann’s art opens my eyes to other things in the world that I might, otherwise, not thought about. Her art is straightforward. She is always trying to portray it as having some sort of conceptual meaning, and it does, but not in the way she thinks. The conceptual aspects of Ann’s work lie in the straightforward and driving process and style in which she works. She’s a very hard working person. Often she sets out to do impossible things. No matter what she does, it is the absolute quality of it that prevails.
Ann’s work is capable of entering our conscience at many different points. It can at the same time be both a cold symbol of modern times and a straightforward persentation of a subject. In some contexts, Ann’s work could be a colorful decoration. In another, a painting could become a biting comment ont the state of things. Critics of Ann Craven’s work might say it lacks the «cool factor». All this means is that Ann keeps producing her work unfettered. She has managed to push hard through the challenges of being a great artist.
The birds look good. They serve as a perfect vehicule for color and expression. They are sometimes perceived as silly. A big painting of a bird is silly, but once you get over that initial recognition stage, things begin to change within the painting. The scale and the «allover-ness» of them is evident to me. Also, the straightforward and casual assuredness with which the painting is executed. A lot of the birds are somewhat sinister and dark. The moons are dark, but they are not so sinister. These were presented numerous times in numbers ranging from one to hundreds. I sometimes think she overdid it a little with the moon. But to really appreciate them, see just one or two on the wall. Four or five would look good. These paintings are just black squares ; I think 12 or 14 inches square. Near the middle of each painting there is a white circle or a dash with some haze. It is a quick depiction of the moon. To make these paintings, Ann actually goes out and paints the moon at night. It may sound romantic or glamorous but it’s actually not. She always seems nervous and agitated when she paints the moon. She is afraid the moon is going to go away before she can get it. Of course it’s going away. But it comes back. She also does them large now. I think 4 feet square. The large moons comme off differently. They are less immediate, but softer as well. Some of this softness appears to come from the larger brushstrokes. Ann’s way of scaling up her moon paintings was to use a bigger brush on a bigger canvas.
Ann can produce great paintings, one after another. Ann can make a painting from nothing. She doesn’t take breaks to reflect on things. Ann manages to walk the line between writing a tell-all book and remaining completely uninvolved. One common thread, which runs through Ann’s subjects, is the lack of specificity. The subjects are all rather generic. Leaden metaphorical meanings and definitive protraits tend to be avoided. Ann Craven mostly limits herself to animals, moons, trees, stripes, and so forth. Currently, moons and birds are probably most prevalent.
The problem with most representational art is that it is so sure of itself. What gives a subject so much importance that it warrants an artistic rendering of itself ? Often representational painters completely misunderstand the whole idea about art. They think art is about doing things competently with just a touch of panache. That is indeed on kind of art, bit not a very interesting kind. Great representational art looks right through its subjects. The subject only serves as transportation for an expression or idea. The subject is not a crutch or a publicity gimmick. Ann Craven’s work does not go around to openings with a limp and a cigarette between its lips. Playing those types of games is not an option for these paintings. These paintings just come in and get the job done.
Because Ann Craven sets the bar very high for herself, she usually waits until close to the last minute to start working on something. She is always thinking of the context of her work. Perhaps she does not have to think so much about this because that is often hard to control.
Ann seems in a way unsatisfied with everything she does. That’s why she keeps constantly working away. The birds and the moons are both simple ideas. Is the challenge not to make things as simple and successful as possible ? When it comes to painting it is best to sneak all of the meaning in though the back door. Ann does not burden the viewer with issues or problems. The issues and problems are all there, only they are disguised as the moon or as a deer.
Ann takes tried and true ideas and portrays, as if she herself invented them. When she paints a deer, she acts as though she is the first person ever to paint a deer. She just dashes forward with a firm innocence. Her skill as an artist is greatly enhanced by that innocence. She takes everything so seriously ; that bothers me, and I hate her.
Josh Smith, 2009
Ann Craven’s paintings are all different. When you look at one you feel lucky. If you put one of her paintings on the wall it just looks good. It doesn’t matter if you want something tough or something sweet, one of Ann’s paintings will fill the void. When you see Ann Craven’s art somewhere, it starts working to separate itself from everything aroud it. It exists in its own time. the paintings themselves are beautiful objects. Each one looks as it has always existed. As if caring hands have moved it from wall to wall over a lenght of time. This gives the works a warm weight. It is hard for me to say that I like this type of work, but then I start to realize that Ann’s work is not «this» type of work. It is really ist own thing. Ann’s art opens my eyes to other things in the world that I might, otherwise, not thought about. Her art is straightforward. She is always trying to portray it as having some sort of conceptual meaning, and it does, but not in the way she thinks. The conceptual aspects of Ann’s work lie in the straightforward and driving process and style in which she works. She’s a very hard working person. Often she sets out to do impossible things. No matter what she does, it is the absolute quality of it that prevails.
Ann’s work is capable of entering our conscience at many different points. It can at the same time be both a cold symbol of modern times and a straightforward persentation of a subject. In some contexts, Ann’s work could be a colorful decoration. In another, a painting could become a biting comment ont the state of things. Critics of Ann Craven’s work might say it lacks the «cool factor». All this means is that Ann keeps producing her work unfettered. She has managed to push hard through the challenges of being a great artist.
The birds look good. They serve as a perfect vehicule for color and expression. They are sometimes perceived as silly. A big painting of a bird is silly, but once you get over that initial recognition stage, things begin to change within the painting. The scale and the «allover-ness» of them is evident to me. Also, the straightforward and casual assuredness with which the painting is executed. A lot of the birds are somewhat sinister and dark. The moons are dark, but they are not so sinister. These were presented numerous times in numbers ranging from one to hundreds. I sometimes think she overdid it a little with the moon. But to really appreciate them, see just one or two on the wall. Four or five would look good. These paintings are just black squares ; I think 12 or 14 inches square. Near the middle of each painting there is a white circle or a dash with some haze. It is a quick depiction of the moon. To make these paintings, Ann actually goes out and paints the moon at night. It may sound romantic or glamorous but it’s actually not. She always seems nervous and agitated when she paints the moon. She is afraid the moon is going to go away before she can get it. Of course it’s going away. But it comes back. She also does them large now. I think 4 feet square. The large moons comme off differently. They are less immediate, but softer as well. Some of this softness appears to come from the larger brushstrokes. Ann’s way of scaling up her moon paintings was to use a bigger brush on a bigger canvas.
Ann can produce great paintings, one after another. Ann can make a painting from nothing. She doesn’t take breaks to reflect on things. Ann manages to walk the line between writing a tell-all book and remaining completely uninvolved. One common thread, which runs through Ann’s subjects, is the lack of specificity. The subjects are all rather generic. Leaden metaphorical meanings and definitive protraits tend to be avoided. Ann Craven mostly limits herself to animals, moons, trees, stripes, and so forth. Currently, moons and birds are probably most prevalent.
The problem with most representational art is that it is so sure of itself. What gives a subject so much importance that it warrants an artistic rendering of itself ? Often representational painters completely misunderstand the whole idea about art. They think art is about doing things competently with just a touch of panache. That is indeed on kind of art, bit not a very interesting kind. Great representational art looks right through its subjects. The subject only serves as transportation for an expression or idea. The subject is not a crutch or a publicity gimmick. Ann Craven’s work does not go around to openings with a limp and a cigarette between its lips. Playing those types of games is not an option for these paintings. These paintings just come in and get the job done.
Because Ann Craven sets the bar very high for herself, she usually waits until close to the last minute to start working on something. She is always thinking of the context of her work. Perhaps she does not have to think so much about this because that is often hard to control.
Ann seems in a way unsatisfied with everything she does. That’s why she keeps constantly working away. The birds and the moons are both simple ideas. Is the challenge not to make things as simple and successful as possible ? When it comes to painting it is best to sneak all of the meaning in though the back door. Ann does not burden the viewer with issues or problems. The issues and problems are all there, only they are disguised as the moon or as a deer.
Ann takes tried and true ideas and portrays, as if she herself invented them. When she paints a deer, she acts as though she is the first person ever to paint a deer. She just dashes forward with a firm innocence. Her skill as an artist is greatly enhanced by that innocence. She takes everything so seriously ; that bothers me, and I hate her.
Josh Smith, 2009
Expositions de groupe à la galerie
Ann Craven - Marianne Vitale, Paris
29 mars - 18 mai 2014
Expositions Personnelles
2014
Ann Craven, Le Confort Moderne, Poitiers, France - à venir
2013
Ann Craven, Maccarone, New York, USA
Ann Craven: Hello Hello Hello, Southard Reid, Londres, Royaume-Uni
2011
Summer, Southard Reid, Londres, Royaume-Uni
Ann Craven, Great Jones 39, New York, USA
Ann Craven at Conduits, ReMap3, Kerameikos-Metaxourgeio, Athènes, Grèce
Ann Craven, Galerie Forsblom, Helsinki, Finlande
Watercolors 2005-2010, Maccarone, New York, USA
2010
Flowers, Maccarone Gallery, New York, USA
Ann Craven, Blancpain Art Contemporain, Genève, Suisse
2009
Shadows Moon, CIAP, Hasselt, Belgique
Puff Puff, Conduits Gallery, Milan, Italie
Golden Swamp Warbler, Galerie LHK, Paris, France
2008
Against the Stream, Sculpture Center, Long Island City, USA
Shadows moon, Frac-Champagne-Ardenne; Reims, France
Snoom, Delaware Center for Contemporary Art, Wilmington, USA
Moon Birds, Knoedler & Co., New York, USA
Moon Birds, Shane Campbell Gallery, Chicago, USA
2007
Deer and Beer LA, Mandrake, Los Angeles, USA
2006
Ann Craven, Galerie Catherine Bastide, Brussels, Belgique
Ann Craven, Klemens Gasser + Tanja Grunert, Inc., New York, USA
Deer + Beer, Klemens Gasser + Tanja Grunert, Inc., New York, USA
2005
Ann Craven, Angstrum Gallery, Dallas, USA
A Poppy is a Poppy is a Poppy, The New York Horticulture Society, USA
2004
After Nature, Marc Selwyn Fine Art, Domestic, Los Angeles, USA
Ann Craven, Galleria Paolo Curti / Annamaria Gambuzzi & Co., Milan, Italie
Ann Craven, Klemens Gasser + Tanja Grunert, Inc., New York, USA
This Way no This way, Aut Aut,Mario Diacono, Boston, USA
2002
Ann Craven, Klemens Gasser + Tanja Grunert, Inc., New York, USA
Ann Craven, Allston Skirt Gallery, Boston, USA
1998
Ann Craven, Curt Marcus Gallery, New York, USA
Ann Craven, Gallery Ha Ha, Knoxville, USA
1997
Ann Craven, Lauren Wittels Gallery, New York, USA
1995
Ann Craven, Lauren Wittels Gallery, New York, USA
Exposition collectives (sélection)
2014
A Poem For Raoul And Agnes, curated by Sherman Sam, Ancient & Modern, Londres, Royaume-Uni (Forthcoming)
Des astres, un pont et des oiseaux.. Marianne Vitale / Ann Craven, commissariat Yann Chevalier, Galerie Bernard Ceysson, Paris, France
Staging Interruptions (Stream Of Life), commissariat Sarina Basta and Mary Reinbold, Southard Reid, Londres, Royaume-Uni
Personal Space, Essex Flowers, New York, USA
2013
Forthcoming: A Poem For Raoul And Agnes, curated by Sherman Sam, Ancient & Modern, Londres, Royaume-Uni
Island, curated by Sarina Basta, The Dairy Art Center, Londres, Royaume-Uni
Beer, curated by Drew Heitzler, The Green Gallery, Milwaukee, USA
The Cat Show, curated by Rhonda Lieberman, White Columns, New York, USA
Station Identification, Michael Benevento, Los Angeles, USA
Souvenir, commissariat : Lucie Fontaine, Galerie Perrotin, Paris, France
Femminile Plurale, curated by Sara Boggio, Galleria In Arco, Turin, Italie
The Amazing Shoemaker, Fairy Tales About Shoes and Shoemakers, Salvatore Ferragamo Museum, Florence, Italie
39greatjones, curated by Ugo Rondinone, Eva Presenhuber, Zürich, Suisse
2012
Painting as a Radical Form, curated by Mario Diacono, Collezione Maramotti, Reggio Emilia, Italie
La Fête Est Permanente #4, FRAC Champagne-Ardenne 2011-12 Aquisitions, Museé de L’Ardenne, Charleville-Mézières, France
Estate, curated by Lucie Fontaine, Marianne Boesky, New York, USA
Sous le Signe du Cancer, commissariat : Olivier Mosset, Galerie des Multiples, Paris, France
Howling at the Moon, Dickinson Gallery, New York, USA
The Spirit Level, curated by Ugo Rondinone, Gladstone Gallery, New York, USA
Modern Talking, curated by Nicola Trezzi, Cluj Museum, Cluj, Roumanie
2011
Just ask Alice, curated by Amy Granat and Joao Simoes, Fitzroy Gallery, New York, USA
Four Rooms, CSW Zamek, Warsaw, Pologne
Heads with Tails, commissariat West Street Gallery, Harris Lieberman, New York, USA
8 Americans, commissariat Keith Mayerson, Maruani & Noirhomme Gallery, Bruxelles, Belgique
Painting . . . EXPANDED, commissariat Marysol Nieves, Espacio 1414, Santurce, Puerto Rico
Heads with Tails, commissariat West Street Gallery, Harris Lieberman, New York, USA
8 Americans, commissariat Keith Mayerson, Maruani & Noirhomme Gallery, Brussels, Belgique
Chaos as Usual, Bergen Kunsthall, Norvège
Kilkenny Arts Festival, Ireland, commissariat Josephine Kelliher, Rubicon Gallery, Dublin, Irlande
Ying Yang Music, in collaboration w/ Peter Halley, commissariat : Amy Granat, Non-Objectif Sud, Tulette, France
The Medicine Bag, Organized by Ellen Langan and Jasmine Tsou, Maccarone, New York
Rituels, La Fondation d'entreprise Ricard, Paris, France
Painting Overall, Prague Biennale, commissariat Giancarlo Politi and Helena Kontova en collaboration avec Nicola Trezzi, République Tchèque
A Painting Show, commissariat Laura Raicovich et Jessie Washburne-Harris, Harris Lieberman Gallery, New York, USA
The Great White way Goes Black, Vilma Gold, Londres, Royaume-Uni
HYSTERIA, LAUGHTER AND A SENSE OF SERIOUSNESS, conçue par Mareike Dittmer & Raphael Gygax, Karma International and Galerie Gregor Staiger, Zurich, Suisse
Oh Deer!, commissariat Bk Projects, Drive-By, Watertown, USA
2010
Neo Integrity: Comics Edition, commissariat Keith Meyerson, Museum of Comic and Cartoon Art, New York, USA
Exhibition #3, Emily Harvey Foundation, New York, USA
CAA Exhibition, commissariat Michelle Grabner: Ann Craven, Peter Halley and Jon Pestoni, Shane Campbell Gallery, Chicago, USA
White Columns Xerox Editions, White Columns, New York, USA
Picturing the Studio, Sullivan Galleries, School of the Art Institute of Chicago, USA
2009
Hello, Mr. McGrudder, Benson-Keys Arts, South Hampton, USA
No Bees No Blueberries, commissariat Sarina Basta and Tyler Colburn, Harris Lieberman Gallery, New York, USA
North Drive Press Benefit, White Columns, New York, USA
Collection of… Works from the collections of: Michael Clifton, Clarissa Dalrymple, Matt Keegan, Cary Leibowitz, Amie Scally et Linda Yablonsky, White Columns, New York, USA
Whitney Art Party, Whitney Museum of American Art, New York, USA
Constellations: Paintings from the MCA Collection, Museum of Contemporary Art, Chicago, USA
Farimani Fundraiser, Starr Space, Brooklyn, USA
XOXO, Apartment Show, New York, USA
Strip/ Stripe: A project by Test, Emily Harvey Foundation, New York, USA
White Columns Xerox Editions, Shane Campbell Gallery, Oak Park, USA
If The Dogs Are Barking, Apartment Show at Artists Space, New York, USA
2008
Blank Complexity, commissariat Karma International, Parisa Kind Gallery, Frankfort, Allemagne
Nov 5 - 26, 2008, by Joao Simoes, Emily Harvey foundation, NY, USA
Catawamus (for H.D.),commissariat Matt Keegan et Amy Granat, Midway Contemporary Art, Minneapolis, USA
Pretty Ugly, commissariat Alison Gingeras, Maccarone Gallery, New York, USA
Tales of the Grotesque, commissariat Gianni Jetzer; Karma International, Zurich, Suisse
Fair Market, commissariat Haley Mellin, Rental, New York, SUA
You Said He Said She Said, Selier + Mosseri-Marlio Gallery, Zurich, Suisse
White Flag Projects; Cinema Zero, commissariat Amy Granat , St. Louis, USA
The Searchers, commissariat Amoreen Armetta and Molly Dilworth, PNCA, Portland, USA
Thank You For Coming, Triple Candie 2001-2008, Triple Candie, New York, USA
Accidental Modernism, commissariat Christopher Eamon; Leslie Tonkonow Artworks + Projects, New York, USA
2007
Catawampus (For H.D.),curated by Matt Keegan + Amy Granat, Shane Campbell Gallery, Oak Park, USA
Birds, Dwight Hackett projects, Santa Fe, USA
All Mirrors are Broken, commissariat Anthony Huberman, Galerie LHK, Paris, France
Joe Bradley, Ann Craven, Dana Frankfort, and Keith Mayerson, Zach Feuer Gallery, New York, USA
Warhol and…, Kantor/Feuer Gallery, Los Angeles, USA
Re-dis-play | Non-Art-Collections from Artists and Curators, commissariat Anna-Catharina Gebbers, Heidelberger Kunstverein, Heidelberg, Allemagne
What We Do Is Secret, commissariat Amy O’Neill, BLANCPAIN ART CONTEMPORAIN, Genève, Suisse
Small is Beautiful, Klemens Gasser + Tanja Grunert, Inc., New York, USA
Orchids for Orchard; On the Collective for Living Cinema, présentée par Cinema Zero, Orchard Gallery One night Only- Thursday April 19, 8PM, New York, USA
Big Secret Cache, Angstrum Los Angeles, Los Angeles, USA
Girlpower & Boyhood, Solverget, Stavanger kulturhus, Stavanger, Norvège
Cinema Zero Presents; “Etceteras of the Carrerond (What Comes is better than what came before),” the Collective Unconcious, New York, USA
2006
CarreRond in Paris, Centre Culturel Suisse (CCS), Paris, France
The Kitchen and Cinema Zero Presents; an evening with Cinema Zero, Ann Craven en collaboration avec Amy Granat and Dusty Santos, The Kitchen, New York, USA
Bunch Alliance and Dissolve, Contemporary Art Center, Cincinnati, Ohio, organisé par Public-Holiday Projects, Los Angeles/New York, USA
Girl Power and Boyhood, commissariat Lene Burkard, Kunsthallen Brandts, Odense, Danemark
Girl Power and Boyhood, commissariat Lene Burkard, Talbot Rice Gallery, University of Edinburgh, Ecosse, Royaume-Uni
Kamp K48,’ commissariat Scott Hug, John Connely Presents, New York, USA
Blue Movies for Gray Flags, Environment: Ann Craven; Selection of Short Films with Performance by Chuck Nanny, Fiamy, présentée par Cinema Zero, Sculpture Center, Queens, USA
Portraits, Marc Selwyn Fine Art, Los Angeles, CA; commissariat Paul Morris & Marc Selwyn, USA
New Work, curated by Tanja Grunert; Klemens Gasser + Tanja Grunert, Inc., New York, USA
Cluster, organized by Katie Holten, presented at; PARTICIPANT INC., New York, NY; Sundown Salon (in association with Art 2102), Los Angeles, CA; FOUR, Dublin, Irlande
El Particular in Mexico City, Mexique
Bird Space: A Post-Audobon Artists Aviary, Tucson Museum of Art, Tucson, USA
2005
Modest Sublime, commissariat Leila Amalifitano, The Carpenter Center for the Arts, Harvard University, Cambridge, SUA
Sports Illustrated, Islip Museum, New York, USA
The Kitchen High Line Block Party, pet and people portraits, The Kitchen's 7th annual 19th Street block party, New York, USA
Kamp K48 - The Zine Unbound, commissariat Scott Hug; Yerba Buena Center For The Arts, San Francisco, USA
New Figuration, Galleri Christina Wilson, Copenhague, Danemark.
Flower Power, Klemens Gasser + Tanja Gruner Inc., New York, SUA
Neo-Baroque, commissariat Micaela Giavannotti, Biblos Center for the Arts, Vérone, Italie
The Thing That Separates Man From Animal, commissariat Lisa Kirk, FlatOtel, New York, USA
Chao Manhattan, commissariat Joseph Wolin; Perugi Arte Contemporanea, Padova, Italie
2004
The Sixth Annual Altoids Curiously Strong Collection, The New Museum, New York, USA
Consolidated Works, Seattle, WA; Arthouse, Austin, TX; Luggage Store Gallery, San Francisco, CA; Pennsylvania Academy of Fine Art, Philadelphia, USA
Ann Craven and Keith Meyorson, commissariat Lisa Kirk, Scope art fair, Miami, USA
Emo Eco, commissariat Simon Watson/Scenic Kavi Gupta Gallery, Chicago, USA
She’s Come Undone, commissariat Augusto Arbizo, Artemis Greenberg Van Doren, New York, USA
AC, Elizabeth Dee Gallery, New York, USA
The Collector's Cabinet: for Marsha, commissariat Simon Watson / Scenic, Marc Selwyn Fine Art at Domestic, Los Angeles, USA
Portraits, Esso Gallery, New York, USA
Birdspace: A Post-Audubon Artists Aviary, Norton Museum of Art, West Palm Beach, USA
ANIMALS & US; The Animal in Contemporary Art, Galerie St. Etienne, New York, USA
For The Birds, commissariat Denise Markonish, écrit par Michael Crewdson ArtSpace, New Haven, USA
Bird Space, commissariat David Rubin, Contemporary Arts Center, New Orleans, USA
2003
Out Law Series, New York, USA
You, commissariat Lisa Kirk, 110 W 14th Street, New York, USA
Ann Craven, Art Basel, Klemens Gasser&Tanja Grunert, Allston Skirt Gallery, Miami, USA
Giverny, commissariat Yvonne Force and Jeanne Greenberg Rohatyn, Salon 94, New York, USA
City Mouse, Country Mouse, curated by David Hunt, Space 101, Brooklyn, USA
Mixer03: An Ornithological Group Show in All Media, Monique Meloche Gallery, Chicago, USA
Summer Group Show, Allston Skirt Gallery, Boston, USA
Gone Fishin' in Provincetown, Allston Skirt Gallery, Provincetown, USA
2002
Group Exhibition, commissariat Bonnie Clearwater, Museum of Contemporary Art, Miami, USA
Aviary, commissariat Edward Thorp, Edward Thorp Gallery, New York, USA
Art/Basel, Klemens Gasser&Tanja Grunert, Inc. and Flash Art., Miami, USA
Pretty Paintings, commissariat Sean Horton, The Model Gallery, Boston USA
Hotel/Motel, 11 Artists with Studio’s in Harlem, Triple Candie , New York, USA
Primal Screams and Songs, Museum of Contemporary Art, Miami, USA
2000-2001
Extraordinary Realities, commissariat Annegreth Nill, Columbus Museum of Art, Columbus, USA
Many Moons, commissariat Barbara Bloemink, Hammonds Museum, New York, USA
1999
Heads Up, Nouvelles acquisition commissariat Bonnie Clearwater, Museum of Contemporary Art, Miami, USA
Invitational White Columns benefit auction, White Columns, New York, USA
Group Exhibition, Curt Marcus Gallery, New York, USA
Ann Craven Studio Tour, to benefit The Coalition for the Homeless, Art Walk New York, USA
1997
Group Show, commissariat Michael Jenkins, Wooster Gardens, New York, USA
Guadalajara Art Fair, Guadalajara, Mexique
Gay Men’s Health Crisis, soutane par David Geffen, New York Hospital, USA
Invitational exhibition, commissariat Milena Kanovska, Provincetown Art Museum, Provincetown, USA
Summer Invitational Exhibition, Curt Marcus Gallery, New York, USA
1996
Invitational Benefit Auction and Exhibition, White Columns, New York, USA
Time Wise, commissariat Carin Kuony, The Swiss Institute, New York, USA
Invitational exhibition, juried by Chuck Close, Charles Gwathmey, Nathen Olivera, et Robert Ryman, New York, USA
American Academy of Arts and Letters, New York, USA
Three Painters, Lauren Wittels Gallery, New York, USA
Ann Craven - Marianne Vitale, Paris
29 mars - 18 mai 2014
Expositions Personnelles
2014
Ann Craven, Le Confort Moderne, Poitiers, France - à venir
2013
Ann Craven, Maccarone, New York, USA
Ann Craven: Hello Hello Hello, Southard Reid, Londres, Royaume-Uni
2011
Summer, Southard Reid, Londres, Royaume-Uni
Ann Craven, Great Jones 39, New York, USA
Ann Craven at Conduits, ReMap3, Kerameikos-Metaxourgeio, Athènes, Grèce
Ann Craven, Galerie Forsblom, Helsinki, Finlande
Watercolors 2005-2010, Maccarone, New York, USA
2010
Flowers, Maccarone Gallery, New York, USA
Ann Craven, Blancpain Art Contemporain, Genève, Suisse
2009
Shadows Moon, CIAP, Hasselt, Belgique
Puff Puff, Conduits Gallery, Milan, Italie
Golden Swamp Warbler, Galerie LHK, Paris, France
2008
Against the Stream, Sculpture Center, Long Island City, USA
Shadows moon, Frac-Champagne-Ardenne; Reims, France
Snoom, Delaware Center for Contemporary Art, Wilmington, USA
Moon Birds, Knoedler & Co., New York, USA
Moon Birds, Shane Campbell Gallery, Chicago, USA
2007
Deer and Beer LA, Mandrake, Los Angeles, USA
2006
Ann Craven, Galerie Catherine Bastide, Brussels, Belgique
Ann Craven, Klemens Gasser + Tanja Grunert, Inc., New York, USA
Deer + Beer, Klemens Gasser + Tanja Grunert, Inc., New York, USA
2005
Ann Craven, Angstrum Gallery, Dallas, USA
A Poppy is a Poppy is a Poppy, The New York Horticulture Society, USA
2004
After Nature, Marc Selwyn Fine Art, Domestic, Los Angeles, USA
Ann Craven, Galleria Paolo Curti / Annamaria Gambuzzi & Co., Milan, Italie
Ann Craven, Klemens Gasser + Tanja Grunert, Inc., New York, USA
This Way no This way, Aut Aut,Mario Diacono, Boston, USA
2002
Ann Craven, Klemens Gasser + Tanja Grunert, Inc., New York, USA
Ann Craven, Allston Skirt Gallery, Boston, USA
1998
Ann Craven, Curt Marcus Gallery, New York, USA
Ann Craven, Gallery Ha Ha, Knoxville, USA
1997
Ann Craven, Lauren Wittels Gallery, New York, USA
1995
Ann Craven, Lauren Wittels Gallery, New York, USA
Exposition collectives (sélection)
2014
A Poem For Raoul And Agnes, curated by Sherman Sam, Ancient & Modern, Londres, Royaume-Uni (Forthcoming)
Des astres, un pont et des oiseaux.. Marianne Vitale / Ann Craven, commissariat Yann Chevalier, Galerie Bernard Ceysson, Paris, France
Staging Interruptions (Stream Of Life), commissariat Sarina Basta and Mary Reinbold, Southard Reid, Londres, Royaume-Uni
Personal Space, Essex Flowers, New York, USA
2013
Forthcoming: A Poem For Raoul And Agnes, curated by Sherman Sam, Ancient & Modern, Londres, Royaume-Uni
Island, curated by Sarina Basta, The Dairy Art Center, Londres, Royaume-Uni
Beer, curated by Drew Heitzler, The Green Gallery, Milwaukee, USA
The Cat Show, curated by Rhonda Lieberman, White Columns, New York, USA
Station Identification, Michael Benevento, Los Angeles, USA
Souvenir, commissariat : Lucie Fontaine, Galerie Perrotin, Paris, France
Femminile Plurale, curated by Sara Boggio, Galleria In Arco, Turin, Italie
The Amazing Shoemaker, Fairy Tales About Shoes and Shoemakers, Salvatore Ferragamo Museum, Florence, Italie
39greatjones, curated by Ugo Rondinone, Eva Presenhuber, Zürich, Suisse
2012
Painting as a Radical Form, curated by Mario Diacono, Collezione Maramotti, Reggio Emilia, Italie
La Fête Est Permanente #4, FRAC Champagne-Ardenne 2011-12 Aquisitions, Museé de L’Ardenne, Charleville-Mézières, France
Estate, curated by Lucie Fontaine, Marianne Boesky, New York, USA
Sous le Signe du Cancer, commissariat : Olivier Mosset, Galerie des Multiples, Paris, France
Howling at the Moon, Dickinson Gallery, New York, USA
The Spirit Level, curated by Ugo Rondinone, Gladstone Gallery, New York, USA
Modern Talking, curated by Nicola Trezzi, Cluj Museum, Cluj, Roumanie
2011
Just ask Alice, curated by Amy Granat and Joao Simoes, Fitzroy Gallery, New York, USA
Four Rooms, CSW Zamek, Warsaw, Pologne
Heads with Tails, commissariat West Street Gallery, Harris Lieberman, New York, USA
8 Americans, commissariat Keith Mayerson, Maruani & Noirhomme Gallery, Bruxelles, Belgique
Painting . . . EXPANDED, commissariat Marysol Nieves, Espacio 1414, Santurce, Puerto Rico
Heads with Tails, commissariat West Street Gallery, Harris Lieberman, New York, USA
8 Americans, commissariat Keith Mayerson, Maruani & Noirhomme Gallery, Brussels, Belgique
Chaos as Usual, Bergen Kunsthall, Norvège
Kilkenny Arts Festival, Ireland, commissariat Josephine Kelliher, Rubicon Gallery, Dublin, Irlande
Ying Yang Music, in collaboration w/ Peter Halley, commissariat : Amy Granat, Non-Objectif Sud, Tulette, France
The Medicine Bag, Organized by Ellen Langan and Jasmine Tsou, Maccarone, New York
Rituels, La Fondation d'entreprise Ricard, Paris, France
Painting Overall, Prague Biennale, commissariat Giancarlo Politi and Helena Kontova en collaboration avec Nicola Trezzi, République Tchèque
A Painting Show, commissariat Laura Raicovich et Jessie Washburne-Harris, Harris Lieberman Gallery, New York, USA
The Great White way Goes Black, Vilma Gold, Londres, Royaume-Uni
HYSTERIA, LAUGHTER AND A SENSE OF SERIOUSNESS, conçue par Mareike Dittmer & Raphael Gygax, Karma International and Galerie Gregor Staiger, Zurich, Suisse
Oh Deer!, commissariat Bk Projects, Drive-By, Watertown, USA
2010
Neo Integrity: Comics Edition, commissariat Keith Meyerson, Museum of Comic and Cartoon Art, New York, USA
Exhibition #3, Emily Harvey Foundation, New York, USA
CAA Exhibition, commissariat Michelle Grabner: Ann Craven, Peter Halley and Jon Pestoni, Shane Campbell Gallery, Chicago, USA
White Columns Xerox Editions, White Columns, New York, USA
Picturing the Studio, Sullivan Galleries, School of the Art Institute of Chicago, USA
2009
Hello, Mr. McGrudder, Benson-Keys Arts, South Hampton, USA
No Bees No Blueberries, commissariat Sarina Basta and Tyler Colburn, Harris Lieberman Gallery, New York, USA
North Drive Press Benefit, White Columns, New York, USA
Collection of… Works from the collections of: Michael Clifton, Clarissa Dalrymple, Matt Keegan, Cary Leibowitz, Amie Scally et Linda Yablonsky, White Columns, New York, USA
Whitney Art Party, Whitney Museum of American Art, New York, USA
Constellations: Paintings from the MCA Collection, Museum of Contemporary Art, Chicago, USA
Farimani Fundraiser, Starr Space, Brooklyn, USA
XOXO, Apartment Show, New York, USA
Strip/ Stripe: A project by Test, Emily Harvey Foundation, New York, USA
White Columns Xerox Editions, Shane Campbell Gallery, Oak Park, USA
If The Dogs Are Barking, Apartment Show at Artists Space, New York, USA
2008
Blank Complexity, commissariat Karma International, Parisa Kind Gallery, Frankfort, Allemagne
Nov 5 - 26, 2008, by Joao Simoes, Emily Harvey foundation, NY, USA
Catawamus (for H.D.),commissariat Matt Keegan et Amy Granat, Midway Contemporary Art, Minneapolis, USA
Pretty Ugly, commissariat Alison Gingeras, Maccarone Gallery, New York, USA
Tales of the Grotesque, commissariat Gianni Jetzer; Karma International, Zurich, Suisse
Fair Market, commissariat Haley Mellin, Rental, New York, SUA
You Said He Said She Said, Selier + Mosseri-Marlio Gallery, Zurich, Suisse
White Flag Projects; Cinema Zero, commissariat Amy Granat , St. Louis, USA
The Searchers, commissariat Amoreen Armetta and Molly Dilworth, PNCA, Portland, USA
Thank You For Coming, Triple Candie 2001-2008, Triple Candie, New York, USA
Accidental Modernism, commissariat Christopher Eamon; Leslie Tonkonow Artworks + Projects, New York, USA
2007
Catawampus (For H.D.),curated by Matt Keegan + Amy Granat, Shane Campbell Gallery, Oak Park, USA
Birds, Dwight Hackett projects, Santa Fe, USA
All Mirrors are Broken, commissariat Anthony Huberman, Galerie LHK, Paris, France
Joe Bradley, Ann Craven, Dana Frankfort, and Keith Mayerson, Zach Feuer Gallery, New York, USA
Warhol and…, Kantor/Feuer Gallery, Los Angeles, USA
Re-dis-play | Non-Art-Collections from Artists and Curators, commissariat Anna-Catharina Gebbers, Heidelberger Kunstverein, Heidelberg, Allemagne
What We Do Is Secret, commissariat Amy O’Neill, BLANCPAIN ART CONTEMPORAIN, Genève, Suisse
Small is Beautiful, Klemens Gasser + Tanja Grunert, Inc., New York, USA
Orchids for Orchard; On the Collective for Living Cinema, présentée par Cinema Zero, Orchard Gallery One night Only- Thursday April 19, 8PM, New York, USA
Big Secret Cache, Angstrum Los Angeles, Los Angeles, USA
Girlpower & Boyhood, Solverget, Stavanger kulturhus, Stavanger, Norvège
Cinema Zero Presents; “Etceteras of the Carrerond (What Comes is better than what came before),” the Collective Unconcious, New York, USA
2006
CarreRond in Paris, Centre Culturel Suisse (CCS), Paris, France
The Kitchen and Cinema Zero Presents; an evening with Cinema Zero, Ann Craven en collaboration avec Amy Granat and Dusty Santos, The Kitchen, New York, USA
Bunch Alliance and Dissolve, Contemporary Art Center, Cincinnati, Ohio, organisé par Public-Holiday Projects, Los Angeles/New York, USA
Girl Power and Boyhood, commissariat Lene Burkard, Kunsthallen Brandts, Odense, Danemark
Girl Power and Boyhood, commissariat Lene Burkard, Talbot Rice Gallery, University of Edinburgh, Ecosse, Royaume-Uni
Kamp K48,’ commissariat Scott Hug, John Connely Presents, New York, USA
Blue Movies for Gray Flags, Environment: Ann Craven; Selection of Short Films with Performance by Chuck Nanny, Fiamy, présentée par Cinema Zero, Sculpture Center, Queens, USA
Portraits, Marc Selwyn Fine Art, Los Angeles, CA; commissariat Paul Morris & Marc Selwyn, USA
New Work, curated by Tanja Grunert; Klemens Gasser + Tanja Grunert, Inc., New York, USA
Cluster, organized by Katie Holten, presented at; PARTICIPANT INC., New York, NY; Sundown Salon (in association with Art 2102), Los Angeles, CA; FOUR, Dublin, Irlande
El Particular in Mexico City, Mexique
Bird Space: A Post-Audobon Artists Aviary, Tucson Museum of Art, Tucson, USA
2005
Modest Sublime, commissariat Leila Amalifitano, The Carpenter Center for the Arts, Harvard University, Cambridge, SUA
Sports Illustrated, Islip Museum, New York, USA
The Kitchen High Line Block Party, pet and people portraits, The Kitchen's 7th annual 19th Street block party, New York, USA
Kamp K48 - The Zine Unbound, commissariat Scott Hug; Yerba Buena Center For The Arts, San Francisco, USA
New Figuration, Galleri Christina Wilson, Copenhague, Danemark.
Flower Power, Klemens Gasser + Tanja Gruner Inc., New York, SUA
Neo-Baroque, commissariat Micaela Giavannotti, Biblos Center for the Arts, Vérone, Italie
The Thing That Separates Man From Animal, commissariat Lisa Kirk, FlatOtel, New York, USA
Chao Manhattan, commissariat Joseph Wolin; Perugi Arte Contemporanea, Padova, Italie
2004
The Sixth Annual Altoids Curiously Strong Collection, The New Museum, New York, USA
Consolidated Works, Seattle, WA; Arthouse, Austin, TX; Luggage Store Gallery, San Francisco, CA; Pennsylvania Academy of Fine Art, Philadelphia, USA
Ann Craven and Keith Meyorson, commissariat Lisa Kirk, Scope art fair, Miami, USA
Emo Eco, commissariat Simon Watson/Scenic Kavi Gupta Gallery, Chicago, USA
She’s Come Undone, commissariat Augusto Arbizo, Artemis Greenberg Van Doren, New York, USA
AC, Elizabeth Dee Gallery, New York, USA
The Collector's Cabinet: for Marsha, commissariat Simon Watson / Scenic, Marc Selwyn Fine Art at Domestic, Los Angeles, USA
Portraits, Esso Gallery, New York, USA
Birdspace: A Post-Audubon Artists Aviary, Norton Museum of Art, West Palm Beach, USA
ANIMALS & US; The Animal in Contemporary Art, Galerie St. Etienne, New York, USA
For The Birds, commissariat Denise Markonish, écrit par Michael Crewdson ArtSpace, New Haven, USA
Bird Space, commissariat David Rubin, Contemporary Arts Center, New Orleans, USA
2003
Out Law Series, New York, USA
You, commissariat Lisa Kirk, 110 W 14th Street, New York, USA
Ann Craven, Art Basel, Klemens Gasser&Tanja Grunert, Allston Skirt Gallery, Miami, USA
Giverny, commissariat Yvonne Force and Jeanne Greenberg Rohatyn, Salon 94, New York, USA
City Mouse, Country Mouse, curated by David Hunt, Space 101, Brooklyn, USA
Mixer03: An Ornithological Group Show in All Media, Monique Meloche Gallery, Chicago, USA
Summer Group Show, Allston Skirt Gallery, Boston, USA
Gone Fishin' in Provincetown, Allston Skirt Gallery, Provincetown, USA
2002
Group Exhibition, commissariat Bonnie Clearwater, Museum of Contemporary Art, Miami, USA
Aviary, commissariat Edward Thorp, Edward Thorp Gallery, New York, USA
Art/Basel, Klemens Gasser&Tanja Grunert, Inc. and Flash Art., Miami, USA
Pretty Paintings, commissariat Sean Horton, The Model Gallery, Boston USA
Hotel/Motel, 11 Artists with Studio’s in Harlem, Triple Candie , New York, USA
Primal Screams and Songs, Museum of Contemporary Art, Miami, USA
2000-2001
Extraordinary Realities, commissariat Annegreth Nill, Columbus Museum of Art, Columbus, USA
Many Moons, commissariat Barbara Bloemink, Hammonds Museum, New York, USA
1999
Heads Up, Nouvelles acquisition commissariat Bonnie Clearwater, Museum of Contemporary Art, Miami, USA
Invitational White Columns benefit auction, White Columns, New York, USA
Group Exhibition, Curt Marcus Gallery, New York, USA
Ann Craven Studio Tour, to benefit The Coalition for the Homeless, Art Walk New York, USA
1997
Group Show, commissariat Michael Jenkins, Wooster Gardens, New York, USA
Guadalajara Art Fair, Guadalajara, Mexique
Gay Men’s Health Crisis, soutane par David Geffen, New York Hospital, USA
Invitational exhibition, commissariat Milena Kanovska, Provincetown Art Museum, Provincetown, USA
Summer Invitational Exhibition, Curt Marcus Gallery, New York, USA
1996
Invitational Benefit Auction and Exhibition, White Columns, New York, USA
Time Wise, commissariat Carin Kuony, The Swiss Institute, New York, USA
Invitational exhibition, juried by Chuck Close, Charles Gwathmey, Nathen Olivera, et Robert Ryman, New York, USA
American Academy of Arts and Letters, New York, USA
Three Painters, Lauren Wittels Gallery, New York, USA