Liz Linden

Based in Brooklyn, Liz Linden was born and raised in the San Francisco Bay Area. She received her BA in Literature from Yale University in 2002 and participated in the Whitney Independent Study Program from 2008 until 2009. Her work has been widely exhibited in various national and international institutions including Ludlow 38, Bureau, New Museum, The Brooklyn Museum, Art in General, the Lunds Konsthall (Sweden) and the FRAC Ile-de-France/Le Plateau (France). Linden frequently collaborates with other artists and writers, including Nanna Debois Buhl and Jen Kennedy.

Liz Linden’s work uses appropriation as a conceptual anchor and investigates contradictory messages in commercial culture. Through manipulating and translating everyday materials and objects, her work questions power relationships between viewer and object. She uses humor and irony to briefly simplify the “overwhelming questions raised by the neoliberal landscape. In short, simplicity, for complexity’s sake.”

Currently, Liz has a solo exhibition I wasn’t lying; you didn’t ask the correct questions at Hagedorn Foundation Gallery in Atlanta, GA. The exhibition is up until March 12, 2014, and located on 425 Peachtree Hills Avenue Suite 25, Atlanta, GA 30305.

“My work points to the contradictory messages transmitted by the form and the content of the objects that make up the contemporary American environment, often referring to literary theory, semiotics, and feminism. I frequently use appropriation in my work, because it is an inherently feminist political operation allowing artists to dismantle and question the power relationships at work in a given object by acting directly upon that object itself, claiming the “overlooked” as its own. Since the winter of 2009, Jen Kennedy and I have been organizing periodic reading groups, free and open to all, dedicated to examining that day’s issue of the newspaper. Reading groups have been held at a variety of venues in NYC including DISPATCH, ICI, the New Museum, Eyebeam, and Murray Guy and the University of Southern California in Los Angeles.

SPREADS is a hand-bound artist’s book exploring the anthropomorphizing language of book-making and book-design. SPREADS uses pornographic images appropriated from hard-core magazines to imagine the book as a female body. The pages of the book correspond to the open legs of a woman, with the binding of the book’s spine effectively obscuring her vagina.  With its precious, hand-made nature and small edition number, the work also plays with the book-as-fetish or cult-object, conflating the frisson of sex with contemporary anxieties about technology, the death of print-media and the rise of e-books among the book making/collecting community.”

SUITCASE WISDOM is a sculpture consisting of a collection of found suitcases, which are designed to mimic the form of their more expensive counterparts with small metal or plastic nameplates on their front bearing aspirational brand names. The suitcases are placed together on shelves in verses to form a poem about colonialism, globalization, and travel. Signs takes the ubiquitous interior design element of the moth orchid (found in minimalist kitchens, spa-bathrooms, hotel lobbies, and corporate receptionists’ desks the world over) and turns our attention to its oxymoronic status in the built world as “minimalist decoration.” The paradoxical semiotic work this plant does in architecture is to invoke both simplicity and luxury at once, while the doubling of the plant, pairing the one alive with its polyester-and-plastic simulacrum, points to its specious duality as a sign.”