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PERSONAL INFORMATION:
Oriana
Fox is based in London and New York
D.O.B: January 5, 1978
Place of Birth: New York, NY
EDUCATION
MA in Fine Art with distinction, 2003
Postgraduate Diploma in Fine Art received October, 2001
Bachelor of Fine Art Degree received in May, 2000
Major in Painting
EXHIBITIONS
Girl
on Guy, A+D
GALLERY,
Chicago, IL
All
My Life (solo exhibition with live
performance),
RED DISTRICT, Marseille, France
Premiere
Screening of All
My Life and Live Performance I've had the time of my life,
THE HATCHAM SOCIAL CLUB, London
The Plastic Self, Orchard Gallery, New York, NY
15/11/2006
17/11/2006
We
are So Much Better Than This (Performing the Truth/Perusing a Lie), MONKEYTOWN,
Brooklyn,
STUDIO
27, San Francisco, CA
OVERTONES,
Los Angeles, CA
Consciousness, Understanding 'N Trust, GALLERY FOR ONE, Dublin, Ireland
Self-Space,
AIRSPACE,
Stoke on Trent (organised by Basement
Art Project)
Brooklyn, NY
Mass
(Re)Production , COLLEGE of SANTA FE ART GALLERY,
Santa Fe, NM
Realities
II , FOTOGALERIE
WIEN, Vienna, Austria
Caviar,
ECHO
PARK FILM CENTER, Los Angeles, CA
4-6/2005
Video
Biennale , TEMPORARY
CONTEMPORARY, London, Exhibition traveled to DASHANZI
INTERNATIONAL ART FESTIVAL, Beijing, BIZART
CENTER, Shanghai and BOOTLAB, Berlin
Bloomberg
New Contemporaries 2004, LIVERPOOL
BIENNIAL and BARBICAN
ART GALLERY
(see images from exhibition or read press release)
[see images from exhibition]
RESIDENCY
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BIBLIOGRAPHY
2007 - Hunt, Matthew, "Cunt: Reappropriation", www.matthewhunt.com
9/2007 - Guy, Catherine, Interview with Oriana Fox, Subtext Magazine, Issue 3
7/2007 - Morais, Pedro, “Oriana Fox”, Mécènes du Sud, News No. 12 agenda arts visuels
2/2007 - Fox, Oriana, "This Success or This Failure - Tino Seghal at the ICA" (blog article), NonStarving Artists.com (online newspaper - went offline 3/07)
1/2007
- Fox, Oriana, "Would you like
bullets with your meatloaf, sir?" (blog article), NonStarving
Artists.com (online newspaper - went offline 3/07)
16/10/2006 - Thiess, Nora, "Galerie Eugen Lendle - Peach"
(exhibition review), Artmagazine
(online)
9/2006 - Moat, Hollie, "Oriana Fox, The Embodiment Workout",
Vague Paper, Issue 1
9/9/2005 - Benziker, Robert, "The More, The Scarier," The New Mexican
5/2004 – Lippiat, Matt. “Oriana Fox”, Flux, Issue 48
12/2004
– Coomer, Martin. “Brilliant Disguise”, Time Out
London, No. 1788
11/2004 – Herbert, Martin. “Bloomberg New Contemporaries 2004”,
Art Monthly, No 281
Spring 2004 – Pugsley, Freya. “I’m Every Woman”
(Interview), Bolz Magazine, Issue 5
12/2/2004 – Whitestone, David. “Enter a Rude New Yorker”,
The Newcastle Journal
I admit it, I want to be like and look like many of the women I see on TV and in the movies, yet I am highly critical of them. I want them to more accurately represent my self and the women I know and admire. I feel similarly about the feminist artists of the 1970s. I respect the way they sought to own their own image, to be defined from within instead of without, but the 70s was a long time ago, so I cannot fully embrace their ethos either. I have to find my own, and that is what I try to do in my practice. By taking varied sources from films and TV, I explore my own perceived reflection in the images I see day to day, re-enacting them and altering them to further define myself and my place in representation and the history of art.
Art also gives me a way to justify my more embarrassing hobbies. I want to sew vaginal, womb-like forms out of lush smooth fabrics, I covet any excuse to wear curlers and crinoline, I fancy baking brownies and consequently, I need to work my abdominal muscles. As a contemporary artist, I can indulge in these guilty pleasures only if they can be defended conceptually. My main justification for succumbing to these physical urges has to do with the effect the portrayal of women in both popular culture and feminist art has on me, the way it attracts and repels me at the same time. In expressing my critique of both mass-produced femininity and the self-representation of 70s feminists (as well as by presenting myself as an antidote to those varying clichés) I get to bake my cake and eat it too.
read 2004 statement
What others are saying about Oriana:
Ventriloquism, lip-synching, and appropriation all play subversive roles in the post-feminist cocktail of Oriana Fox's videography. Tackling television's role as a myth-maker she finds beauty in her own perceived reflection in popular culture. But unlike Narcissus, her mini-movies beget sequels rather than tragic ends. The result is a subdued laugh track that leaves the viewer numb with joy.
-Mitchell Marco
Oriana Fox excavates the inheritance of the past on the present generation of young artists by disjunctively animating it through her own mimicry. Fox's work mines the power and embarrassment the recent past has over those who follow in its wake, be it that of new generations of women who have a somewhat skeptical relation to being identified as feminist, who re-encode that term through a rampant consumerism that sweeps away the idealism of their mothers' generation, or of the child who has become adult and still has to deal with the visitations of their parents continued determination. The reversal of generation that Oriana Fox plays out, from younger to older, folds the sequence of inheritance back on itself with sly effect, destabilising the careful chronological sequence through which the past - and the present - are carefully controlled and held in place.
-Suhail Malik
Alluding to milestones in both pop culture and the art world, Fox's imagery is bright and bubble-gum sweet, her voice-overs are impeccable, and most importantly her understanding of how contemporary women rely on and simultaneously shy away from their foremothers’ struggle is accurately respectful while maintaining a necessary playfulness. She invites everyone to enjoy feminism even if the word makes ‘em itch.
-Alison O’Daniel