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Kandis Williams

1985 — present

Kandis Williams (b. 1985, Baltimore, Maryland) received her BFA from Cooper Union in 2009. She has presented solo exhibitions at 52 Walker, a David Zwirner exhibition space, New York, NY; Night Gallery, Los Angeles, CA; the Institute for Contemporary Art at Virginia Commonwealth University, Richmond, VA; Works on Paper, Vienna; St. Charles Projects, Baltimore, MD; and SADE, Los Angeles. She has participated in group exhibitions at several institutions, including the Hammer Museum and Huntington Libraries, Los Angeles; Baltimore Museum of Art, Baltimore; WignallMuseum of Contemporary Art, Rancho Cucamonga, CA; Frye Art Museum, Seattle, WA; Studio Museum in Harlem, New York; and the Underground Museum, Los Angeles. Her work belongs in the permanent collections of the Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Hammer Museum, Los Angeles; WalkerArtCenter,Minneapolis;Baltimore Museum of Art, Baltimore; Julia StoschekCollection, Berlin; and the New Berlin Art Society, Berlin, among others. She is the 2021 recipient of the prestigious Mohn Award, granted by the Hammer Museum in recognition of artistic excellence, and the Foundation for Contemporary Arts’ 2021 Grants to Artists Award.

Artist info

1985 — present

United States

18 holdings

Artworks

This is a collection of artworks by the artist, including both physical and digital pieces.

ZOMBIE: Somnambulists, Body Snatchers, Elixir Bearers, Wizards, Hypnotists, Poltergeists, Demon Masters, and Witch Covens all inhabit the shadowed realms of sugar, rubber, and cotton plantations, hidden deep within the ghettos of every outpost in the vast, dark expanse of the Imperial world. “But if the commodity-form is not, presently, use-value, and even if it is not actually present, it affects in advance the use-value of the wooden table. It affects and bereaves it in advance, like the ghost it will become, but this is precisely where haunting begins. And its time, and the untimeliness of its present, of its being ‘out of joint’. To haunt does not mean to be present, and it is necessary to introduce haunting into the very construction of a concept. Of every concept, beginning with the concepts of being and time. That is what we would be calling here a hauntology. Ontology opposes it only in a movement of exorcism. Ontology is a conjuration” (Derrida, p. 202)

ZOMBIE: Somnambulists, Body Snatchers, Elixir Bearers, Wizards, Hypnotists, Poltergeists, Demon Masters, and Witch Covens all inhabit the shadowed realms of sugar, rubber, and cotton plantations, hidden deep within the ghettos of every outpost in the vast, dark expanse of the Imperial world. “But if the commodity-form is not, presently, use-value, and even if it is not actually present, it affects in advance the use-value of the wooden table. It affects and bereaves it in advance, like the ghost it will become, but this is precisely where haunting begins. And its time, and the untimeliness of its present, of its being ‘out of joint’. To haunt does not mean to be present, and it is necessary to introduce haunting into the very construction of a concept. Of every concept, beginning with the concepts of being and time. That is what we would be calling here a hauntology. Ontology opposes it only in a movement of exorcism. Ontology is a conjuration” (Derrida, p. 202)

2024

ZOMBIE: Somnambulists, Body Snatchers, Elixir Bearers, Wizards, Hypnotists, Poltergeists, Demon Masters, and Witch Covens all inhabit the shadowed realms of sugar, rubber, and cotton plantations, hidden deep within the ghettos of every outpost in the vast, dark expanse of the Imperial world. “But if the commodity-form is not, presently, use-value, and even if it is not actually present, it affects in advance the use-value of the wooden table. It affects and bereaves it in advance, like the ghost it will become, but this is precisely where haunting begins. And its time, and the untimeliness of its present, of its being ‘out of joint’. To haunt does not mean to be present, and it is necessary to introduce haunting into the very construction of a concept. Of every concept, beginning with the concepts of being and time. That is what we would be calling here a hauntology. Ontology opposes it only in a movement of exorcism. Ontology is a conjuration” (Derrida, p. 202) More info
Triadic Ballet

Triadic Ballet

2021

Triadic Ballet More info
Cassandra Editions 1-15

Cassandra Editions 1-15

2020

Cassandra Editions 1-15 More info
Reader on Performativity

Reader on Performativity

2019

Reader on Performativity More info
Reader on Medea

Reader on Medea

2019

Reader on Medea More info
Reader on Double Consciousness, Then and Now

Reader on Double Consciousness, Then and Now

2019

Reader on Double Consciousness, Then and Now More info
Reader on Cannibalism, Blackface, and Minstrelsy

Reader on Cannibalism, Blackface, and Minstrelsy

2019

Reader on Cannibalism, Blackface, and Minstrelsy More info
Re: Black Twitter

Re: Black Twitter

2019

Re: Black Twitter More info
Modernity is not merely a compromise between novel forms of commercially driven social organization and this archaic cultural pattern of patrilineal exogamy, but more fundamentally, a deepening of the compromise already integral to any exogamy that is able to remain patrilineal

Modernity is not merely a compromise between novel forms of commercially driven social organization and this archaic cultural pattern of patrilineal exogamy, but more fundamentally, a deepening of the compromise already integral to any exogamy that is able to remain patrilineal

2019

Modernity is not merely a compromise between novel forms of commercially driven social organization and this archaic cultural pattern of patrilineal exogamy, but more fundamentally, a deepening of the compromise already integral to any exogamy that is able to remain patrilineal More info
Reader On The White Savior

Reader On The White Savior

2018

Reader On The White Savior More info

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