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Collage of five diverse artworks from the Hammer Museum Collections side by side. From left to right: 1) Contemporary painting of two embracing figures with surreal elements. 2) Post-impressionist style painting of trees with vibrant blues and greens. 3) Black and white illustration of a face with intricate patterns. 4) Japanese woodblock print style image of a figure in a checkered robe. 5) Photograph of a couple dancing, the woman in a black dress and the man in white

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A sculpture with an combination of an upright steel folding chair encased within a tower of five tires cut in half. A butter yellow ceramic shirt is draped over the folded steel chair.

Ann Greene Kelly

Back to Made in L.A. 2020: a version

Ann Greene Kelly’s objects and drawings consider the relationship between the human body and its surrounding architecture. Her assemblage sculptures meld vernacular materials and everyday objects (often furniture), making them uncanny and nonfunctional. She builds distance into how we recognize domestic objects—chairs, mattresses, or pieces of clothing—by rendering them in plaster or stone and shifting their scale. Kelly orchestrates a delicate estrangement between sculpture and the objects it quotes. Her drawings are diaristic and similarly fantastical, serving as narrative continuations of the sculptures.

Kelly is presenting a group of sculptures in which details—a grid, a road line, etched stitching—are embedded, proposing a shift in scale as well as the possibility of smaller universes inset within larger entities.

In Made in LA 2020: a version, the artist’s work is present in two institutions, across Los Angeles. See Ann Greene Kelly's work on view at The Huntington.

BIOGRAPHY

Ann Greene Kelly was born in 1988 in New York City. She received a BA from the Maryland Institute College of Art in Baltimore. Her work comprises objects and drawings, both invested in the relationship of human bodies to their surrounding architecture. Her sculptures are melded assemblages of vernacular materials and everyday objects (often furniture) that create uncanny, nonfunctional, and narrative compilations. She builds distance into how we recognize domestic objects—for example, chairs, mattresses, or pieces of clothing—by rendering them in plaster or stone. In this way she orchestrates a delicate estrangement between the sculptures and the objects they quote. Details such as a grid or a road are sometimes carved and painted inside the works, proposing a shift in scale as well as the possibility of other smaller universes inset within the larger sculptures. Her drawings are diaristic and similarly fantastical, serving as narrative continuations of the sculptures. In 2019 Kelly showed a new body of work at Michael Benevento Gallery in Los Angeles as well as at Chapter in New York. In early 2020 she presented a project room at the Institute of Contemporary Art, Los Angeles, in conjunction with the traveling Ree Morton retrospective.

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