E.V. Day

E.V. Day
Born (1967-12-09) December 9, 1967
New York
Nationality American
Alma mater Yale School of Art, Hampshire College
Website Official website

E.V. Day (born 1967, New York) is a New York-based installation artist and sculptor. Day’s work explores themes of feminism and sexuality, while employing various suspension techniques and reflecting upon popular culture.[1]

Education

Day received her MFA in Sculpture from Yale School of Art in 1995, and began her “Exploding Couture” series in 1999—the first installment of which, “Bombshell,” was included in the 2000 Whitney Biennial and is now in the museum’s permanent collection.

Exhibitions

For “G-Force,” her 2001 solo exhibition at the Whitney Museum at Altria, Day suspended hundreds of resin-coated pairs of thong underwear from the ceiling in fighter-jet formations.[2] In 2004, the Herbert F. Johnson Museum of Art at Cornell University mounted a ten-year survey of her work.[3] In 2006, Day exhibited “Bride Fight”, a site-specific installation of two bridal gowns in mid-explosion, in the lobby of the Lever House on Park Avenue.[4] That same year, the Santa Barbara Contemporary Arts Forum exhibited “Intergalactic Installations”, a solo exhibit of 3-D drawings in black light.[5] In 2008, she was commissioned by the Whitney Museum to create “Bondage/Bandage” from a bandage dress by Hervé Léger.[6] In 2009, she was commissioned by New York City Opera to create “Divas Ascending” at Lincoln Center from their vast wardrobe archival.[7] In 2010, she was awarded the Versailles Foundation Munn Artists Program residency at Claude Monet’s Garden in Giverny, France resulting in “Seducers,” high-resolution scans of the reproductive organs of flowers[8] and “Giverny,” digital prints of performance artist Kembra Pfahler in character in Monet’s Garden.[9] In 2011, she was invited to the International Artist-In-Residence Program at Artpace, the Linda Pace Foundation in San Antonio, Texas where she began work on “CatFight,” two saber-toothed cat skeletons engaged in battle that became part of her solo exhibition “Semi Feral” at Mary Boone Gallery.[10] In 2013, she was invited to create a site specific installation and exhibition on Philip Johnson’s Glass House Estate, resulting in “SNAP!,” red rope nets capturing and securing the iconic “Da Monsta” building to the ground.[11]

Collections

E.V. Day is in numerous permanent collections including

References

  1. ↑ Spalding, Jill. "E.V. Day Interview". www.studiointernational.com. Studio International. Retrieved November 12, 2014.
  2. ↑ Glueck, Grace. "ART IN REVIEW; E. V. Day -- 'G-Force'". www.nytimes.com. The New York Times. Retrieved December 7, 2001.
  3. ↑ Inselmann, Andrea. "E.V. Day". http://museum.cornell.edu. Cornell University. Retrieved October 23, 2004. External link in |website= (help)
  4. ↑ Marshall, Richard D. "E. V. DAY, BRIDE FIGHT". http://leverhouseartcollection.com. Lever House Art Collection. Retrieved May 5, 2006. External link in |website= (help)
  5. ↑ Woodard, Josef. "where art meets the streets". www.independent.com. Santa Barbara Independent. Retrieved March 23, 2006.
  6. ↑ Wilson, Eric. "A Wrap Dress Unwinds". www.nytimes.com. The New York Times. Retrieved May 29, 2008.
  7. ↑ Kennedy, Randy. "For City Opera Costumes, Lofty New Roles". www.nytimes.com. The New York Times. Retrieved October 20, 2009.
  8. ↑ Biondi, Elisabeth. "E. V. Day’s Seducers". www.newyorker.com. The New Yorker. Retrieved March 3, 2011.
  9. ↑ Johnson, Ken. "‘Giverny’: E. V. Day and Kembra Pfahler". www.nytimes.com. The New York Times. Retrieved April 5, 2012.
  10. ↑ Herriman, Kat. "Claws Out". www.wmagazine.com. W Magazine. Retrieved September 5, 2014.
  11. ↑ Woods, Tyler. "New Canaan art installation to ensnare Da Monsta". www.newcanaannewsonline.com. New Canaan News. Retrieved May 3, 2013.
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