Karen Finley, ‘Psychic Portrait (Ted Kennedy)’, 2015, Coagula Curatorial

From the artist's 2015 solo show "Love Field", where the artist had been studying the traumatic images surrounding the assassination of President John F. Kennedy. She presents reworkings of common and uncommon images associated with the tumultuous events and personalities surrounding November 22, 1963.

LOVE FIELD refers to the Dallas Airport that Jackie and Jack Kennedy landed at on November 22, 1963.

Representing the visualization of selective memory - a way of remembering and forgetting - Finley created this series of ink "Psychic Portraits", as studies that abstract and fragment gestures, body parts and clothing that seem to disappear and haunt.

Image rights: Karen Finley / Coagula Curatorial

"Love Field", Solo Exhibit, Coagula Curatorial, 11/21/15-1/3/16

About Karen Finley

Since the 1970s, fearless conceptual artist Karen Finley has been foregrounding taboo issues surrounding sexuality, violence, celebrity, and the positioning of women in society in her no-holds-barred work. Known primarily for her searing performances, she also works in a range of other media, including music, writing, painting, and installation, choosing the method best suited to her ideas. Among the most famous of her many career-defining moments was her involvement in a lawsuit against the NEA, whose “decency clause” was invoked to cut funding of her work in 1990. Her projects, from subversively raunchy punk music rants to a public exploration that paired “sexting” with art consumption, provoke controversy and dialogue. For Finley, that means she is doing her job right: “I think that what the artist does is to subvert a thinking, to offer a different perspective,” she says.

American, b. 1956, Chicago, Illinois

Solo Shows

Group Shows

New York,
"THE DECLINE AND FALL OF THE ART WORLD, PART I: THE ONE-PERCENTERS" featuring Alex Gingrow, Karen Finley, Loren Munk, Michael Scoggins, William Powhida & Jade Townsend