Sanford Biggers, ‘Afropick’, 2005, Goya Contemporary/Goya-Girl Press

Edition of 30

Signature: Signature on lower right

Publisher: Goya Girl Press, Baltimore MD

About Sanford Biggers

If there is a word that describes the vibrant, interdisciplinary practice of the critically acclaimed artist Sanford Biggers, it would be one he provides himself: “consilience.” This notion of the convergence of disparate strands of knowledge into a deeper, multivalent whole encapsulates the installations, sculptures, drawings, performances, videos, and music through which he complicates everything from Buddhism to African and African-American identity to art history. Responding to such movements as Post-Minimalism and Dada, and to his own experiences as an African-American and frequent expat, he challenges viewers with unlikely connections in his challenging, seductive work. Claiming that, “intent can define or shape the content,” he presents the tree, for example, as a symbol of earthly connectedness, as well as the site of Buddha’s enlightenment, and of lynching. By fusing these contradictions, Biggers shatters binary assumptions, offering viewers a more complex, and truer, picture of the world.

American, b. 1970, Los Angeles, California, based in New York, New York

Solo Shows on Artsy

Sanford Biggers, New Britain Museum of American Art, New Britain, CT, United States
Subjective Cosmology, Museum of Contemporary Art Detroit, Detroit, MI, United States

Group Shows on Artsy

In Context: Africans in America, Goodman Gallery, Johannesburg
Fresh Cuts, Eric Firestone Gallery, East Hampton
All Tomorrow's Parties, HATHAWAY | Contemporary Gallery, Atlanta
She Sells Seashells By The Seashore, Eric Firestone Gallery, East Hampton
Joyce J. Scott: Can't We All Just Get Along?, Goya Contemporary/Goya-Girl Press, Baltimore
Intrinsic Trio: Joyce J. Scott, Sam Gilliam, Sanford Biggers, Goya Contemporary/Goya-Girl Press, Baltimore, MD, United States