Friend Group Artists
Zakariya Abdul-Qadir, Shannon Blanton, Hilary Doyle, Heather Drayzen, Andy Harris, Amanda Hunter, Ray Hwang, Natalie Lanese, Jebediah Long, Sophie Najjar, Taya Naumovich, Denise Reichenbach, Dena Robertson, Jennifer Tazewell Mawby, Xingyun Wang.
Curatorial Statement
Historically, artistic communities have thrived on the exchange of ideas and collaborative efforts. From the salons of Enlightenment Europe to the avant-garde collectives of the 20th century, artists have sought like-minded individuals to share their creative journeys. The contemporary digital landscape amplifies this phenomenon, allowing artists to instantly connect, collaborate, and influence each other across global distances.
The term “friend group” originates from the casual vernacular of social interactions, denoting a cluster of individuals connected by mutual interests and shared experiences. In recent years, the concept has evolved significantly, particularly within digital culture. Online platforms have facilitated the formation of friend groups that transcend traditional geographic and social boundaries, enabling the creation of communities based on shared affinities rather than mere physical proximity.
The significance of community and mutual influence in the creative process cannot be overstated. According to social theorists like Pierre Bourdieu, artistic production is deeply embedded in social contexts where cultural capital and social networks play crucial roles (Bourdieu, 1984). Howard Becker’s concept of “art worlds” further emphasizes that art is a collective activity involving numerous contributors beyond the individual artist (Becker, 1982). These theories highlight how collaborative environments and shared cultural practices enhance creativity, fostering innovation through the dynamic interplay of ideas and influences within a community.
“Friend Group” encapsulates this contemporary reality by bringing together artists who may be separated by vast physical distances but are united through their shared commitment to artistic exploration. The works on paper exchanged in this exhibition serve as tangible representations of these virtual interactions, embodying the dialogue and mutual inspiration that define these modern friend groups. Despite geographical and temporal separations, the exhibition highlights how digital connectivity enables continuous and dynamic exchanges, reflecting the evolving nature of artistic collaboration in the digital age.
References:
Becker, H. S. (1982). Art Worlds. University of California Press.
Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste. Harvard University Press.
Socials:
@zakariyaa.qadir @studio.shannon.blanton @hilaryldoyle @andy.andy.harris @a_rose_hunter @rayhwangart @natalielanese @jebediah_long @sophnajjar @tayanaumovich @denise__reichenbach @denarobertson_ @jenniferjeanmawby @xingyun_wang_art