Location: Berkeley, CA
Medium: Sculpture, installation
Website: brodyreiman.com
Brody Reiman was born in 1970 and lives and works in Berkeley, California, where she has been an Associate Professor of Sculpture at UC Berkeley since 2007. She received her BFA from Carnegie Mellon University in 1992 and her MFA from the University of California, Davis in 1994. For more than thirty years she worked as the collaborative entity castaneda/reiman with Charlie Castaneda — who also received her BFA from Carnegie Mellon (1992) and MFA from UC Davis (1994) and with whom she has lived since school. The two also ran a dog-walking business called Two Girls Walk Dogs and worked in construction together, experiences that fed directly into their sculptural practice.
castaneda/reiman’s work has been included in exhibitions at SFMOMA, the Berkeley Art Museum and Pacific Film Archive, the Oakland Museum of California, and the Seoul Museum of Contemporary Art. The collaborative received the Fleishhacker Foundation Eureka Fellowship, the Artadia Grant, and residencies at the Headlands Center for the Arts and Montalvo Arts Center. Solo exhibitions were held at DCKT Contemporary in New York, John Berggruen Gallery in San Francisco, Yerba Buena Center for the Arts, Baer Ridgway Exhibitions, and Stephen Wirtz Gallery. One of their works is in the permanent collection of SFMOMA.
Reiman’s solo practice works in sculpture and installation, continuing the preoccupations of castaneda/reiman while extending them into new territory. Her practice is an art of dis- and re-orientation, in which object and place are compositionally and materially confused and confusing. For three decades, she and Castaneda explored architecture as a psychic and tactile experience, building landscapes from construction materials — cement, plywood, drywall, insulation, two-by-fours — that suggest fragments of domestic space without ever resolving into legible interiors. Their structures referenced both natural landforms and residential dwellings, built at scales that suggested inhabitation without permitting it. Canine lawn ornaments, deployed as symbols of loyalty and protection, were a recurring motif. The work addressed issues of gender, domestic space, and the materials of construction labor that are culturally coded as masculine.
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