Kendell Carter

Art & Cake LA: Review of Marvel

April 8, 2017 - Amy Kaeser

Now through May 6th Kendell Carter’s solo show, Marvel is at Edward Cella Art & Architecture on La Cienega Boulevard, Los Angeles. An innovative set of site-specific installations, or “environments” as Carter prefers to call them; Marvel attempts to present meditations on race, gender, material culture, and shared history. As an artists who’s practice has continually transected the divide between art and life, Carter’s latest show casts its net far and wide to critique contemporary issues and policies: the police shootings of Keith Lamont Scott and North Carolina’s abject neglect of its LBGTQ communities, to representations of the South’s notorious “Jim Crow” laws of the 1950s. Carter’s willingness to confront and renegotiate the meaning of objects and attitudes of our highly charged socio-political moment is indicative of an artistic practice that is aware of the impact of visual culture.


St. Louis Magazine: Kendell Carter

April 1, 2017 - Chelsie Hollis

"Transparency Shade: Seeing Through the Shadow," examines postcolonial identity at projects+gallery

Next week, St. Louis will have the chance to view new work from contemporary artists hailing from Antwerp, England, California, Johannesburg, Frankfurt, New York—and St. Louis. Curated by Senegal-born, Portland-based multi-disciplinary artist Modou Dieng, Transparency Shade: Seeing Through the Shadow is a group exhibition of 2- and 3-D artworks opening at projects+gallery in the Central West End on April 7. The show will feature work by Philip Aguirre y Otegui, Zoe Buckman, Kendell Carter, Ayana Jackson, Michael Riedel, and Hank Willis Thomas. St. Louis is represented by Kahlil Irving, who is currently best-known for his sculptural vessels, but who produces work in multiple mediums, including printmaking. Transparency Shade's theme is the complex system of signs and symbols that arise around race, gender, and self-concept, and how they continue to develop in new trans-cultural and hybrid forms. The artists are working in wide spectrum of media, including photography, printmaking, sculpture, and ceramics; pop culture is an inspiration for several of them, and many tend to mix, match, and hybridize forms. "We have about 25 pieces in this show—and of course few of them comprised of multiple objects in an installation form," Dieng says.


Interview: Cultured Magazine

January 1, 2015 - Tali Jaffe

Cultured's Executive Editor Tali Jaffe sits down with artist Kendell Carter. 

Download Article (PDF)

Review: TimeOut Chicago

June 14, 2011

Kendell Carter: Liberation Summer at Monique Meloche Gallery
May 21 - July 30, 2011

 "The materials that the Southern California artist chooses for his abstract works are so charged, however, that identity remains at the forefront of “Liberation Summer,” even as the show flouts expectations that black artists will interpret black history. The “drips” in works such as Drip and Stroke (pictured, 2010) are actually fat, colorful shoelaces. These and other clothes and accessories, such as Enyce shirts and big gold chains, root Carter’s mixed-media assemblages in hip-hop’s visual culture."

Download Article (PDF)

Review: Los Angeles Times

April 24, 2009 - Holly Myers

Special installation: Changing Room at Sandroni Rey, Los Angeles CA

"It is a clever commentary on the widespread cultural and commercial co-opting of street fashion, particularly given that the mirrors are all slightly askew, fracturing the reflection of the body into pieces and making it impossible to achieve a coherent view."

Download Article (PDF)

Interview: Saatchi Art

April 9, 2008 - Sarah Pearl

Kendell Carter: Common Ground at Monique Meloche Gallery
March 14 - April 19, 2008

On a normal day, passers-by can peek into the ground floor windows of Monique Meloche Gallery and find a sparse, modest-sized space with a zealous sampling of contemporary art’s most rapidly emerging names. Yet on this particular afternoon in Chicago, as Kendell Carter attended to last minute touch ups before his opening, the front room of the gallery experienced a spirited transformation. Against a backdrop of prim English wainscoting and crisp white walls broken by black stripes, Carter’s exhibit, entitled Common Ground, delivers multiple paths of social and historical inquiry. Citing Robert Irwin’s ideas as a potent stimulus for his direction as an artist, Carter weaves his personal sensibilities in and around these theories until brilliant colors and contexts explode and bleed together. A re-appropriation of urban material culture is central. Design and decoration merge as cultural yearnings enforce themselves through a skillfully fabricated environment.

Download Article (PDF)