Yael Kanarek

Terrain7a_5: Bits

The Hole of the Lost Treasure

Bowling

Fluffy Floppy Disks

Coming Soon

Like Me Like Me Like Me

TCC

Touch Bubble

Come Closer Bubble

Like Me Bubble

I Breath Bubble

You Bubble

Lick Me Bubble

Intuit

Candy Poop

Never Say Never

Kisses Kisses

SingSing

Concrete

Ready

Kisses

Do You See?

Ear Pop

7th St & Ave A

Speaker Tree

World of Awe: A Traveler’s Journal, Chapter 1: Forever

World of Awe: A Traveler’s Journal, Chapter 2: Destruction & Mending

Imagine Horizon

Jungle: Lopate vs. Bresnick

Rainbow, toward a New Balance (Made in the USA)

Perpetual Dream Catcher

Deeply Concentric

Sanctify Thyself, No. 1

White between “The Green Blouse” and sneakers, #1

Wavelength Range of Roughly 630–740 nm, No. 7

Explosion 1960

Swing

Fall Collection: Keys, Dice, Pearls

Nude, No. 1 (My Albers)

Object of Desire Control Chair

Sunspot

Not Yet, No. 2

Love Letter

Clock: Jerusalem to Tel Aviv

White, No. 2

Orange, for Malevich

Melancholia

My Mondrian: Composition C (No. III) with Red, Yellow and Blue

My Mondrian: Composition II in Red, Blue, and Yellow

Cut

Horizon

Kiss

Untitled (L’Origine)

Lemon

Safe (Prutza)

Object of Desire

Copy: Potentially Endless A

Copy: Potentially Endless B

Undo

Object of Desire

Pause

Ready

Heart in Heart

Text Object:Software327-25.txt

Feedback-Loop

Yael Kanarek, Skin_Lock

Socks

Yael Kanarek, Attached

Skinning

Yael Kanarek, Sleep Mode

Terrain 9_3b_2, 2002 From the series 48 Nowheres

Terrain 9_3a_6

Terrain 9_3a_7

Terrain 9_3a_3

Nowhere (Terrain 7_6)

World of Awe 1

b. 1967, United States; raised in Israel
Lives and works in New York City

Yael Kanarek’s creative practice centers on the fundamental hypothesis that language and numerals render reality, and that this reality is an entirely subjective unified field. Through the shuffling of physical properties that construct our use of language (matter, shape, sound), Kanarek’s work examines how verbal signifiers operate emotionally.

Employing modes of authorship such as storytelling, multilingualism, Kanarek manipulates the biographical predisposition of cultural associations. As an Israeli-American, Kanarek’s perception is tempered with an awareness of post-national borderlines. Her work enters spaces of meaning determined by a global network and the negotiation of identity that occurs when confronted with multiple systems. Crossing these sensibilities with her observation of the Internet as a network made of language – natural and computer – her most recent projects highlight connection and rejection.

Selected for the 2002 Whitney Biennial, exhibitions of Kanarek’s work also include The Drawing Center, New York; Beral Madra Contemporary Art, Istanbul; National Museum of Contemporary Art, Athens; CU Museum, Boulder; Cantor Arts Center, Stanford University; The Jewish Museum, New York; Exit Art; The Kitchen; American Museum of the Moving Image, New York; LIMN Gallery, San Francisco; Holster Projects, London; Wood Street Galleries, Pittsburgh; bitforms gallery, New York; Nelly Aman, Tel Aviv; Boston CyberArts Festival; HVCCA, Peekskill; Arena 1, Santa Monica; California College of the Arts, San Francisco; Orsini Palace, Bomarzo; and Sala Uno Gallery, Rome. Kanarek’s work has also been shown in New York at Kenny Schachter Contemporary, Silverstein Gallery, Ronald Feldman Gallery, Derek Eller Gallery, A.I.R Gallery, 303 Gallery, and Schroeder Romero Gallery.

In addition to a Rockefeller New Media Fellowship and an Eyebeam Honorary Fellowship, Kanarek is the recipient of grants from the Jerome Foundation Media Arts and New York Foundation for the Arts; commissions from the San Francisco Museum of Modern Art, Turbulence.org, and The Alternative Museum; Kanarek’s distinctions also include a Harvestworks residency. In 1999, she founded Upgrade! International. She holds an MFA from Rensselaer Polytechnic Institute.

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