In Conversation: Artist Candice Lin and art historians Diane Ahn and Carrie Lambert-Beatty

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Join us at 7:00 pm EST for a conversation with exhibiting artist, Candice Lin, with MIT Ph.D. student Diane Ahn and Harvard AFVS Faculty Carrie Lambert-Beatty. 

Diane Ahn is currently a Ph.D. student in History, Theory, and Criticism of Art at the Massachusetts Institute of Technology (MIT). Her research is centered on modern and contemporary Asian and diasporic Asian art. Her writings can be found in publications such as Art in America and artforum.com.cn.

Candice Lin is an interdisciplinary artist who works with installation, drawing, video, and living materials and processes such as mold, mushrooms, bacteria, fermentation, and stains. She addresses themes of race, gender, and sexuality in relationship to material histories of colonialism, slavery, and diaspora. Lin has had recent solo exhibitions at the Pitzer Galleries, Claremont, CA; Walter Phillips Gallery at the Banff Centre, Alberta, Canada; Ludlow 38, New York; François Ghebaly, Los Angeles; the Reva and David Logan Center for the Arts, Chicago; Portikus, Frankfurt; Bétonsalon, Paris; and Gasworks, London; as well as group exhibitions and biennials at the ICA, London (2019); Para Site, Hong Kong (2019); Beirut Art Center (2019); the Taipei Fine Arts Museum (2018); Hammer Museum, Los Angeles (2018); Moderna Museet, Stockholm (2017); the New Museum, New York (2017); and SculptureCenter, New York (2017). She is the recipient of several residencies, grants, and fellowships, including a Painters & Writers Grant from the Joan Mitchell Foundation (2019), the Davidoff Art Residency (2018), the Louis Comfort Tiffany Award (2017), a Delfina Foundation residency (2014), a Fine Arts Work Center residency (2012), and a Smithsonian Artist Research Fellowship (2009). She is Assistant Professor of Art at UCLA and lives and works in Los Angeles.

Carrie Lambert-Beatty is a contemporary art historian. She is the author of the award-winning book Being Watched: Yvonne Rainer and the 1960s (MIT Press, 2008) and the essay "Make Believe: Parafiction and Plausibility," among other writings. Her current research is on thirty years of fiction presented as fact—parafiction-- in contemporary art, asking: What happens when art works deceive their audiences? What do the experiences artists' trickery teach about contemporary ways of knowing? How can contemporary art help in developing a progressive epistemic set -- one able to counter the culture of post-truth and to resist an epistemic "return to order”?

Lambert-Beatty holds a joint appointment in the Department of History of Art and Architecture and the Department of Art, Film, and Visual Studies. She teaches classes on topics such as political art from the 1960s to the present, the aesthetics of deception, and the changing meaning of "contemporary art." Her teaching stresses attention to the modes of spectatorship invited by artists' formal and technical choices, and to how these forms of experience relate to new media ecologies, the social effects of neoliberalism, ongoing post-colonial reckonings, and the structural politics of gender and race.