WILMER WILSON IV
TAR B
2018, staples and pigment print on wood, 96 x 48 x 1.5 inches.
WILMER WILSON IV
TAR B (detail)
2018, staples and pigment print on wood, 96 x 48 x 1.5 inches.
WILMER WILSON IV
Left for Dead
2016, mixed media on wood, 72 x 48 x 1.5 inches.
WILMER WILSON IV
Left for Dead (detail)
2016, mixed media on wood, 72 x 48 x 1.5 inches.
WILMER WILSON IV
works from staple series, Installation view: New Museum Triennial 2018
staples and pigment print on wood, 96 x 48 x 1.5 inches
WILMER WILSON IV
2017, salt blocks, aluminum, wood, 8 x 20 x 6.25 feet (96.5 x 236 x 75 inches, 245 x 600 x 190 cm). Installation view: Fire Bill's Spook Kit, In Flanders Fields Museum, Ieper, Belgium.
WILMER WILSON IV
Study for Measures Not Men
2017, pigment print, 18 x 24 inches, ed. 7.
WILMER WILSON IV
Priestess Faust Walk
2015. Performance: Boston Museum of Fine Arts, Boston, MA.
WILMER WILSON IV
Study for Priestess Faust Walk (Rome, Italy)
2014, silver gelatin print, 11 x 14 inches, ed: 7.
WILMER WILSON IV
Boston Fabric
2015/2017, lottery tickets, safety pins, dimensions variable.
WILMER WILSON IV
West Philadelphia Fabric
2016, lottery tickets, pins, dimensions variable.
WILMER WILSON IV
a long pane beat in
2017, cords, cellphones, CRT televisions with X-ray photograph, dimensions variable. Installation view: The Barnes Foundation.
WILMER WILSON IV
Portrait with Hydrogen Peroxide Strips
2016, inkjet on paper, 15 x 12 inches, ed: 3.
Performance: National Portrait Gallery, Washington, DC, 2016.
WILMER WILSON IV
From My Paper Bag Colored Heart
2012. Performance: Conner Contemporary Art.
Wilmer Wilson IV
Untitled (Back, Front, Shoulder) - Triptych
2012-14, archival pigment print, 45 x 29 inches each, ed: 7 + 2AP.
WILMER WILSON IV
Untitled (Back)
2012-2014, pigment print, 45 x 29 inches, ed: 7 + 2AP.
WILMER WILSON IV
Untitled (Front)
2012-2014, pigment print, 45 x 29 inches, ed: 7 + 2AP.
WILMER WILSON IV
Untitled (Shoulder)
2012-2014, pigment print, 45 x 29 inches, ed: 7 + 2AP.
WILMER WILSON IV
Faust in the City
2013, performance artifacts. Installation view: CONNERSMITH.
WILMER WILSON IV
Faustian Ladders (#2)
2013, archival pigment print, 30 x 20 inches, ed: 7.
WILMER WILSON IV
Faustian Ladders (#1)
2013, archival pigment print, 30 x 20 inches, ed: 7.
WILMER WILSON IV
Black Mask
2012, single-channel video, run time: 5:56, ed: 5.
Click image to view video.
WILMER WILSON IV
Self Portrait as a Model Citizen
2012, archival pigment print, 45 x 30 inches, ed: 5.
WILMER WILSON
Shed Skin (I voted)
2012, paper, adhesive, DNA, dimensions variable.
WILMER WILSON IV
Henry Box Brown: Heads (1¢, 2¢, 5¢) - Triptych
2012, archival pigment prints, 23 x 15 inches each, ed: 5.
WILMER WILSON
Shed Skin (1¢/2¢/5¢)
2012, postage stamps (paper, adhesive), DNA, dimensions variable.
WILMER WILSON IV
Henry Box Brown: FOREVER Day 3: Congress
2012, archival pigment print, 16 x 20 inches, ed: 7.
WILMER WILSON
Shed Skin (FOREVER), day 3
2012, postage stamps (paper, adhesive), DNA, dimensions variable.
WILMER WILSON IV
Authentic (Head)
2012, archival pigment print, 15 x 15 inches, unique.
WILMER WILSON
Shed Skin (Authentic/DC Notary)
2012, foil, adhesive, DNA, dimensions variable.
Wilmer Wilson IV (b. 1989, Richmond, VA) is critically recognized for performative investigations into the marginalization of, and the care for, Black bodies in everyday social relation.
He is the recipient of The Pew Center for Arts & Heritage Fellowship and The American Academy in Rome Fellowship. Wilson’s work has been presented at The New Museum, New York, NY; Museum of Fine Arts Boston, Boston, MA; Barnes Foundation, Philadelphia, PA; Crystal Bridges Museum of American Art, Bentonville, AR; American University Museum, Washington, DC; Birmingham Museum of Art, Birmingham, AL; National Portrait Gallery, Washington, DC; In Flanders Fields Museum, Ieper, Belgium among others.
For full CV, please contact gallery.
by Jacoba Urist
by Sarah Tanguy
Published by the International Sculpture Center
By Holland Cotter
"Wilmer Wilson IV appropriates objects common to his socio-economic experience, manipulating their original intention to absurd degrees."
For article PDF, contact gallery.
