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LIE DOGGO: The School | Jack Shainman Gallery ,

May 18 - Nov 16, 2024

LIE DOGGO: The School | Jack Shainman Gallery

Past exhibition
  • Installation Shots
  • Press release
  • Works
  • Press
  • Installation Shots
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  • Press Release Text

    LIE DOGGO is a monumental exhibition of work by Nina Chanel Abney that spans her creative practice, uniting a new series of paintings with collages, site-specific murals, an immersive digital art installation, and the debut of a new body of large scale sculpture. Paying homage to the sophisticated color theories of Matisse, continuing the legacy of cubists, Picasso and Léger, and connecting with the synesthetic sensibilities of Harlem Renaissance greats, Douglas and Lawrence, Abney brings these historical movements into contemporary pertinence. Abney’s groundbreaking influence has been the center of scholarly praise by art historian Richard J Powell. In a recent lecture, Blackbeats: Cubism Reimagined at the Metropolitan Museum of Art, he notes her creative ingenuity:

    Abney’s dramatic patterns, geometric configurations, serrated fragments, and compositional convergences and disassemblings reimagine an art object’s geodesic position both to the viewer and within the canon. She proposes a reimagined Cubism where color, form, and rhythm function counterintuitively as a presence, an accentuation, and evidence of the painting’s internal pulse. 

    The exhibition’s title, LIE DOGGO, a phrase meaningto remain inconspicuously in wait, suggests a strategic invisibility and biding one’s time, reflecting on when to observe from the shadows and when best to act. In this body of work, Abney challenges the viewer to explore the vast expanse that lies between what is said and what remains silent, eliciting self-assessment and a call to action. Abney’s visually layered and complex works explore the nuanced interplay between the explicit and the inferred, probing the tacit forces that shape global dynamics, such the impacts of global imperialism, narratives of settler-colonialism, implicit biases, and systemic inequalities. Powell sees this as, “the subtext of institutional/ personal regimes of confinement [that] assume a great scrutiny in Abney’s works, especially through the painterly apparatuses of acrylic pigments and arresting colors. Abney rethinks pictorialism, weighing the value of universal signs and imaging systems and probing art’s contested identities, resulting in an artistic catalyst that usurps expectations of a caucasian benchmark.”Scrutinizing the ways in which identities and experiences are shaped by the subtleties of social cues, historical contexts, and the unspoken rules governing racial discourse, Abney highlights the intersectionality of global crises, the various forms of resilience against them, and subsequent suppression of these movements.

    The lengthy walls of Abney’s robust immersive mural lay the energetic groundwork for the exhibition, leading to a new series of painted aluminum sculptures that expand the artist’s visual language with cultural signals and gestures used to communicate identity and solidarity. We turn a corner to be confronted with an American flag-patterned durag; on a serving platter we see missiles that morph into a voluptuous female form; patterns of repetition invoke the commodification of identities, bodies, and violence, and in turn, the reduction of individuals to stereotypes. Through the use of repetition, Abney questions how unspoken rules and agreements influence social cohesion and control. Building on the idea of lying in wait, these works also examine resilience and strategic resistance within communities that are often marginalized or silenced. What are the subtle, everyday acts of defiance and less visible forms of protest and solidarity that are crucial to survival and change? With these works, Abney provokes the viewer to decode messages and confront their own personal interpretations. 

    Depicting spaces of passage and commune, the acrylic on canvas paintings highlight how locations emblematic of everyday life are imbued with complex, often unarticulated social interactions. Abney re-examines the familiar and considers the social contracts, power relations, and human emotions that animate these spaces. She is interested in the often gridded architecture behind these environments and how a collective whole of individuals is meant to be confined within a specific space.  Powell continues, “Abney’s works jolt viewers’ internal sense of equilibrium towards agitation, excitement, and ultimately an inner jouissance - a suspended disbelief in equanimity.”The concept of environment as grid carries over to the printed collages on panel. These settings serve as a backdrop for exploring the world systems put in place to maintain order, while delving into the nuances of public and private life, the dynamics of power and surveillance, and the subtleties of human interaction and behavior.

    Concluding the exhibition is an interactive digital art installation, the culmination of Abney’s Artist-in-Residence with CryptoPunks, which signals the artists appellation of futurity. Her digital worldview reflects on virtual versus real world identities via a reimagining of CryptoPunks’ iconic digital collection - positing that perhaps the Western world’s so-called conflict resolution lies in an escapism of the difficult horrors of reality. In direct confrontation of the pricing differences evident between CryptoPunks’ digital avatars based on gender and skin tone (in which white, male avatars tend to generate a higher retail than their darker skinned or female counterparts), Abney has created hybridized figures that fuse racial components and blur the lines between masculine and feminine. Through these amalgamations of external signifiers, Abney challenges the notion of an inherent societal “value.” While enabling visitors to create their own virtual avatars, Abney shines a lens on a tendency to stay hidden, to remain silent, and to avoid confrontation and uncomfortable truths. This extends Abney’s commentary on the connections between surveillance culture, deliberate concealment, and the opaque self-fashioning prevalent in digital spaces and in-person interactions. Navigating the tension between speaking out and strategic silence in an era marked by online portrayals, cancel culture, and the contentious debate over free speech, Abney probes the boundaries of prevailing narratives and a fear of being ostracized, questioning the impact of these pressures on creativity and free thought.

    LIE DOGGO underscores the role of art as both a veil and a window, camouflaging certain truths while revealing others. Navigating the liminal spaces between invisibility and visibility, expression and restraint, Abney engages viewers in a dialogue that extends beyond what’s immediately apparent by creating a visual space where the aesthetics of stealth, the strategies of survival, and the politics of conspicuousness converge. Through this lens, the exhibition invites viewers to ponder the unseen forces and unarticulated agreements that influence everyday life and societal structures, highlighting how much of our world is shaped by what remains unsaid or deliberately obscured. Strength, resilience, and deep rootedness echo throughout the exhibition. Abney’s robust assortment of works stokes us to endure, despite systemic adversities, and to bear witness to history, standing firm against forces that seek to topple narratives of resistance.

  • Works
    • Picnic at Butler, 2024 Acrylic on canvas 60 x 60"
      Picnic at Butler, 2024
      Acrylic on canvas
      60 x 60"
    • Flint Fuel, 2024 Acrylic on canvas 4 panel piece, 84 x 60" each
      Flint Fuel, 2024
      Acrylic on canvas
      4 panel piece, 84 x 60" each
    • Fani Pack, 2024 Acrylic on canvas Diptych, 72 x 48" each
      Fani Pack, 2024
      Acrylic on canvas
      Diptych, 72 x 48" each
    • Miss Opportunity , 2024 Acrylic on canvas 4 panel piece, 108 x 84" each
      Miss Opportunity , 2024
      Acrylic on canvas
      4 panel piece, 108 x 84" each
    • All Fun and Games Until , 2024 Acrylic on canvas Diptych, 108 x 48" each
      All Fun and Games Until , 2024
      Acrylic on canvas
      Diptych, 108 x 48" each
    • Marabou, 2024 Acrylic on canvas Diptych, 84 x 84" each
      Marabou, 2024
      Acrylic on canvas
      Diptych, 84 x 84" each
    • Stock 1, 2024 Acrylic on canvas 120 x 48"
      Stock 1, 2024
      Acrylic on canvas
      120 x 48"
    • Stock 2, 2024 Acrylic on canvas 120 x 48"
      Stock 2, 2024
      Acrylic on canvas
      120 x 48"
    • Fraud, 2024 Painted aluminum 16.6 x 12.2 x 8.1 in. 421 x 311 x 205 mm
      Fraud, 2024
      Painted aluminum
      16.6 x 12.2 x 8.1 in.
      421 x 311 x 205 mm
    • Gated Community, 2024 Painted and patinated brass 58.9 x 131.9 x 0.8 in. 1495 x 3351 x 20 mm
      Gated Community, 2024
      Painted and patinated brass
      58.9 x 131.9 x 0.8 in.
      1495 x 3351 x 20 mm
    • Gluttony, 2024 Painted aluminum 19.6 x 8.8 x 5.0 in. 497 x 224 x 126 mm
      Gluttony, 2024
      Painted aluminum
      19.6 x 8.8 x 5.0 in.
      497 x 224 x 126 mm
    • Greed, 2024 Painted aluminum 13.2 x 15.8 x 5.3 in. 335 x 401 x 135 mm
      Greed, 2024
      Painted aluminum
      13.2 x 15.8 x 5.3 in.
      335 x 401 x 135 mm
    • Heresy, 2024 Painted aluminum 19.6 x 8.8 x 5.0 in. 497 x 224 x 126 mm
      Heresy, 2024
      Painted aluminum
      19.6 x 8.8 x 5.0 in.
      497 x 224 x 126 mm
    • Lust, 2024 Painted aluminum 21.9 x 15.8 x 4.9 in. 555 x 401 x 124 mm
      Lust, 2024
      Painted aluminum
      21.9 x 15.8 x 4.9 in.
      555 x 401 x 124 mm
    • Treachery, 2024 Painted aluminum 19.7 x 16.5 x 4.6 in. 501 x 418 x 116 mm
      Treachery, 2024
      Painted aluminum
      19.7 x 16.5 x 4.6 in.
      501 x 418 x 116 mm
    • Violence , 2024 Painted aluminum 15.7 x 10.6 x 4.4 in. 400 x 268 x 113 mm
      Violence , 2024
      Painted aluminum
      15.7 x 10.6 x 4.4 in.
      400 x 268 x 113 mm
    • Limbo, 2024 Painted aluminum 11.9 x 18.7 x 16.9 in. 301 x 475 x 428 mm
      Limbo, 2024
      Painted aluminum
      11.9 x 18.7 x 16.9 in.
      301 x 475 x 428 mm
    • Wrath, 2024 Painted aluminum 19.5 x 15.8 x 2.9 in. 492 x 401 x 73 mm
      Wrath, 2024
      Painted aluminum
      19.5 x 15.8 x 2.9 in.
      492 x 401 x 73 mm
    • Four and a Possible , 2024 Painted aluminum 74.8 x 58.3 x 75.7 in. 1899 x 1481 x 1922 mm each character: 74.2 x 28.1 x 23.6 in. 1885 x 714 x 599 mm
      Four and a Possible , 2024
      Painted aluminum
      74.8 x 58.3 x 75.7 in.
      1899 x 1481 x 1922 mm

      each character:
      74.2 x 28.1 x 23.6 in.
      1885 x 714 x 599 mm
    • The Qing , 2024 Painted aluminum 69.7 x 44.1 x 11.8 in. 1770 x 1121 x 300 mm
      The Qing , 2024
      Painted aluminum
      69.7 x 44.1 x 11.8 in.
      1770 x 1121 x 300 mm
    • Tok, 2024 Painted aluminum 116.6 x 71.7 x 36.1 in. 2961 x 1820 x 917 mm
      Tok, 2024
      Painted aluminum
      116.6 x 71.7 x 36.1 in.
      2961 x 1820 x 917 mm
    • Pig Out 1, 2024 Painted aluminum 51.5 x 250.0 x 47.0 in. 1307 x 6351 x 1194 mm each character: 48.3 x 47.0 x 45.3 in. 1228 x 1195 x 1151 mm
      Pig Out 1, 2024
      Painted aluminum
      51.5 x 250.0 x 47.0 in.
      1307 x 6351 x 1194 mm

      each character:
      48.3 x 47.0 x 45.3 in.
      1228 x 1195 x 1151 mm
    • Soup Kitchen 2, 2024 Painted stainless steel and aluminum 19.7 x 11.8 x 12.0 in. 500 x 300 x 306 mm
      Soup Kitchen 2, 2024
      Painted stainless steel and aluminum
      19.7 x 11.8 x 12.0 in.
      500 x 300 x 306 mm
    • Soup Kitchen 34, 2024 Painted stainless steel and aluminum 19.7 x 11.8 x 12.0 in. 500 x 300 x 306 mm
      Soup Kitchen 34, 2024
      Painted stainless steel and aluminum
      19.7 x 11.8 x 12.0 in.
      500 x 300 x 306 mm
    • Soup Kitchen 5, 2024 Painted stainless steel and aluminum 19.7 x 11.8 x 12.0 in. 500 x 300 x 306 mm
      Soup Kitchen 5, 2024
      Painted stainless steel and aluminum
      19.7 x 11.8 x 12.0 in.
      500 x 300 x 306 mm
    • Soup Kitchen 29, 2024 Painted stainless steel and aluminum 19.7 x 11.8 x 12.0 in. 500 x 300 x 306 mm
      Soup Kitchen 29, 2024
      Painted stainless steel and aluminum
      19.7 x 11.8 x 12.0 in.
      500 x 300 x 306 mm
    • Soup Kitchen 11, 2024 Painted stainless steel and aluminum 19.7 x 11.8 x 12.0 in. 500 x 300 x 306 mm
      Soup Kitchen 11, 2024
      Painted stainless steel and aluminum
      19.7 x 11.8 x 12.0 in.
      500 x 300 x 306 mm
  • Press

    • Review: Nina Chanel Abney's 'Lie Doggo' at Jack Shainman Gallery's The School
      News

      Review: Nina Chanel Abney's "Lie Doggo" at Jack Shainman Gallery's The School

      May 22, 2024
      In these fiery and fiercely cultural times, art endures as the ultimate arena in which to explore the messiness of opposing forces. For artist Nina Chanel Abney , the black/white...
    • Artist Nina Chanel Abney Plays 20 Questions With Tierra Whack
      News

      Artist Nina Chanel Abney Plays 20 Questions With Tierra Whack

      May 31, 2024
      “Follow me to the Principal’s Office,” bellows a calm and collected voice leading us out of the “Little Boy’s Room” of a 30,000 sq. ft. former high school-turned cultural center,...
    • How Nina Chanel Abney Contextualizes Blackness and Identity in Lie Doggo, The exhibition is on view until October 5 at...
      News

      How Nina Chanel Abney Contextualizes Blackness and Identity in Lie Doggo

      The exhibition is on view until October 5 at Jack Shainman Gallery: The School in Kinderhook, New York. May 20, 2024
      About three hours north of New York City, art enthusiasts and industry creatives gathered to celebrate Nina Chanel Abney’s solo exhibition, Lie Doggo , at Jack Shainman Gallery: The School...
    • A Conversation with Nina Chanel Abney, Episode 204
      News

      A Conversation with Nina Chanel Abney

      Episode 204 Jun 5, 2024
      Ep.204 Nina Chanel Abney (b. 1982, Harvey, IL) has been honored with solo exhibitions at the Savannah College of Art and Design, Georgia (2023); the Museum of Contemporary Art, Cleveland...
    • 10 Art Shows to See in Upstate New York This June, This month: the feminine nostalgia of Pam Poquette, the...
      News

      10 Art Shows to See in Upstate New York This June

      This month: the feminine nostalgia of Pam Poquette, the witty impact of Nina Chanel Abney, GUZMAN’s sideways glance at the state of the world, and more. May 29, 2024
      O splendid June, full of the cyclical celebration rituals of graduations, proms, weddings, and the anticipation of deep summer days to come! “Sweet oleander blowing perfume in the air everywhere/...
    • NINA CHANEL ABNEY at The School and OTHER REAILTIES (Exploring Proximate Mysticisms), at Bill Arning Exhibitions., NINA CHANEL ABNEY: LIE...
      News

      NINA CHANEL ABNEY at The School and OTHER REAILTIES (Exploring Proximate Mysticisms), at Bill Arning Exhibitions.

      NINA CHANEL ABNEY: LIE DOGGO at Jack Shainmans’s The School, Kinderhook, N.Y., through October 5, ‘24. Jun 3, 2024
      Vigorous compositions of ultra-vibrant color, super-graphic hardedge shapes, schematic, cartoonish figures, and large doses of humor, lend works by Nina Chanel Abney an enormous popular appeal. This ambitious survey of...
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