{"id":10685,"date":"2019-11-05T17:57:16","date_gmt":"2019-11-05T18:57:16","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/caroline-cox\/"},"modified":"2019-11-05T19:24:08","modified_gmt":"2019-11-05T19:24:08","slug":"caroline-cox","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/caroline-cox\/","title":{"rendered":"Caroline Cox"},"content":{"rendered":"

\"\"Caroline Cox<\/a> creates process oriented installations and drawings. The installations evolve through an improvisational process that explores how materials interact with light, gravity and space. Through experimenting with materials that are optically interactive, pliable, and light weight<\/span> <\/span>she develops shapeshifting overlays and optical mutations. These coalesce into ambiguous environments that can range from the microscopic to outer space. Cox’s interactive installations contemplate the intricacies and poetic mutability of perception.  <\/span><\/p>\n

Cox has shown at the Yale University School of Art, Wake Forest University, Old Dominion University, Pierogi, Lesley Heller, Smack Melon, Sculpture Center, White Columns, Kathryn Markel Fine Arts, Outpost, Governor’s Island, The Kitchen and had solo shows at Studio10, Long Island University Bklyn, FiveMyles, Another Year in LA, Sarah Bowen, Big & Small Casual, Het Apollohuis. She has completed residencies at Edward Albee’s, The Barn, The Clocktower and Het Apollohuis, Eindhoven, the Netherlands. Cox has received grants from the Pollock Krasner Foundation, The Tree of Life Foundation, and Artist Space. Her work has been reviewed online at Hyperallergic, Art in America, Art Critical, Artweek, and in print in Sculpture Magazine, the New York Times, Time Out, The Village Voice and published in <\/span>Alternative Histories, New York Art Spaces,1960-2010<\/i><\/span>, MIT Press, Found Objec<\/i>t,  <\/span>a quarterly journal published by the Center for the Study of Culture, Technology and Work at the Graduate School of the CUNY<\/span><\/p>\n

Cox is from California and while living in San Francisco she was part of the women’s artist cooperative, Amargi, a live\/work space for artists. After moving to NYC<\/span> <\/span>she played in the noise band, The Chairs, that performed at Roulette. While living in Brooklyn Caroline co-founded and ran Flipside, an alternative exhibition space, with Tim Spelios. Caroline has also curated shows at The Outpost, Sarah Bowen Gallery, Schroeder Romero Gallery, Century29, The Police Building (through OIA) the show traveled to William Patterson College.<\/span><\/p>\n

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Yellow, Blue, Green, 2018, installation at Studio10 from Cox’s solo show, horsehair fabric and monofilament, dimensions variable<\/figcaption><\/figure>\n
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Caroline Cox’s studio, the drawings are untitled, 2019, ink on paper, (R) 36” X  54”,  (L) 58” x  48”. The 3D works are in progress and made from monofilament, horsehair tubing and wire.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Caroline Cox creates process oriented installations and drawings. The installations evolve through an improvisational process that explores how materials interact with light, gravity and space. Through experimenting with materials that are optically interactive, pliable, and light weight she develops shapeshifting overlays and optical mutations. These coalesce into ambiguous environments that can range from the microscopic to […]<\/p>\n","protected":false},"author":3,"featured_media":10707,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-10685","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/10685","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=10685"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/10685\/revisions"}],"predecessor-version":[{"id":10708,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/10685\/revisions\/10708"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/10707"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=10685"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=10685"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=10685"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}