Nick Cave: Mammoth @ Smithsonian American Art Museum, Washington DC - The museum’s largest-ever commission by a single artist

Nick Cave: Mammoth

Smithsonian American Art Museum, Washington DC

February 13, 2026 - Jananuary 3, 2027

Nick Cave, Artist in his studio

Courtesy of the artist and Jack Shainman Gallery 

Photograph by James Prinz

The Smithsonian American Art Museum will debut “Nick Cave: Mammoth,” a monumental new body of work by internationally acclaimed artist NICK CAVE. Commissioned by the museum, “Mammoth” marks Cave’s first solo exhibition in Washington, D.C. and represents the museum’s largest-ever commission by a single artist.  

“Mammoth” is Cave’s most personal project to date. Drawing on his childhood in Chariton County, Missouri—where his grandparents farmed and where the quilts, tools and clothing they made were a part of everyday life—Nick Cave roots this installation in family history, landscapes and craft traditions. He transforms these sources into a world animated by memory and the transformative possibilities of the imagination. Combining sculpture, video and found objects, the exhibition reflects on the artist’s own creative impulse and invites audiences to consider their relationship to the natural world and the everyday objects and histories that shape our lives.  

“‘Nick Cave: Mammoth’ builds on the museum’s commitment to present artists whose work speaks to the American experience and fosters connection,” said Jane Carpenter-Rock, acting Margaret and Terry Stent Director of the Smithsonian American Art Museum. “It is an honor to support a new body of work by one of today’s leading artists, the museum’s most significant commission to date by a single artist and to present it in dialogue with the sweep of American art across our galleries.”

“‘Mammoth’ is a conversation across time, a meditation on how and why we make, and how we live with what we inherit,” said Sarah Newman. “Nick Cave gathers fragments of daily life—toys, tools, keepsakes, even the remains of ancient creatures—and transforms them into a shared space of memory and imagination. His work is a powerful reminder that objects are often more than things; they carry our histories, our knowledge, and the stories that carry us forward.”

Nick Cave remakes a suite of galleries on the museum’s third floor into a series of immersive environments. Against a 60-by-20-foot hand-beaded tapestry laid over a landscape of Chariton County, Missouri, towering lifeguard chairs rise—some crowned with massive skeletal mammoth heads, others draped in hides. In the center of the space, a glowing, 700-square-foot light table holds thousands of found objects—from vintage tools, juggling balls and pie plates to his grandmother’s thimble collection—arranged like paleontological specimens. Some remain recognizable; others have been transformed into masks, creatures and contraptions that feel alive with spirit and intention.

The mammoths come alive in “Roam,” a video projected across four walls of an adjoining gallery that follows the massive creatures as they wander through present-day Chicago. In another space, Cave presents bronze sculptures from his “Amalgams” series, which fuse casts from his own body with natural forms such as flowers, birds and trees. These works, surrounded by metal tole flowers and antique cast-iron doorstops—including those from his grandparents’ home—evoke both loss and renewal, the solace of nature and the imprint of inheritance.

The installation will be activated by a site-specific performance.

Artist Nick Cave

Nick Cave (born 1959, Fulton, Missouri; lives and works in Chicago) is an artist and educator working between the visual and performing arts through a wide range of mediums including sculpture, installation, video, sound and performance. His work builds upon generations of Black artists and artisans, from quilters such as his own grandmothers to the assemblers of yard art in the American South, who imbued cast-off materials with new meaning. Nick Cave has harnessed this transformative impulse throughout his work—most famously in his series of “Soundsuits,” part sculpture and part garment, which conceal their wearers’ identities at the same time as they metamorphose into others.  

Nick Cave earned a bachelor’s degree in fine art at Kansas City Art Institute, a master’s degree from Cranbrook Academy of Art in Bloomfield Hills, Michigan, and is currently director of the graduate program in fashion at the School of the Art Institute of Chicago. His work is in many museum collections, including the Smithsonian American Art Museum (Washington, D.C.), the Hirshhorn Museum and Sculpture Garden (Washington, D.C.), the Philadelphia Museum of Art, the Whitney Museum of American Art (New York), the Museum of Modern Art (New York), the Museum of Contemporary Art Chicago and the Crystal Bridges Museum of American Art (Arkansas). In 2022, he completed a multi-part commission from the Metropolitan Transportation Authority in New York City for a glass mosaic and video work “Each One, Every One, Equal All” that is on view in the Times Sq-42 St Station. Other recent projects and exhibitions include the major retrospective “Nick Cave: Forothermore” at the Museum of Contemporary Art Chicago (2022); “The Let Go” at Park Avenue Armory (2018); and “Nick Cave: Until” at the Massachusetts Museum of Contemporary Art (2016).  

Publication: A richly illustrated catalog, published in association with D. Giles Limited, will accompany the exhibition. The book offers an intimate look into Cave’s creative process, featuring found and personal objects that inspired him, annotated with his own handwritten notes and drawings. The publication includes essays by Newman, Gwendolyn DuBois Shaw and Cherise Smith, and a major new poem by J Drew Lanham.

“Nick Cave: Mammoth” is organized by Sarah Newman, the James Dicke Curator of Contemporary Art, with support from Anne Hyland, curatorial associate.

SAAM - SMITHSONIAN AMERICAN ART MUSEUM 

8th and G Streets, NW, Washington, DC 20004

americanart.si.edu

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer @ Portland Art Museum

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer

Portland Art Museum

September 6, 2025 – January 11, 2026

Jeff Koons, American, (b. 1955)

Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016

Archival pigment print with inlaid mirrored glass

40 11/16 x 27 3/4 in. Overall

Published by Two Palms, New York, NY

Collection of Jordan D. Schnitzer

© Jeff Koons

Photography Courtesy of the artist and Two Palms, NY

Dinh Q. Lê, Vietnamese-American, (1968 - 2024)

I am Large, I Contain Multitudes, edition AP 1/1, 2009

Bicycle, steel, mirrors, wood, plastic, rubber, and metal lock

72 x 90 x 40 in. Overall, 90 x 106 1/2 x 57 in. Crate

Published by the artist

Collection of the Jordan Schnitzer Family Foundation

© Courtesy of Elizabeth Leach Gallery and the Dinh Q. Lê Estate

Photography Aaron Wessling

Amy Sherald, American, (b. 1973)

As Soft as She Is..., edition 2/35, 2024

70-color screenprint on Lana Aquarelle 600 gsm

50 5/8 x 42 3/8 x 1 3/4 in. Frame, 

45 1/4 x 37 in. Sheet, 40 1/4 x 32 in. Image

Published by Hauser & Wirth, New York, NY

Collection of the Jordan Schnitzer Family Foundation

© Amy Sherald. Courtesy the artist and Hauser & Wirth

Photography Aaron Wessling

Portland Art Museum (PAM) presents Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition that shares works from Oregon’s foremost fine art collector by some of today’s leading artists with local Portland audiences.

Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Louise Bourgeois, Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Jordan Schnitzer, who has been named an ARTnews Top 200 art collector globally, is a lifelong Portland resident and local business owner. His collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to share art with audiences across the globe.

“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists," said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”

Jeffrey Gibson

Native American, Mississippi Band of Choctaw Indians 

and Cherokee, (b. 1972)

SPIRIT AND MATTER, 2023

Acrylic paint on elk hide inset in custom wood frame

90 x 72 1/2 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Jeffrey Gibson

Photography Aaron Wessling

Tschabalala Self, American, (b. 1990)

Untitled (Bodega Run), 2023

Unique cast and pigmented paper in artist designed frame

40 1/4 x 49 1/4 in. Sheet, 45 3/4 x 54 3/4 x 6 7/16 in. Frame

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

Katherine Bernhardt, American, (b. 1975)

Untitled, 2024

Monotype in watercolor and crayon

100 3/4 x 52 3/4 x 2 5/8 in. Frame, 96 x 48 in. Sheet

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more, many of which will be shown publicly for the first time. Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, and other artists of color, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that comprise Oregon.

“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our mission to engage and enrich Portland’s diverse communities through art.”

Nick Cave, American, (b. 1959)

Rescue, 2014

Mixed media including ceramic birds, metal flowers, 

ceramic Basset Hound, and vintage settee

70 x 50 x 40 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Nick Cave. Photo by James Prinz Photography 

Courtesy of the artist and Jack Shainman Gallery, New York

Alison Saar, American, (b. 1956)

Plucked, 2022

Charcoal and acrylic on vintage cotton picking bag, 

found hooks and chain, 93 x 28 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Alison Saar. Courtesy of L.A. Louver, Venice, CA.

Photography Aaron Wessling 

Christopher Myers, American, (b. 1974)

Let the Mermaids Flirt with Me, 2022

Stained glass lightboxes and tent

42 3/4 x 42 3/4 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Christopher Myers 2022 

Courtesy of the artist and James Cohan, New York 

Photo by Dan Bradica

Other notable works in the exhibition include Christopher Myers' immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as co-commissioner for his exhibition for the U.S. Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. 

ABOUT THE JORDAN SCHNITZER FAMILY FOUNDATION

Jordan Schnitzer 

Courtesy of Jordan Schnitzer Family Foundation

The Jordan Schnitzer Family Foundation’s contemporary art collection is one of the most notable in North America. The Foundation has shared its art with millions across the U.S. and internationally through groundbreaking exhibitions, publications, and programs. Founded by ARTnews Top 200 Collector Jordan D. Schnitzer—whose passion for art began in his mother’s contemporary art gallery in Portland, Ore.—the Foundation has organized over 180 exhibitions from its collection and additionally loaned thousands of artworks to over 120 museums at no cost to the institutions. Jordan Schnitzer began collecting contemporary prints and multiples in 1988 and today is North America’s largest print collector. His Foundation’s collection consists of more than 22,000 works of art, including a wide variety of prints, sculptures, paintings, glass, and mixed media works.

PORTLAND ART MUSEUM - PAM

1219 SW Park Avenue Portland, OR 97205

portlandartmuseum.org

I Yield My Time. Fuck You! Nick Cave, Troy Chew, Wade Guyton, Samuel Levi Jones, Lynn Hershman Leeson, K.R.M. Mooney, Torey Thornton @ Altman Siegel, San Francisco

I Yield My Time. Fuck You!

Nick Cave, Troy Chew, Wade Guyton, Samuel Levi Jones, Lynn Hershman Leeson, K.R.M. Mooney, Torey Thornton

Altman Siegel, San Francisco

Through December 19, 2020

The yielding of time signals a consciousness of how little space and agency we are granted – and the importance of leaving some for those who too often go unheard. Three weeks into nationwide protests against police brutality brought on by the murder of George Floyd, the Los Angeles Police Commission hosted a virtual community meeting via Zoom. After six hours of citizens decrying the police department’s violence and most recent misconduct towards demonstrators, Jeremy Frisch wasted none of his 30-second time limit. This exhibition takes its title from Frisch’s eloquent tirade turned viral rally cry.

It is not just Frisch’s perspective or his delivery that warrants consideration since we can imagine that there must be infinite unrecorded accounts of frustrated citizens in board rooms drilling civic authority figures, perhaps even with similar heights of style and punctuation. The reason any of us have heard of this specific moment is due to a sort of perfect contextual storm that surrounded and amplified Mr. Frisch’s exclamation through a unique social moment crossing paths with new technological possibilities for historicization and iconography. For every instance that gets captured and made iconic through mediation and memetic transfer there are infinite accounts that never enter the discourse and are denied their proper platform in society and in history. Every police video we see for instance, must stand in for a thousand other similar events not caught on tape. Technology has become essential to our aesthetic construction of histories and to our projections of the future, both for those in power and for the otherwise voiceless.

In moments of revolution we might locate clarity through distance from our prior consciousness. 2020 has offered arguably the most refined example of such an opportunity in our collective lives. Works exhibited six months ago might find radically different meaning within our new social context. With that in mind our exhibition proposes juxtapositions between different artist methodologies regarding societal collapse and social upheaval. Models of representation for these types of historical fulcrums can pull from a spectrum of sources, ranging from future fantasy aesthetics to something more closely resembling documentary. The reverberation between different methodologies is where the crux of the exhibition lies.

NICK CAVE

Uplifting and reifying otherwise distressed bodies, Nick Cave encourages a profound and compassionate analysis of violence and its effects as the path towards an ultimate metamorphosis. The figure remains central in Cave’s exhibited series of work, juxtaposing body parts in bronze monochrome, including casts of his own hands emerging from the gallery walls. One pair of hands cradles several miniature carved wooden heads, while another grips a delicate tole flower bouquet affirming the potential for new growth. The African heads import not only the ancient history of African carving and trade in stolen artifacts but also, more horrifically, the trade in stolen people, yet their individuality suggests something more nuanced about identity and collective psyche within an exploited race.

TROY CHEW

Troy Chew’s work looks methodically at systems of communication amongst the African diaspora. In his series, Out the Mud, Chew draws parallels between symbols and patterns in West African Mudcloth and painted portrayals of contemporary Black culture and resistance. In his most recent painting, the artist replicates brightly-colored hand sewn totems of Abomey appliqué symbolizing the different kings of the region that ruled from 1600-1900. Interspersed within the depictions in the newest work are vignettes recognizable as iconic and memetic scenes of contemporary Black oppression and uprising.

SAMUEL LEVI JONES

Samuel Levi Jones’s practice is an ongoing physical undoing of material and objects that hold an authoritative or iconic influence and power. He uses labor and aggressive process-based gestures to undermine and redistribute a material’s conventional or historical influence, giving way for new and reconsidered potentials. In Resolute, 2020, Jones continues his process of deconstructing academic reference books by stripping them of their covers and repurposing their material components into large-scale wall works reminiscent of painting and assemblage histories. Art, encyclopedia, history, and law books are sites of historicization that have largely ignored the contributions of marginalized groups, or codified their oppression. In disassembling these objects Jones alludes to the information that has been left out of print. For the first time, he has incorporated text into the work, interjecting his own voice into the previously abstract assemblages.

WADE GUYTON

Included in the exhibition are two new paintings from Wade Guyton’s ongoing series using images captured from The New York Times website. The topical headlines chosen by Guyton in these specific works, illustrate the mediation of societal upheaval during a period of restricted access to free movement. The works occupy a disorienting space where digital and analog intersect, and the real and immaterial overlap. Information and aesthetics at once spectacular and mundane, forged through an extensive obstacle course of mediation are further compounded when the paintings are inevitably photographed and digitized for web consumption. The act of the screen capture that initiates Guyton’s process and the subsequent printing of the material, like a backup of important documents, is a coy game of resistance to impermanence within the aggressively and exponentially fleeting presence of 21st-century news, as well as a commentary on the value of the unique object within the history of art.

LYNN HERSHMAN LEESON

Lynn Hershman Leeson’s performative sculpture Present Tense confronts environmental abuse using a sophisticated tracking system of water contamination. Monitoring data sourced from bodies of water in the San Jose, Silicon Valley region, the work traces waste from the computer and semiconductor industry. A high-definition video of babies swimming innocently underwater is obscured by a water-filled tank illuminated by live data feeds that shift in color to illustrate water toxicity levels. The image is filtered with color effects calculated by a complex algorithm that actively responds to its environment, revealing truths about water toxicity in the region in which it is shown.

K.R.M. MOONEY

For K.R.M. Mooney’s work Strike i-iii, three cast objects in the shape of tenor bell strikers stand in line on the gallery floor, each leaning on the still-connected mechanisms involved in its casting—sand-casting “gates” and funnel-like sprues—that would typically be removed and disposed of in the casting process. The presence of the gates and sprues obscures the striker referent and aestheticizes the objects but perhaps even more crucially the intact supports index the material excess involved in industrial production, allowing the trace of process, labor, and surplus to hold equal status with the “finished object.” Unsealed, unsanded, unvarnished bronze preserves the unaltered surface results of production while also opening the work to inevitable change over time, complicating the notion of an object reaching a complete state of form or being. In its designed function a striker would produce sound through contact and reverberation. These disembodied strikers conjure ghost sounds of bells echoing. Like the artist’s other recent works, Strike i-iii finds the latent talents of objects or materials, such as the ability to make sound, or to have a voice at all, transposed and expanded into contingent material properties, physical interactions with space, and processes of production.

TOREY THORNTON

Fashion is commonly used as an aesthetic indicator of the times. Like the construction of history, fashion is an active document of a collection of drives and perspectives continuously subject to reevaluation through new lenses of perspective. Torey Thornton’s elegant yet self-aware arrangement addresses clothing as sculpture for the body. Activated by the movement of our bodies, clothing is essential in performing our identities. The impenetrable and fraught high-taste high-class economic stakes of the fashion industry mirror our present art market conditions. Both go back and forth between cause and effect designations as they pertain to economic, ecological, and social trauma. Within both constructs a constant reevaluation is at play, never truly at rest in a “present,” and new meaning is commonly accrued over time or via changing circumstances. In Thornton’s Who's teaching to hang dry? (All rights and 1 left, intro to seven deadly sins), seven luxury brand designer hangers hang in a row on a wall—Alexander McQueen, Rick Owens, etc. Grabbing onto each hanger is a bright neon orange thermal overshoe bicycling booty from a Swedish company called POC, with the POC graphic featured prominently on each booty. As technological and social constructions advance, who within those industries and ideologies will thrive through new framings and who will suffer, be revealed, or go extinct? Which pressures, restrictions, drives, and presumptions will determine the viability of those who dictate the aestheticization of the collective present?

ALTMAN SIEGEL

1150 25th Street, San Francisco, CA 94107

www.altmansiegel.com

_______________________

Nick Cave, FWM Philadelphia: Recents Soundsuits installation and video

Nick Cave: Let's C 

The Fabric Workshop and Museum, Philadelphia, PA

Through Mid-February, 2012

“There is a transformative moment, when [the wearer has] to be able to make the shift. Since it’s so dominating, this form, you are no longer who you are. So who have you become and what is that? How do you bring conviction to that? What are you willing to give up to move into this other being?” — Nick Cave

Nick Cave: Let’s C is an exhibit of Chicago-based artist Nick Cave's iconic Soundsuits, new installation created at the Fabric Workshop and Museum (FWM), and video. As a current FWM artist-in-residence, Cave worked in collaboration with FWM studio staff and apprentices to debut Architectural Forest (2011), an ambitious, floor-to-ceiling installation of ornamented bamboo that also serves as a mystical setting, in which Cave’s December 16th performance at FWM taken place. Footage of this multisensory performance—which incorporates dance, music, and ambient sounds from the installation itself—is on view during the exhibition run.

NICK CAVE, Speak Louder, 2011 

Buttons, wire, bugle beads, upholstery, and mannequin, 98 X 68 1/2 X 54 inches (installed). 

Photo by James  Prinz, Chicago, courtesy of Nick Cave and the Jack Shainman Gallery, NY

For over two decades, Nick Cave has constructed Soundsuits out of a litany of unique, found materials, such as throw rugs, stuffed animals, gleaming buttons, human hair, and other items from thrift stores, flea markets, and estate sales. The Soundsuits’ sculptural form functions simultaneously to display and conceal the body through the visual references to the exuberance of masquerade and the protection of armor. Let’s C includes recent Soundsuits that showcase a new direction in Cave’s practice, introducing a muted palette, uniform surfaces, and dynamic relationships between multiple figures. Also on view is Drive-By (2011), a video of Soundsuits in motion.

In addition to his exhibition, Nick Cave designed the Museum’s street-level façade, which features a reflective, doily-inspired pattern adhered to the window surface.

NICK CAVE (b. 1959, Missouri) received an MFA from the Cranbrook Academy of Art, Bloomfield, MI (1989) and a BFA from the Kansas City Art Institute, MO (1982). In Fall 2011, Cave had two concurrent solo exhibitions in New York, NY at Jack Shainman Gallery and Mary Boone Gallery. Cave was also included in group exhibitions this past Fall, such as 30 Americans: Rubell Family Collection, at the Corcoran Art Gallery in Washington, DC, and the Prospect.2 Biennial, taking place throughout New Orleans, LA.  His solo traveling exhibition, Meet Me at the Center of the Earth—organized by the Yerba Buena Art Center, San Francisco, CA—will be on view at the Taubman Museum of Art in Roanoke, VA through January 2012. Nick Cave has a forthcoming major presentation of his work scheduled for the Tri Postal in Lille, France, in late 2012. His work is held in the following distinctive public collections: the Brooklyn Museum, New York, NY; Crystal Bridges, Bentonville, AR; the Detroit Institute of Arts, MI; the High Museum, Atlanta, GA; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Museum of Contemporary Art, Chicago, IL; the Norton Museum of Art, West Palm Beach, FL; the San Francisco Museum of Modern Art, CA; and the Seattle Art Museum, WA; among others. Cave has received several prestigious awards including: the Joan Mitchell Foundation Award (2008), Artadia Award (2006), the Joyce Award (2006), Creative Capital Grants (2002, 2004, and 2005), and the Louis Comfort Tiffany Foundation Award (2001). Cave lives and works in Chicago, IL where he serves as Professor and Chairman of the Fashion Department at the School of the Art Institute of Chicago.

Also on View at The Fabric Workshop and Museum at The New Temporary Contemporary, 1222 Arch

Fighting Kissing Dancing

The Fabric Workshop and Museum, in an exchange with the de la Cruz Collection Contemporary Art Space, Miami, featuring video works by Miami and New York based artists.

FWM - Fabric Workshop and Museum, Philadelphia, PA 19107, USA

www.fabricworkshopandmuseum.org