Michelle Lopez

Michelle Lopez (born in 1970 of Filipino descent) is an American sculptor and installation artist, whose work incorporates divergent industrial materials in order to critique present day cultural phenomena. She lives and works in Brooklyn, New York.

Michelle Lopez received her B.A. in literature and art history in 1992 at Barnard College, and she received her M.F.A in 1994 at The School of Visual Arts. She has had solo exhibitions at Feature Inc., Deitch Projects, Simon Preston Gallery, Fondazione Trussardi, LA >< Art, and the Aldrich Contemporary Museum of Art (2014). She has been in group exhibitions at the Brooklyn Museum, PS 1/MOMA, Yerba Buena Center for the Arts, and Artist Space. Public Sculptures include projects with the Public Art Fund and Miami Basel Art Public (Bass Museum, Miami, 2013).

In 2007, Lopez participated in a curatorial project with Grimm/Rosenfeld and wrote an essay on sculpture titled Exit Music (for a Film). In 2010 she was a recipient of the New York Foundation for the Arts Sculpture Fellowship and a NYFA Fiscal Sponsorship Grant in 2009.

In a Frieze review, Morgan Falconer describes Lopez's work as "All of these objects are marvelously poised between being one strange thing and something stranger still." Michael Wilson of Artforum reviewed Blue Angels when the series appeared at Simon Preston Gallery in New York: “Turning Minimalist form against itself is hardly a new idea-one might even consider, it a genre unto itself- but it still offers room for maneuver. In Vertical Neck, her second solo exhibition at Simon Preston, Brooklyn-based artist Michelle Lopez presented a strong, clean suite of five new sculptures that capitalize on the movement’s enduring legacy but sidestep parody and polemic to arrive at a more subtly allusive language.... Three roughly folded and heavily crumpled sheets of aluminum lean against the wall and tower above head height, their interiors painted blue or black, their exteriors white or colorlessly reflective.The suggestion that attempts at formal perfection are necessarily doomed to failure is clear, but in their fun- house-mirror distortions, these works direct that argument at not only artistic folly but also the viewer’s own vanities and imperfections. Still, the news isn’t all bad; there’s an insinuation in the aluminum’s shiny. paper- like surfaces of gift wrap, a hint of celebration and renewal.... [T]here is a hint of nose-thumbing at the consistent anality of the Guys, but Lopez’s remake is more understated, more extensive, more radical-and a lot more appealing-than that might imply.” (Artforum, November 2011)

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