Artists ||
QUALEASHA WOOD


|| Exhibitions 
ADA FRIEDMAN
“Paintings in Pisces”
Oct 7 - Dec 17, 2022

“TWENTY-FIRST CENTURY OCCUPATIONAL ADJUSTMENTS AND CONSIDERATIONS, EPISODE 6: OK, Computer”
New York:  March 4 - April 10, 2022
Basel: March 19 - April 26, 2022


DAVID-JEREMIAH 
“PLAY”
Jan 15 - Mar 20, 2021

“TWENTY-FIRST CENTURY OCCUPATIONAL ADJUSTMENTS AND CONSIDERATIONS, EPISODE 4: Seating Chart for a Fall Dinner Party in a Pandemic” 
Sep 16 - Dec 31, 2020

“TWENTY-FIRST CENTURY OCCUPATIONAL ADJUSTMENTS AND CONSIDERATIONS, EPISODE 3: ”I told my parents I was babysitting some really rich white folks’ kids”/”Dis here da new time. Let dat be.” 
July 2020 for YARD Magazine

JO SHANE
“Sculptures: 1990 - Present”
May 2 - Jun 1, 2019

JOSHUA CITARELLA, LAP-SEE LAM, TATIANA KRONBERG “Four as One and Three”
Sep
16 - Nov 4, 2018

“TWENTY-FIRST CENTURY OCCUPATIONAL ADJUSTMENTS AND CONSIDERATIONS, EPISODE 2: One Liners” 
May 26 - June 17, 2018

“TWENTY-FIRST CENTURY OCCUPATIONAL ADJUSTMENTS AND CONSIDERATIONS, EPISODE 1: Magnification”
Jan 17 - Feb 28, 2018

KENYA (ROBINSON)
“Paper Rain for Invocation Proclamation Manifesto 2 & 3“
Sep 28-30, 2017


Art Fairs || 
(forthcoming) EXPO Chicago 2023

(forthcoming) TERESA BAKER, SHARONA FRANKLIN, CONSTANZA CAMILA KRAMER GARFIAS @ Art Basel Miami Beach 2022

QUALEASHA WOOD @ Art Basel Miami Beach 2021

QUALEASHA WOOD @ NADA Miami Beach 2020

ROSA MENKMAN @ Daata Miami 2020

JO SHANE, QUALEASHA WOOD, !MEDIENGRUPPE BITNIK, ARDEN SURDAM @ NADA presents, “FAIR” Inaugural Edition 2020


|| Press
Gallery Press


Newsletter ||
Newsletter Spring 2021
Newsletter Fall 2021
Newsletter Fall 2020


|| Contact 
Schanzeneckstrasse 3, 3012 Bern Switzerland

By Appointment 
Thurs & Fri & Sat 12-6pm

WhatsApp for an appointment at 
CH: +41 76 506 48 08 
DM for an appointment on Instagram @gallerykendrajaynepatrick


About ||
An itinerant art gallery in New York City, USA; a permanent locaton in Bern, Switzerland


|| Private Client



















FALL 2021 NEWSLETTER




News





Kendra Jayne Patrick is thrilled to announce our first showing at Art Basel Miami Beach with a suite of new textile works by gallery artist Qualeasha Wood. This will mark the first occasion of her tapestry and tufted works exhibited together. Private Days are November 30th and December 1st (invitation only); Public Days are December 2nd–4th. See our presentation in the NOVA section at booth N8; preview soon to follow.



Qualeasha Wood has been awarded the Studio Museum of Harlem Residency 2021-2022, alongside fellow newcomers Jacob Mason-Macklin and Cameron Granger. Each year, the prestigious residency grants a select group of young artists time, space, and resources to engage the experimental aspects of their practices with the full support of the venerable institution behind them. The program culminates in the fall of 2022 with a group show of the residency works on exhibition at MoMA PS1.


Wickerham & Lomax
Romance as Intrusion, 2020
Dye sublimation on canvas, wood, furniture feet, PNG printed on Plexiglass, wood stained frame
112 1/8 x 87 5/8 x 10 7/8 inches
285 x 223 x 28 centimeters
Wickerham & Lomax's "Romance as Intrusion," (2020), has recently been acquired by the Baltimore Museum of Art from their 2020 solo show 'Domestic QT & The Spatial Anomalies' at von ammon co. The duo will present a solo exhibition at Kendra Jayne Patrick this coming spring.



On Exhibition




Kenya (Robinson)
Patriot Games, No. 11022021, 2021
Dual-projected digital video on embroidered nylon and wood, hinges
00:03:40 runtime

Kenya (Robinson) is joined by Pamela Council and Yvette Mayorga for an exhibition called Liberatory Adornment at the Flaten Art Museum, (St. Olaf, MN) curated by Dr. Jillian Hernandez. The exhibition brings together three artists whose distinctive material employments of Camp and care generate fresh ways of seeing “nation, sexuality, consumer desire, and violence as they manifest in the context of U.S. racial capitalism.”

Take a look here for a special screening of 'BLACK of Entitlement,' (2021), a new work debuting in the exhibition, followed by a lively roundtable discussion with (Robinson). Liberatory Adornment is on view now through January 23, 2022.


Qualeasha Wood
The [Black] Madonna Whore Complex, 2021
Cotton Jacquard weave, glass beads
71 x 54 inches
180.3 x 137.2 x 0.4 centimeters


Open to the Public - Qualeasha Wood is the youngest artist in Alter Egos | Projected Selves at the Metropolitan Museum of Art, an exhibition exploring how artists utilize the “aliases, avatars, and alter egos abound in today’s media, from pseudonyms and selfies on social platforms to packaged personae in pop culture,” through portraiture, photography, and lens based media.

The exhibition features The [Black] Madonna Whore Complex (2021), the artwork on the cover of Art in America's New Talent Issue curated by Antwaun Sargent this past May. The exhibition includes works by Mike Kelley, Cindy Sherman, Gilbert and George, and other artists who’ve significantly contributed to this mode of making over the past forty years.



Recent Press

November - Alicia Eler reviewed Kenya (Robinson)'s three-person exhibition, Liberatory Adornment, for the Minneapolis Star Tribune in print and online this past weekend. Eler highlighted (Robinson)'s use of gold, noting that in her work "it takes on many meanings, including cultural adornment and its use in hair, metaphysical significance around space travel, and socioeconomics."

October - Wickerham & Lomax's Frieze London 2021 installation, Culture’s Panic Room reviewed by The Face, highlighted the duo's focus on "cultural practices and productions, using digital imagery, sculpture, CGI video and the internet – proper techy stuff."

August - For Conceptual Fine Arts, Piero Bisello profiled Estrid Lutz, delving into her punk approach to her practice, the "metaverse", environmentalism, and artistic extremism.

August - Qualeasha Wood is interviewed by Susannah Elisabeth Fulcher of the Provincetown Independent about her show at Gaa Gallery, and her practice "as an act of defiance against Black stereotypes."

July - Jasmin Hernandez interviewed KJP for Gallery Gurlz in which they discuss the importance of digital aesthetics in Black contemporary art, artist advocacy, a post-pandemic gallery landscape, and finding respite in our collective chaos.



Kendra Jayne Patrick
Season 4


Throughout 2022, gallery exhibitions will happen on an evolving continuum between Basel, Switzerland and New York, New York. Estrid LutzWickerham & Lomax will each present solo shows during this exciting season. Get to know more about their practices below.

Estrid Lutz
b. France
Lives and works in Puerto Escondido, Mexico
Estrid Lutz
- Bulletproof mesh y Kisses again in the tokamak stars dusts -, 2021
Aluminium spacecraft panel, Inkjet, kevlar honeycomb
39⅜ x 29½ x 1⅛ inches
100 x 75 x 3 centimeters


Countering the fallacious dichotomies of "natural and artificial" or "real and digital," Estrid Lutz uses materials like Kevlar and industrial aluminum honeycomb to investigate the ever-evolving relationships between humanity, nature, and technology. Featuring lively, abstracted pictorial scenes made from oil paint and print ink, the works demonstrate fewer boundaries between these three phenomena than we might regularly perceive.

Lutz's work as been shown at Colnaghi Gallery, London curated by Bjorn Stern (2020); MOCO, Montpellier curated by Nicolas Bourriaud (2019); Galeria Curro, Guadalajara curated by Dorothée Dupuis (2019); Tranen Copenhagen curated by Toke Lykkeberg (2019); Jelato Love, Mallorca (2018); Crash Test - La révolution moléculaire, MOCO, Montpellier curated by Nicolas Bourriaud (2018); Kunstverein Arnsberg (both 2018); Future Gallery, Berlin (2017); Rowing Projects, London (2016) and MAMO, Cité Radieuse Le Corbusier, Marseilles (2015).


Estrid Lutz
WEAVERS MESH GENERATOR, 2021
Aluminium Space honeycomb, resin, ink, fiberglass
83 x 51 x 2 inches
210 x 130 x 5 centimeters
Wickerham & Lomax
b. Abbeyville, South Carolina and Columbus, Ohio
Live and work in Baltimore, Maryland



Wickerham & Lomax
Nomadic Adam, 2021
UV print on mirror
93 x 46 x 3 inches
236.2 x 116.8 x 7.6 cm.

Installation view, Culture’s Panic Room
October 14 - 21, 2021 – , 2021 at the London Edition's Frieze Week Presentation.

"Their project primarily involves the generation and indexing of a torrent of content with a nexus peculiar to the duo’s mutual lived experience. The resulting multimedia image-objects become precarious and reactive containers of this swarm-like index, with each sign forming covalent bonds with those around it. Formerly known as DUOX, the artists have been working together since 2009 across diverse media, curatorial platforms, and institutional contexts, creating a body of work at once context-specific and broadly engaged with networked virtualities."*

Select solo presentations include Maison Margiella Flagship Store, New York, NY (2021); the London Edition for Frieze Week, London, UK (2021);  von ammon co, Washington, DC (2020); Cultural DC Mobile Arts, Washington, DC (2019); Gillespie Gallery of Art, George Mason University, Fairfax, VA (2019); Reginald F. Lewis Museum, Baltimore, MD (2018); Neighborhood Lights, Light City, Baltimore (2017); Terrault Contemporary, Baltimore (2016); Brown University, Providence, RI (2015); The Sondheim Prize Finalist Exhibition, Baltimore (2015); Dem Passwords, Los Angeles (2015); Artists Space booth, Frieze NY 2014; New Museum’s First Look series; Artists Space, New York (2012).




Wickerham & Lomax
Armed & Accessorized, 2021
UV print on mirror
93 x 46 x 3 inches
236.2 x 116.8 x 7.6 cm.
*Text from press release at their 2020 solo show 'Domestic QT & The Spatial Anomalies'