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<channel>
	<title>Taylor Balkissoon</title>
	<link>https://taylorbalkissoon.com</link>
	<description>Taylor Balkissoon</description>
	<pubDate>Wed, 24 Nov 2021 02:00:44 +0000</pubDate>
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		<title>cv/contact</title>
				
		<link>https://taylorbalkissoon.com/cv-contact</link>

		<pubDate>Wed, 24 Nov 2021 02:00:44 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

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		<description>I am an artist, curator, spiritualist and organizer of Jamaican and French Canadian descent, living and breathing in New Orleans.&#38;nbsp;
taylor.balkissoon@gmail.com︎ what_are_the_wild_waves_sayingGOOGLE DOC&#38;nbsp;CV


b 1991 Toronto,ON&#38;nbsp;
 Lives and works in New Orleans, LA

EDUCATION

2014 	BFA - Major: Photography - University of Colorado Denver - Denver, CO

 

CURATORIAL
2023	
Free Palestine Fundraiser - Nola Artist for Palestine - New Orleans, LA


2022	
Listen When You Look - Uptown Laundry - No Pulp Records - New Orleans, LA

The High One - Uptown Laundry - No Pulp Records - New Orleans, LA

Harlem Pride x Uptown Laundry - Museum of the City of New York - New York City, NY

Uptown Laundry NYC - Climate Control Projects - New York City, NY


2021 
	Uptown Laundry - Prospect 5 - Beaubourg Theater - New Orleans, LA

Southern Solidarity Art Auction - The Front - New Orleans, LA


2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Growing up And Burning Down - 912 Julia - New Orleans, LA

Southern Solidarity Art Auction - (online) - 912 Julia - New Orleans, LA


2019	
Lucky Art Fair - The Lucky Inn - New Orleans, LA

2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;
Now More Than Always (Gimme Gimme The Money 

Please Please I Want The Money Please) - Gildar Gallery - Denver CO

What Are The Wild Waves Saying - Dateline Gallery - Denver, CO

Dateline:36 - Dateline Gallery - Denver, CO


2016 
	Bodacioussss - Museum Of Contemporary Art - Denver CO

Eternal Returns - Museum Of Contemporary Art (Open Shelf Library) - Denver CO

Grand Opening - The Temple Studios - Denver, CO

Dateline 027 - Dateline Gallery - Denver, CO

Bodacioussss 2.0 - Dateline Gallery - Denver, CO


2015	
Open Shelf Library - Museum of Contemporary Art - Denver CO

Deco Slut - Gildar Gallery, Denver CO (Artist And Co-curator)

Dateline: 011 Brooklyn Collage Collective - Dateline, Denver CO

Known Unknowns - Colorado Photographic Arts Center, Denver CO

SOLO EXHIBITIONS

2022 Stop the World and Let me Off - Dateline - Denver, CO

2021	The View from Nowhere - Petshop Gallery - Omaha, NE

2019 	our world is only the branch on which the rope is hanging - Lucky Art Fair - New Orleans, LA

2018	Six Finger Dog Tooth Meringue Pie - Aquarium Gallery - New Orleans, LA 

2015	Bananas - Dateline - Denver CO

GROUP EXHIBITIONS

2021	
Uptown Laundry - Beaubourg Theater - New Orleans, LA

Artist Showcase - 912 Julia - New Orleans, LA 

Southern Solidarity Art Fundraiser - The Front - New Orleans, LA


2020	
Growing Up and Burning Down - 912 Julia - New Orleans, LA

Taylor B - Yes Ma'am Projects - Denver, CO


2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Screenings At Situations - Situations - New York, NY

Nurture Art 20th Anniversary Auction - New York, NY

Cabinet - David B. Smith Gallery - Denver, CO

	Denver Collage Club - Alto Gallery - Denver, CO


2016 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;
Transforming Milk Into Milk - Redline - Denver, CO

Summer Games 2016 - Boulder Museum Of Contemporary Art - Boulder, CO

Touchy Feely - Pirate Gallery - Denver, CO


2015&#38;nbsp; &#38;nbsp; &#38;nbsp; 
	Resolution - Emmanuel Gallery, Denver CO

Deco Slut - Gildar Gallery, Denver CO

Denver Collage Collective - Robert Anderson Gallery, Denver CO

Love Is Love - Emmanuel Gallery, Denver CO

RESIDENCIES
2016	The Ranch In Association With CUAC (Central Utah Arts Center) - Ephraim, UT

Platte Forum - Lead Artist Summer Youth Program - Denver, CO

GRANTS
2022	Creative Response Relief Program Discretionary Grant - Antenna Works, New Orleans, LA

2021	National Displaced Workers Grant (Southern Solidarity donations coordinator) - Job1, New Orleans, LA

Press

https://www.nola.com/entertainment_life/article_494ebc1a-0b7e-5031-ae00-34cbac83f411.html

http://theknow.denverpost.com/2017/06/15/black-art-gildar-gallery-denver/147916/

http://artillerymag.com/now-more-than-always/

http://www.westword.com/arts/100-colorado-creatives-30-taylor-balkissoon-7599614

http://www.5280.com/events/artlab-pov/

http://www.westword.com/arts/denver-first-friday-gallery-openings-june-2-gildar-lowbrow-kidrobot-9107983

http://www.westword.com/arts/galleries-new-shows-at-museo-de-las-americas-pon-pon-cpac-and-dateline-8405860

http://www.westword.com/arts/review-catch-transforming-milk-into-milk-and-blow-up-chad-person-at-redline-8326881

https://www.artslant.com/9/articles/show/42377

http://www.westword.com/arts/love-is-love-blends-art-and-activism-at-emmanuel-gallery-opening-today-7225670

https://303magazine.com/2016/06/grand-opening-temple-denver-art-studios/

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		<title>GIMME GIMME THE MONEY PLEASE PLEASE  I WANT THE MONEY PLEASE</title>
				
		<link>https://taylorbalkissoon.com/GIMME-GIMME-THE-MONEY-PLEASE-PLEASE-I-WANT-THE-MONEY-PLEASE</link>

		<pubDate>Fri, 03 Sep 2021 22:03:20 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

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		<description>NOW MORE THAN ALWAYS (GIMME GIMME THE MONEY PLEASE PLEASE I WANT THE MONEY PLEASE)


 
GILDAR GALLERY JUNE 2017  STATEMENT
	Featuring works by: Kahlil Cezanne Zawadi Patrice Renee Washington Umar Rashid Shaina McCoy Jibade-Khalil Huffman Rashawn Griffin Sadie Barnette Taylor Balkissoon Ibra Ake 

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	<item>
		<title>group shows</title>
				
		<link>https://taylorbalkissoon.com/group-shows</link>

		<pubDate>Fri, 03 Sep 2021 22:03:38 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

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		<description></description>
		
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	<item>
		<title>Bodacioussss</title>
				
		<link>https://taylorbalkissoon.com/Bodacioussss</link>

		<pubDate>Fri, 03 Sep 2021 22:03:27 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

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		<description>
	BODACIOUSSSS
MCA DENVER&#38;nbsp;
SEPTEMBER 2016 - JANUARY 2017

Dara Birnbaum / Keith Haring / Jayson Musson  / Parker Ito  / Katie Torn  / Trudy Benson  / Gary Panter  / Caroline David / Kytten Janae  / Hannah Ness / Travis Egedy / POSE / Aaron Garber-Maikovska / Owvbics / Kyle Warfield Alexander Page / Don Fodness / Aoife Dunne / Sessa Eglund / Kim Gordon&#38;nbsp; / Peter Sutherland /Bodacioussss presented work from over twenty artists who not only challenge&#38;nbsp;the definition of art but also change&#38;nbsp;the ways in which art is produced and consumed. Unlike artists of the past century, whose works were validated through recognition in museums and galleries, the artists here move fluidly between physical and digital worlds, fine art and commercial arenas, and refined and popular styles. A hallmark of our age, many of the artists represented here present cultural and intellectual issues with deliberate playfulness and absurdity. This exhibition also provided&#38;nbsp;an alternative perspective on what is commonly called “post-internet” art by contextualizing younger, digital artists within an earlier generation of artists who also pioneered an informal, or DIY, style of art-making. The word “bodacious” derives from combining “bold” and “audacious.” In a nod to the vernacular of text messages, the extra esses were added for emphasis.

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</description>
		
	</item>
		
		
	<item>
		<title>The view from nowhere</title>
				
		<link>https://taylorbalkissoon.com/The-view-from-nowhere</link>

		<pubDate>Fri, 03 Sep 2021 22:05:03 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

		<guid isPermaLink="true">https://taylorbalkissoon.com/The-view-from-nowhere</guid>

		<description>
	THE VIEW FROM NOWHEREPETSHOP GALLERY MARCH 2021This show is about my family, race, capitalism, media, magic, the ocean, and falling in (and out) of love.


&#60;img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/3df18ccacb545b5a81a0c51991a286b075fae2cee7b7d2850064591e269cda66/IMG_0054.jpg" data-mid="131426935" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/3df18ccacb545b5a81a0c51991a286b075fae2cee7b7d2850064591e269cda66/IMG_0054.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/300f5f69f2740f3526ecaa1b223786430f976d5a2d05bf43db6c193909da15c9/IMG_0052.jpg" data-mid="131426937" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/300f5f69f2740f3526ecaa1b223786430f976d5a2d05bf43db6c193909da15c9/IMG_0052.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/7ee63267abe8ccf8fccccb8fa3c8c600233db89a0e13c6978c3c1d8e41b25883/IMG_0046.jpg" data-mid="131426942" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/7ee63267abe8ccf8fccccb8fa3c8c600233db89a0e13c6978c3c1d8e41b25883/IMG_0046.jpg" /&#62;


	&#60;img width="2643" height="3883" width_o="2643" height_o="3883" data-src="https://freight.cargo.site/t/original/i/10d2e914120981620bbeff02045bbcb1a54692ee694c19d818521068bc71e8e9/petshoprectangle.jpg" data-mid="137557997" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/10d2e914120981620bbeff02045bbcb1a54692ee694c19d818521068bc71e8e9/petshoprectangle.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/59a366344c503b5e368c6fed722717f6e90b27a002be4e36ab49c4b5574656ec/IMG_0051.jpg" data-mid="131426936" border="0"  src="https://freight.cargo.site/w/1000/i/59a366344c503b5e368c6fed722717f6e90b27a002be4e36ab49c4b5574656ec/IMG_0051.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/3b36418bad8034fb582c132f05c9ae11586bcbf3d76817599483dab35c39bf0d/IMG_0042.jpg" data-mid="131426946" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3b36418bad8034fb582c132f05c9ae11586bcbf3d76817599483dab35c39bf0d/IMG_0042.jpg" /&#62;&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/80c526be1e3aebc41a4e43b5ba5fa5c3da8cb6bd7fa9ca00726ebabbd2b9fa9b/IMG_0040.jpg" data-mid="131426948" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/80c526be1e3aebc41a4e43b5ba5fa5c3da8cb6bd7fa9ca00726ebabbd2b9fa9b/IMG_0040.jpg" /&#62;



	


</description>
		
	</item>
		
		
	<item>
		<title>world branch</title>
				
		<link>https://taylorbalkissoon.com/world-branch</link>

		<pubDate>Fri, 03 Sep 2021 22:05:02 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

		<guid isPermaLink="true">https://taylorbalkissoon.com/world-branch</guid>

		<description></description>
		
	</item>
		
		
	<item>
		<title>six finger dog tooth meringue pie</title>
				
		<link>https://taylorbalkissoon.com/six-finger-dog-tooth-meringue-pie</link>

		<pubDate>Fri, 03 Sep 2021 22:05:00 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

		<guid isPermaLink="true">https://taylorbalkissoon.com/six-finger-dog-tooth-meringue-pie</guid>

		<description>


	SIX FINGER DOG TOOTH MERINGUE PIEAQUARIUM GALLERYJANUARY 2019
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&#60;img width="3264" height="4896" width_o="3264" height_o="4896" data-src="https://freight.cargo.site/t/original/i/724546d53c647ce5334ca7a5ce0e0a2a2cd215b5a2572b49bd2e8f2d2f0a86b5/DSCF4162.JPG" data-mid="125492466" border="0"  src="https://freight.cargo.site/w/1000/i/724546d53c647ce5334ca7a5ce0e0a2a2cd215b5a2572b49bd2e8f2d2f0a86b5/DSCF4162.JPG" /&#62;

	
&#60;img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/ff22425bd559bd1e775da23b87315732c6eca29db57d32c919d864c15148c7d5/DSCF4096.JPG" data-mid="125492408" border="0"  src="https://freight.cargo.site/w/1000/i/ff22425bd559bd1e775da23b87315732c6eca29db57d32c919d864c15148c7d5/DSCF4096.JPG" /&#62;
&#60;img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/11cb8b81f608f8cec64669416186c62989783003dafa732b559c48905a129f8b/DSCF4107.JPG" data-mid="125492414" border="0"  src="https://freight.cargo.site/w/1000/i/11cb8b81f608f8cec64669416186c62989783003dafa732b559c48905a129f8b/DSCF4107.JPG" /&#62;
&#60;img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/2b08a567b1359e661e962b2cc76c42374922218062bfd2d5812dfb17bd7de3dd/DSCF4110.JPG" data-mid="125492419" border="0"  src="https://freight.cargo.site/w/1000/i/2b08a567b1359e661e962b2cc76c42374922218062bfd2d5812dfb17bd7de3dd/DSCF4110.JPG" /&#62;
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		<title>gimme gimme statement</title>
				
		<link>https://taylorbalkissoon.com/gimme-gimme-statement</link>

		<pubDate>Fri, 13 Aug 2021 20:42:35 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

		<guid isPermaLink="true">https://taylorbalkissoon.com/gimme-gimme-statement</guid>

		<description>In my adolescence and college years I regarded the art world as a space to theoretically live our truths, make beautiful things, and have meaningful interactions with different and interesting people. Now though, I’ve grown disillusioned, and realize art has not escaped our social and political history: It remains largely controlled by hyper wealthy white people. And while my white femme-ness has become a trojan horse in these spaces, and my black queerness a wellspring of power - I’ve found that “I came to fuck shit up” can only get you so far.

 It’s hard to talk about the tension between the idealist fantasies produced in the fine art world and the realities of marginalization that many queer, black, immigrant, female etc artists have come to ‘represent.’ I don’t like having my work mediated for white audiences. I don’t like having my curatorial efforts steered in a direction that conflicts with my views. I’m not interested in being an ambassador, and I’m certainly not interested in selling out. But it all feels unavoidable. This conflict is particularly difficult in a Western city like Denver - which has particularly low representation of black artists in contemporary art. I have no local black artist mentors to help me navigate these questions of race and privilege - nevermind the commodification and sale of our identities.

 In fact, my two most influential mentors in this city have been white men – Adam Gildar (who owns this gallery) and Adam Lerner (director of the MCA) – who most often assent to the intersection of capitalism and wealth without objection. I’ve formed close personal bonds with both of them that are fulfilling at times: emotionally, intellectually and philosophically – and frustrating at others: politically, socially and morally. Rashawn Griffin’s painting of Gildar, my partner Kristin and I demonstrates the lighter side of these relationships - the playful, idealist interactions we make time for - while also stripping us of artifice, putting our bodies and relationship on display. My installation in Gildar’s apartment builds on this transparency, allowing me to subvert the privacy of identity that his professional and political privilege provide.

 I am using this opportunity to take over Gildar’s decidedly white spaces to address the extreme discomfort I feel pursuing a career in a business that is mitigated by identity and power structures that ultimately enforce the binary of blackness and whiteness. The dream of transcending this polarization is particularly alluring to those of us who are multiracial, yet here we are tethered to both our blackness and whiteness. Patrice Washington’s ceramic contribution most directly addresses this concern by quoting a cinematic story of a tragic mulatta. Kahlil Zawadi contributes heavy concrete casts of both milk jugs and 40oz malt liquor bottles, arranged to demonstrate how white hegemony influenced the way he has structured his identity since childhood.

 In structuring my own multiracial identity (and my work), I am always forced to analyze what I own and what I don’t own, what is for sale and what is not for sale. If the complex relationship between white guilt and black frustration has become a monetary exchange, is there a limit?&#38;nbsp; How do we make art and make money without perpetuating an exchange that capitalizes on pain and class-consciousness as an acceptable norm? Can we engage in the commerce of identity while still staying true to our senses of cultural obligation and personal beliefs? If I continue to put the full emotional weight of these questions and experiences on my shoulders I will drown. I have to play the game and I have to do me. I can own my blackness, my queerness, and my femmeness, and you can buy it.

 Artist Jayson Musson’s satirical persona Hennessy Youngman once gave advice to budding black artists in a 2010 episode of his Art Thoughtz video series. He told us to “be unpredictable and exotic to white people, appear to be in line with black intellectual fads and what have you, and exploit slavery in the production of art objects for bourgeoisie white consuming audiences.” The punchline still hits close to home seven years later. We want to produce work, we need the money to do it, and it’s hard to imagine alternatives to making that happen under persistent conditions dictated by wealth, race, class and gender. While I’m unsure of art’s ability or need to affect societal change, I do hope to use my own agency and privilege in a straightforward manner; to highlight the power and beauty of the intersection between blackness, queerness, and femininity; and to bite the hands that feed and still get fed.</description>
		
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		<title>DESIGN</title>
				
		<link>https://taylorbalkissoon.com/DESIGN</link>

		<pubDate>Wed, 24 Nov 2021 01:41:54 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

		<guid isPermaLink="true">https://taylorbalkissoon.com/DESIGN</guid>

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	<item>
		<title>Index</title>
				
		<link>https://taylorbalkissoon.com/Index</link>

		<pubDate>Fri, 13 Aug 2021 20:24:40 +0000</pubDate>

		<dc:creator>Taylor Balkissoon</dc:creator>

		<guid isPermaLink="true">https://taylorbalkissoon.com/Index</guid>

		<description>
	



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