In large-scale canvases as well as collaborative books and prints, Suzanne McClelland (b. Jacksonville, FL) has opened new avenues for painting, exploring its visual, linguistic and acoustic dimensions in light of broader cultural and political concerns. McClelland privileges the act of listening and the value of the hand-drawn line – her work celebrates the physicality of speech and sound, and examines the evolution of meaning as it makes its way through the body and into space. McClelland parses such issues as the limitations and malleability of communication, the impact technology has on interpreting information, and the mechanics of translation. Her works are infused with social commentary, underscoring the way in which language itself is gendered and politicized by its context.
Suzanne McClelland has exhibited extensively in the United States and abroad since the early 1990s. The artist has had solo presentations at the Aldrich Museum of Contemporary Art, the Whitney Museum of American Art (Philip Morris), the Fralin Museum of Art at the University of Virginia, and the Orlando Museum of Art, among others. McClelland participated in the 1993 and 2014 Whitney Biennials and her work has been presented in group exhibitions, such as those at the Metropolitan Museum of Art, Wexner Center for the Arts, and the New Museum of Contemporary Art. The artist has been the recipient of numerous awards, including a Guggenheim Fellowship in 2019, Anonymous Was A Woman Award, and a Nancy Graves Foundation Grant; and participated in international residencies, including most recently the Troedsson Villa Residency (2019) in Nikko, Japan. Her work is held in numerous public collections including that of the Brooklyn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Norton Museum of Art, the Walker Art Center, and the Whitney Museum of American Art, among others. McClelland lives and works between New York and the tip of Long Island, NY.