Monica Majoli
Professor
Painting
M.F.A. University of California, Los Angeles
Monica Majoli’s practice examines the relationship between physicality and consciousness as expressed through the documentary sexual image. Themes of intersubjectivity and temporality have informed numerous bodies of her work, along with decisive shifts in materiality. She has had solo exhibitions in New York at Galerie Buchholz (2019), Gagosian Gallery (2006), and Feature, Inc. (1998); at Air de Paris, France (2014, 2010, 2007, 1995); and in Los Angeles at Hannah Hoffman Gallery (2023) and L & M Arts (2012).
Highlights from her exhibition record include Made in L.A. 2020: a version, the Hammer Museum and the Huntington Museum (2020); A Slow Succession with Many Interruptions, the Museum of Modern Art, San Francisco (2017); Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawing Collection, the Museum of Modern Art, New York (2009); Everywhere: Sexual Diversity Policies in Art, Centro Galego de Arte Contemporánea, Spain (2009); Eden’s Edge: 15 L.A. Artists, the Hammer Museum, Los Angeles (2007); Into Me/Out of Me, P.S.1 Contemporary Art Center, New York (2006); Supereal, Marella Arte Contemporanea, Milan, Italy (2002); LA Post-Cool, San Jose Museum of Art (2002); Scene of the Crime, the Hammer Museum, Los Angeles (1997); and In a Different Light, Berkeley Art Museum (1995). Her Rubberman series was featured in both the 2006 Whitney Biennial and the 2006 Berlin Biennial of Contemporary Art at KW Institute of Contemporary Art.
Majoli received the Mohn Career Achievement Award in 2020 for Made in L.A. 2020: a version. She was also awarded a Fellows of Contemporary Art fellowship in 2006 and a Getty Grant from the California Community Foundation in 2002. She was appointed the Diebenkorn Teaching Fellow at the San Francisco Art Institute in 2001 and received a residency at the Headlands Center for the Arts. A member of the UC Irvine faculty since 2006, she has also taught at UCLA, UC Berkeley, and the Graduate Studies program at Yale University School of Art.
Her work has been discussed in Monica Majoli: Primary Materials for Black Mirror (Galerie Buchholz and Air de Paris, 2021); Bound Together: Leather, Sex, Archives, and Contemporary Art (Rethinking Art’s Histories, 2020) by Andy Campbell; The Queer Art of Failure (Duke University Press, 2010) by Judith Halberstam; Naked in America (Rizzoli, 2010) by Bram Dijkstra; Art—A Sex Book (Thames & Hudson, 2003) by Bruce Hainley and John Waters; Lesbian Art in America (Rizzoli, 2000) by Harmony Hammond; Opposite Sex: Gay Men on Lesbians, Lesbians on Gay Men (NYU Press, 1998) by Sara Miles and Eric Rofes; and Damn Fine Art (Cassell, 1996) by Cherry Smyth.
Majoli’s work is represented in the permanent collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Hammer Museum, Los Angeles; the Museum of Modern Art, San Francisco; the Los Angeles County Museum of Art; and the Getty Research Institute, Los Angeles.
