Candice Lin (b. 1979, Concord, MA, USA) received her MFA from the San Francisco Art Institute in 2004. Recent exhibitions took place at Betonsalon, Paris, France; Human Resources, Commonwealth and Council, Ghebaly Gallery, LACE, Los Angeles; 18th Street Arts Center, Santa Monica; SculptureCenter, New York, USA; Koenig & Clinton and Gasworks, London, Umited Kingdom; CAAA, Guimaraes, Portugal. Lin lives and works in Los Angeles.


Born 1979, Concord, MA, USA
Lives and works in Los Angeles, CA, USA


M.F.A., San Francisco Art Institute, San Francisco, USA

Brown University, Providence, Rhode Island, USA

Solo and Two-person Exhibitions

A Hard White Body, Bétonsalon. Paris, France
LESBIAN GULLS, DEAD ZONES, SWEAT AND T., Human Resources, Los Angeles, USA (with Patrick Staff)

The mountain, Commonwealth and Council, Los Angeles, USA
A Body Reduced to Brilliant Colour, Gasworks, London, United Kingdom

You are a spacious fluid sac, Ghebaly Gallery, Los Angeles, USA
“It was only a moment for you”, CAAA (Centro para os Assents da Arte e Arquitectura), Guimarães, Portugal
Sycorax’s Garden, 18th Street Arts Center, Santa Monica, California, USA
Candice Lin / Martine Syms, Chan Gallery, Pomona College, Pomona, USA

Quadrado Azul at Present Future, Artissima, Turin, Italy (curated by Catalina Lozano)

The long-lasting intimacy of strangers, Galeria Quadrado Azul, Porto, Portugal

It Makes the Patient See Pictures, Ghebaly Gallery, Los Angeles, USA
Inanimism, Hudson D. Walker Gallery, Provincetown, Massachusetts, USA

Holograms, Ghebaly Gallery, Los Angeles, USA

The Sexual Life of Savages, Chung King Project, Los Angeles, USA

Sicknesses of the Spirit, Lisa Dent Gallery, San Francisco, USA

Selected Group Exhibitions

New Museum, New York, USA (Upcoming, curated by Johanna Burton and Sara O’Keeffe)
Canibalia, redux, HANGAR, Lison, Portugal (curated by Julia Morandeira Arrizabalaga)
In Practice: Material Deviance, SculptureCenter, New York, USA (curated by Alexis Wilkinson)

The Ecstasy of Mary Shelley, LACE, Los Angeles, USA (curated by Virginia Broersma, Nick Brown and Kio Griffith)
Galeria Fortes Vilaca, Sao Paulo, Brazil (curated by Kiki Mazzucchelli)
This Wicked Tongue, Charlie James Gallery, Los Angeles, USA (curated by Cindy Rehm)
Current: LA Public Art Biennial, presented by the Department of Cultural Affairs, Los Angeles, USA
Albert Herter, Caitlin Keogh, and Candice Lin, Koenig & Clinton, New York, USA

Transformation Marathon, Serpentine Galleries, London, United Kingdom
Cumuli II, Trading Places, L40, Berlin, Germany (curated by Robert Gschwantner, Ralf Hoedt, Jana Müller, Regine Müller – Waldeck, Simon Wachsmuth, Vanja Sisek, Nina Mielcarczyk and curator Susanne Prin)
Canibalia, Kadist Art Foundation, Paris, France

A Machine desires instructions as a garden desires discipline, FRAC Lorraine, France; Alhondiga Bilbao, Spain (curated by Catalina Lozano)
Spectacular Subdivision, High Desert Test Sites, Wonder Valley, California, USA (curated by Jay Lizo)
Unruly, Wignall Museum of Contemporary Art, Rancho Cucamonga, CA, USA (curated by Roman Stollenwerk)

MexiCali Biennial, Cannibalism in the New World, Vincent Price Art Museum, Monterey Park, CA, USA (curated by Ed Gomez, Luis G. Hernandez, Amy Pederson)
True Believers, Torrance Art Museum, Torrance, CA, USA
Folding Time Rhymes, Greene Exhibitions, Los Angeles, USA

Shapes and Forces, Quadrado Azul Gallery, Porto, Portugal (curated by Oscar Faria)
Los Angeles-Contemporary Tendencies, Helene Bailly Gallery, Paris, France
Cave-In, Cueva Arcillas, Puerto Rico (curated by Ramiken Crucible)
Beached, Provincetown Art Association and Museum, Provincetown, Massachusetts, USA
Plus ou moins sorcières, La Maison Populaire, Montreuil, France (curated by Anna Colin)
Deep Space, Ghebaly Gallery, Los Angeles, USA

Ghetto Biennial 2, Port au Prince, Haiti (curated by Leah Gordon)
ARTLAB+Film Forum: Women Empowered, Hirshhorn Museum and Transformer Gallery, Washington, DC, USA (curated by Adoma Owusu)
Black is the Color of True, in conjunction with Pacifi c Standard Time: Art in L.A. 1945-1980, Co/Lab & Monte Vista, Los Angeles, USA. Organized by the Getty Center (curated by Jay Lizo)
Suggested Reading, The Fellows of Contemporary Art, Los Angeles, CA, (Curated by Kristine Thompson)
Eslov Wide Shut, Eslövs Kommun and Mallorca Landings, Blomsterberg’s Warehouse, Eslöv, Sweden (curated by Stefan Lundgren and Liv Stolz)
Whole New Animal, Intimate Theater, Luckman Fine Arts Complex, California State University L.A., Los Angeles, USA
Becoming Animal, Glendale College Art Gallery, Glendale, California, USA
Gathered in a Clearing, LEVEL, Brisbane, Australia (curated by CamLab)
Bodies and/as Things, Cerritos College Art Gallery, Cerritos, CA, USA

The Mystics Circle, Human Resources, Los Angeles, USA
Nor Or, Pieter, Los Angeles, USA
Dream-In, Armand Hammer Museum, Los Angeles, USA
Monte Vista, 12 Gauge series, Torrance Art Museum, Torrance, CA, USA
Bad Thing, Sea and Space, Los Angeles, CA

Because the Night, Guggenheim Gallery, Chapman University, Orange, CA, USA
Glue, Paper, Scissors, Luckman Fine Arts Complex, Los Angeles, USA

The Ups & Downs, Betalevel, Los Angeles, USA
The Mystical, Scatological, and the Occult, Montevista, Los Angeles, USA
Alternative Places, LAX Airport, Los Angeles, USA

The Sundowners, Happy Lion Gallery, Los Angeles, USA
Humor Us, La Municipal Art Gallery, Los Angeles, USA
The Pyramid Show, Monte Vista, Los Angeles, USA
American Symposium, Armory Center for the Arts, Pasadena, CA, USA
The Ordinary Fantastic, Milliken Gallery, Stockholm, Sweden
A Warning Shouldn’t be Pleasant, West Los Angeles College Gallery, Los Angeles, USA
Beautiful Deceptions, Studio Avenue 50, Los Angeles, USA
Conversation with the Artists, Los Angeles Municipal Art Gallery at Barnsdall Park, Los Angeles, USA

Video Picnic, Variety Candy, Los Angeles, USA
Halloweird, 111 Minna Gallery, San Francisco; Central Cinema, Seattle,
Axiom Theater, Houston; Out North, Anchorage; Project 101, Paris; CHOAS Studios, Colorado Springs; Indie Memphis, Memphis (curated by Microcinema International)
Brave New World, Lizabeth Oliveria Gallery, Los Angeles, USA
Sean Horchy, Candice Lin, and Tim Sullivan, Lisa Dent Gallery, San Francisco, USA
Video-Drive-IN: OK. Quoi?!, Contemporary Arts Festival, Struts Gallery, Sackville, New Brunswick, Canada

Awards – Residencies

Artist in Residence Program
Headlands Center for the Arts, San Francisco, USA

Artist Lab Resident, 18th Street Arts Center, Santa Monica, USA

California Community Foundation Emerging Artist Fellowship
Delfina Foundation, Politics of Food, Short Residency, London, United Kingdom

Investing in Artists, Center for Cultural Innovation, Los Angeles, USA
Non-Senate Faculty Development Award, University of California, Riverside, USA
Artist in Residence, Fine Arts Work Center, Provincetown, Massachusetts, USA

Artist Resource Completion Grant, Center for Cultural Innovation, Los Angeles, USA
Artist in Residence, Deutsche Börse Residency Program, Frankfurter Kunstverein, Germany
Artist in Residence, Sacatar Foundation, Brazil

Los Angeles Department of Cultural Affairs Cultural Exchange International Pilot Program Awardee Thematic Residency 11: Beyond Former Heaven, The Institute of
Ethnographic Surrealism, Banff Art Centre, Canada

Smithsonian Artist Research Fellowship, Washington, DC, USA

CESTA Artist Residency, Tabor, Czech Republic
San Francisco Art Institute Artist Book Contest Award, San Francisco, USA

San Francisco Art Institute Annual Artist Book Contest Award, San Francisco, USA


Avner, Janna. “Candice Lin and Dan Bayles at Ghebaly Gallery.” Contemporary Art Review Los Angeles 30 September 2015. Web.
Diehl, Travis. “Critic’s Picks.” ARTFORUM October 2015. Web.
Mizota, Sharon. “Review: Candice Lin explores the unruliness of the natural order at Ghebaly Gallery.” Los Angeles Times 16 October 2015.
Wagley, Catherine. “5 art shows you should see in LA this week.” LA Weekly, 24 September 2015. Web.
CAConrad, “Painted Pigeon Project (for Candice Lin)” Ecodeviance: (Soma)tics for the Future Wilderness. 2014.

Gourbe, Geraldine. “Candice Lin: In front of our dumbfounded eyes is a world savagely and skillfully hallucinated.” East of Borneo 26 March 2013. Web.

Diehl, Travis. “Reviews: Candice Lin.”ARTFORUM 51.4 (2012): 285-286. Print.
Mizota, Sharon. “Review: Candice Lin’s unsettling take on contemporary society.” Los Angeles Times 12 October 2012: D14. Print.
Steffen, Patrick. “Interview: Candice Lin.” Flash Art, May/June 2013: 133. Print.
Tuck, Geoff . “Candice Lin at Francois Ghebaly.” Notes on Looking, Contemporary Art from LA. Notes on Looking, 10 November 2010. Web.

Kearney, Douglas. “Triptych: Pit Brow Lass Worksong.” Suggested Reading, Published by FOCA and Kristine Thompson, 2011.

Wolf, Kate, “Reviews and Picks: Looking into L’Origine du Monde.” Art Slant. 23 November 2010. Web.

Carrier, Johana and Marine Pagés[ [ed.], Roven editions, Volume 1, Spring-Summer, Paris, April 2009

Alexander, Will and Stan Apps, Marcus Civin, Candice Lin and Mat Timmons, Nest by Marcus Civin and Candice Lin, A Collaboration, The Ups and Downs, Los Angeles: Insert Press, 2008.

Wagley, Catherine. “Blood Pact, Review: The Sundowners at the Happy Lion.” Art Slant 2 December 2007.
Olofsson, Anders, “Milliken Gallery, Stockholm: Ordinary Fantastic.” Konsten 15 May 2007.

Borman, Greg, “Sean Horchy, Candice Lin and Tim Sullivan.” San Francisco Art Magazine August
Janku, Laura Richard, “Regional Roundup.” Art Info 3 August 2006. Web.
Knight, Christopher, “Witty, Odd, and Hopeful: Gender and Eroticism.” Los Angeles Times 21 July 2006.

Wiseman, Goody-B, “I Like a Look of Agony: The Work of Candice Lin and Alice Cattaneo.” C International Contemporary Art 84 Winter (2005).


Crawling Doubles, Colonial Collecting and Aff ects, Idea Books

Reading and Smoking (in collaboration with Patrick Staff), Transformation Marathon, Serpentine Galleries
Artist booklet, in conjunction with the exhibition “It was only a moment for you,” produced by CAAA, Guimaraes, Portugal

On Gala Porras-Kim, Prism of Reality, issue Number 3
Animal Shelter, Volume 4: Art, Sex, Literature, edited by Hedi El-Khoti and Robert Dewhurst, Semiotext(e)







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