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Projects

Max Hooper Schneider

Female Odobenid, 2019 (P15)

Max Hooper Schneider, Pet Semiosis 5: Lethal Injection (Burmese), 2015, acrylic tank, preserved roadkill snakes, found arroyo objects and detritus, shed snake skin, cat bones, freeze-dried crickets, polymer resin, gravel, sand quartz, photoluminescent pigment, antiquated glass, shredded car tire, plastic plants and succulents, wood, assorted stones, barbed wired, dried seed pods, elk antler pieces, vintage lighter, formed pewter, mammal blood, sliced geodes, concrete, neon sign, 35.6 x 25.4 x 30.5 cm. Courtesy: the artist and Jenny’s, Los Angeles; photo: Michael Underwood

Max Hooper Schneider, Pet Semiosis 5: Lethal Injection (Burmese), 2015, acrylic tank, preserved roadkill snakes, found arroyo objects and detritus, shed snake skin, cat bones, freeze-dried crickets, polymer resin, gravel, sand quartz, photoluminescent pigment, antiquated glass, shredded car tire, plastic plants and succulents, wood, assorted stones, barbed wired, dried seed pods, elk antler pieces, vintage lighter, formed pewter, mammal blood, sliced geodes, concrete, neon sign, 35.6 x 25.4 x 30.5 cm. Courtesy: the artist and Jenny’s, Los Angeles; photo: Michael Underwood

Max Hooper Schneider’s background in landscape architecture and biological systems heavily informs his artwork; research and scientific investigation are key to his process. Schneider explore the relationship between philosophy and nature, the personal and the political, destruction and consruction, and the connections between what he calls non-human and human agents. Blending his diverse areas of expertise, Schneider’s idiosyncratic sculptures, installations, and drawings challenge conventional systems of classification, and suggest a worldview that strives to dislocate humans from their assumed position of centrality and superiority as knowers and actors in the world. Female Odobenid (2019) exemplifies Schneider’s exploration of evolution and a potential future in which humans and animals become one. 

Max Hooper Schneider (b.1982, Los Angeles) lives in Los Angeles. Schneider has had solo exhibitions at Jenny’s, Los Angeles (2018 and 2014); High Art, Paris (2015); Kayne Griffin Corcoran (2015); and Vavassori, Milan (2013). His works has been featured in group shows including the Baltic Triennial 13 - Give Up The Ghost, Contemporary Art Centre, Vilnius (2018); Mutations, The High Line, New York (2017-18); The Garden, ARoS Triennial, Aarhus, Denmark (2017); The New Normal, Ullens Center for Contemporary Art, Beijing (2017); the Mongolia Land Art Biennial (2012); and Streams of Warm Impermanence, David Roberts Art Foundation, London (2016). Schneider received his master’s degree in landscape architecture from Harvard’s Graduate School of Design (2011) and his B.A. in Design and Architecture Studies and Biology from New York University (2005). He also studied Social Science at the University of Chicago, Entomology at the University of Hawaii, Chemistry at Hunter College in New York, and Marine Biology at Santa Monica College. Schneider is the recipient of the 2017 BMW Journey Prize. In June 2019, Schneider will have his first institutional exhibition at the Hammer Museum, Los Angeles.

Presented with Jenny’s, Los Angeles