In her ongoing “Veduta” series, Whitney Bedford subverts the historical tradition of landscape painting, exposing the ancient fallacy that humans and the environment exist in harmony. Great European masterpieces are ruptured by artificial fluorescent borders and neon copse; as Matthew Jeffrey Abrams describes in the catalogue essay, “[Bedford] takes a painting in her hands, then creases and folds it into a ruthless origami creation.”

The result is a cheerfully haunting requiem to the past that invites the viewer to reconsider their present perception of, and relationship with, the world. “After all,” muses Abrams, “What better way to satirize our own destruction than to grant it so much false nobility?”

Whitney Bedford (b. 1976 in Baltimore, MD) received her Bachelor of Fine Arts from the Rhode Island School of Design in Providence, RI, and her Master of Fine Arts degree from the University of California in Los Angeles, CA.

Bedford has been the subject of recent solo exhibitions at Vielmetter Los Angeles, Los Angeles, CA; Starkwhite Gallery, Auckland, New Zealand; Art: Concept, Paris, France; Carrie Secrist Gallery, Chicago, IL; Taymour Grahne, New York, NY, and more. Group exhibitions include international institutions such as Armory Center for the Arts, Pasadena, CA; The Jewish Museum, New York, NY; Massachusetts Museum of Contemporary Art, North Adams, MA; Museum of Contemporary Art, Denver, CO; and Saatchi Gallery, London, United Kingdom, among others.