info@breasouders.com
Brea Souders is a visual artist based in Brooklyn, NY, whose practice often intertwines technological phenomena with physical objects and the handmade. Her recent work explores concepts of selfhood, anonymity, and the virtual “other” within web-based culture. Looking at the historical and ongoing imprints of technology from a female perspective, she examines its impact on our bodies, identities, and perceptions of the world around us. Her published books include Another Online Pervert, (MACK, 2023) and Brea Souders: Eleven Years (Saint Lucy Books, 2021).
Souders has exhibited her work nationally and internationally, including solo exhibitions at Baxter St. at CCNY, Bruce Silverstein Gallery and the Abrons Arts Center in New York, as well as at Foam Museum, Amsterdam, Netherlands; the Centre Photographique Rouen Normandie, France; PhMuseum, Bologna, Italy; and Peckham 24, London, UK. She is the recipient of a Pollock-Krasner Foundation Grant and National Arts Club Fellowship, and was an artist-in-residence with Baxter St. at CCNY, Millay Arts, and the Artist House at St. Mary’s College, Maryland. Essays and reviews of her work have appeared in publications such as The New York Times, Artforum, Frieze, i-D, and The New Yorker.
Souders’ artist books are included in the library collections of the Museum of Modern Art; the Los Angeles County Museum of Art; the Getty Research Institute; Harvard University, Princeton University, Stanford University, the Amon Carter Museum of American Art and others. Her work is included in the survey books Photography is Magic (Aperture), Feelings: Soft Art (Rizzoli), The Photograph as Contemporary Art (Thames & Hudson), and others.
She is currently faculty with the International Center of Photography, and previously taught at Parsons / The New School. Recently, she has given talks and visited with students at UPenn, Princeton, Pratt, MICA, Notre Dame’s Raclin Murphy Museum, RIT and Whittier College.
Souders is a contributor of photographs and collages to various publications. Highlights include the creation of the cover photograph for The New York Times Sunday Review in its first series of opinion pieces on the End of Roe, as well as photographing a prosthetic robotic arm that communicates with the brain for the The New Yorker essay, “How to Control a Machine With Your Brain.” Public art pieces include five large photographic collage works for permanent display in the Wellcome Trust headquarters in London, the largest spanning over 20 feet.