I am an American artist working primarily in photography, text and collage, often blending digital phenomena with physical objects and the handmade. My recent work explores selfhood, anonymity and the virtual other within web-based culture. I look at the historical, ongoing, and prospective imprints of technology through a female lens, exploring its impact on our bodies, identities, and perceptions of the world around us. My last two books are Another Online Pervert (MACK, 2023) and Brea Souders: eleven years (Saint Lucy Books, 2021). I am based in Brooklyn, NY.
My 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. I’ve held solo exhibitions of my work at Baxter St. at CCNY, Bruce Silverstein Gallery and the Abrons Arts Center in New York, as well as at the Centre Photographique Rouen Normandie, France, and the Peel Art Gallery, Museum and Archives, Canada. Essays and reviews of my work have appeared in The New York Times, Artforum, Frieze, Los Angeles Review of Books, i-D, ARTnews and The New Yorker. My work is included in the books Photography is Magic (Aperture), Feelings: Soft Art (Rizzoli), The Photograph as Contemporary Art (Thames & Hudson), and others.
I have been a recipient of the 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. I’m currently faculty with the International Center for Photography, and previously taught at Parsons / The New School. Recently, I’ve given talks and visited with students at UPenn, Princeton, Pratt, MICA, Notre Dame’s Raclin Murphy Museum, RIT and Whittier College.
I am 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.
Feel free to say hello at info@breasouders.com.