Harrell Fletcher

Hallie Ford Fellow in the Visual Arts 2017

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Harrell Fletcher with his daughter Photo: Harold Hutchinson


Social Practice. 


Practicing artist and Professor of Art and Social Practice, Portland State University (PSU).


Fletcher has produced a variety of socially engaged collaborative and interdisciplinary projects since the early 1990s. For more than 25 years, Fletcher has been at the forefront of an art field called "social practice," a medium that seeks to engage audiences directly through the creation of intangible, collaborative experiences. Each of his projects is socially attuned and focused on the specifics of the place, often breaking down social and professional hierarchies.

His work has been shown at San Francisco Museum of Modern Art (SFMOMA); the de Young Museum; the Berkeley Art Museum; the Wattis Institute; Yerba Buena Center for the Arts in the San Francisco Bay Area; The Drawing Center; Socrates Sculpture Park; The Sculpture Center; The Wrong Gallery; Apex Art; and Smackmellon in New York City; and DiverseWorks and Aurora Picture show in Houston, Texas; PICA in Portland, Oregon; CoCA and The Seattle Art Museum in Seattle, Washington; Signal in Malmo, Sweden; Domain de Kerguehennec in France; The Tate Modern in London; and the National Gallery of Victoria in Melbourne, Australia. He was a participant in the 2004 Whitney Biennial and the 2005 recipient of the Alpert Award in Visual Arts.

Fletcher has work in the collections of the Museum of Modern Art, The Whitney Museum, and The New Museum, New York; San Francisco Museum of Modern Art (SFMOMA); The Hammer Museum; The Berkeley Art Museum; The De Young Museum; and The FRAC Brittany, France. Fletcher received his BFA from the San Francisco Art Institute and his MFA from California College of the Arts. He studied organic farming at University of California, Santa Cruz, and went on to work on a variety of small community-supported agriculture farms, which impacted his work as an artist.

Artist Quote

“Through my work and collaboration with institutions, I’ve had opportunities to bring attention to things I care about in a way that has also acted as institutional and social critique.”


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