Michele Asselin is an artist best known for her photographic portraiture focusing on individual identities within larger social constructs. Early in her career she covered current events in Israel, primarily in the Gaza Strip and West Bank, for the Associated Press in Jerusalem (1994-1995). After relocating to the United States, she lived in New York and worked as an editorial photographer. Many of her iconic portraits of leading cultural and public figures, including Joe Biden, Hillary Clinton, Jeff Koons, Donald Trump and Kara Walker, have been widely published in The New Yorker, The New York Times Magazine, Time Magazine, Art and Auction, Esquire, New York Magazine, Modern Painter, London Sunday Guardian, and Wired, among others. In 2012, Asselin’s series, “Full Time Preferred: Portraits of Love, Work and Dependence,” which addresses domestic labor, maternity, immigration and privilege, was featured on the cover and in a eight-page spread in The New York Times Magazine. In her artistic practice, Asselin continues her examination of individuals and community and carries over many of the techniques and concentrations from her editorial work. Working with community organizations Street to Home and The Artist Fund, she made a photographic series on the tenants of a subsidized apartment building on Schermerhorn Street in Brooklyn (2010); with The National Domestic Workers Alliance on the occasion of a gala celebration held at Washington D.C.’s National Museum of Women in the Arts she created large-scale photographic portraits of domestic workers singled out for their activism towards securing the rights, dignity and labor protection of domestic workers in their region (2012); and with The Foundation for Facial Paralysis, portraits of women who have suffered facial paralysis and its effect on their sense of self (2013). Also in 2013, Asselin photographed Hollywood Park Race Track before its demolition, and returned in 2016 to photograph the abandoned Hollywood Park Casino and the detritus left behind. Her inclusion in the 2017 California-Pacific Triennial marks the debut of this body of work and Asselin’s first museum exhibition.