Her work is in the collections of The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Art Institute of Chicago; Los Angeles County Museum of Art; Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; Moderna Museet, Stockholm; and Museum Ludwig, Cologne, among many others. artnet und unsere Partner verwenden Cookies, um Funktionen und Anwendungen auf den Webseiten zu ermöglichen und zu verbessern. Always, there’s an undertow of comedy in her work, as in a wall piece, “Teaching Bo to Count Backwards” (1996-97), that is composed of a shelf made of an inverted roof gutter, bearing thirty brands of canned black olives. Few artists are as irreverent as Rachel Harrison, whose first full-scale, mid-career survey—“Rachel Harrison Life Hack”—opens at the Whitney Museum of American Art this week. There is too much, on purpose, because I’m not going to give you the thing you want.”. Harrison agreed, but tepidly. Whitney Museum of American Art Rachel Harrison’s sculptures possess a wild and perplexing eclecticism that makes it difficult to ascertain the exact meaning and emotional tenor of her imagery. To revisit this article, visit My Profile, then View saved stories. Rachel Harrison renews the tradition of collage and assemblage with her installations, in which sculpture, painting, video, found images and objects collide and give rise to seemingly disjointed constellations of forms. Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. She drank from a mug of tea and paced from piece to piece. Lives and works in New York. On one of my visits, we noted the comings and goings of an old Mercedes, colored an arrestingly ugly tan. At the right, she stands fully apart, with an exultant expression and a raised index finger: one! programs. For years, she collected the busts—blond and blue-eyed, in one instance—on eBay, with an idea, since abandoned, that they might find a new home in her sculpture. I thought, Uh-uh! In Hoarders, Harrison fuses video and sound with her signature cement and brightly-hued acrylic blobs that seem to defy gravity, floating precariously over the other, scrappier elements in her sculpture (you know a Rachel Harrison when you see one). Americans with Disabilities Act Statement. b. Untabled (Title) 1694, 2017. Yale University Art Gallery, New Haven, Connecticut, P 415.758.2585 She despises nearly all public art, for its obliviousness of the actualities of public life. So that I could better understand her taste, Harrison and I toured the Metropolitan, the Frick, and moma. To find out more, including which third-party cookies we place and how to manage cookies, see our privacy policy. Instead, she zeroed in on “Diana the Huntress” (1776-95), a delectable small sculpture by Jean-Antoine Houdon. By visiting our website or transacting with us, you agree to this. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Pinterest (Opens in new window), Click to share on LinkedIn (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on Tumblr (Opens in new window), Click to share on Pocket (Opens in new window), Click to share on Telegram (Opens in new window), Click to share on WhatsApp (Opens in new window), Click to share on Skype (Opens in new window). Is the work a wishful feminist allegory of Bo Derek’s emancipation or just a nexus of different orders of reality and logic? The work of the sculptor Rachel Harrison is both the zestiest and the least digestible in contemporary art. Later, noting that repairs to the statue will entail entering it through a trapdoor concealed behind the horse’s saddle, she mused that “every sculpture should have a trapdoor.”. The Museum of Contemporary Art, Los Angeles Columbus Museum of Art, Columbus, Ohio She grabbed a few bits of wood and, with a red magic marker, wrote on them some phrases from recent news stories that had been on her mind—and her nerves. The Metropolitan Museum of Art, New York . It owes little to the reigning godheads of contemporary cool—Duchamp and Warhol, although she esteems them greatly—and much to the renegade audacities of Kurt Schwitters, Jean Dubuffet, Tony Smith, Anne Truitt, Robert Rauschenberg, Eva Hesse, and Paul Thek, with collegial inflections from numerous more recent artists, including Franz West, Mike Kelley, Haim Steinbach, David Hammons, and Isa Genzken. She lives and works in New York. Blanton Museum of Art, Austin, Texas In 1993, shortly after Harrison launched her art career, her mother died, from non-Hodgkin’s lymphoma. Harrison tackles matters of decorum and taste head on. Describing her approach as “intuition combined with thinking,” Rachel Harrison engages with art history and contemporary culture, and the role of the artist and sculpture in society, in her own flamboyant, totemic sculptures and installations. Harrison’s work adduces a novel canon of modern art. It takes time to realize that a work’s oddities submit to an over-all, exacting rightness of form. The Cleveland Museum of Art, Cleveland (Although she has taught in art departments—at Columbia, Yale, Cooper Union, Bard College, and elsewhere—she questions the value of M.F.A. “My art is always loaded. The pictures that Harrison took reveal no such semblance, but record the handprints of believers on the pane and the refractions of light from changing skies. I asked Harrison if she contemplated any new themes in her work. Find out more about the artist by … Whitney Museum of American Art, New York I sense a determined and cagey policy toward maleness: keep an eye on it. Musée National d’Art Moderne, Centre Georges Pompidou, Paris In the center, as the sum diminishes, she brightens and moves a little away from him.

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