Harrison, Rachel. Consider the Lobster and Other Essays.
This summer, the Center for Curatorial Studies at Bard College (CCS Bard) will present the first major survey of New York based artist Rachel Harrison. Entitled. Titled Consider the Lobster, after an essay by the late David Foster Wallace, the survey Rachel Harrison: Consider the Lobster and Other Essays,
Annandale-on-Hudson, Rachel Harrison: Museum with Walls. Rachel Harrison: Gloria.
The Cleveland Museum of Art. Cleveland, Ohio, From Wikipedia, the free encyclopedia. Guggenheim Museum, Retrieved 26 August BOMB magazine. October 1, Retrieved March 26, Rachel Harrison. Milwaukee Art Museum.
Rachel Harrison: if i did it. The New Yorker. Retrieved As an artist who works with performance and endurance, Barrett has previously positioned curators and collaborators as complicit in her care to question her artistic agency and interdependence within the structures and conditions of art.
She has explored the boundaries of submission by taking sleeping pills in a public gallery, competed in a wrestling match with a curator for her artist fee, been a BDSM submissive in a public space, and crawled on her hands and knees for twelve hours. As witnesses to the intimate procedures of unwrapping and installing these works of art, Handle illuminates the exhibition in its processes of becoming.
The video also shows Barrett circumambulating the final display of the exhibition, touching each work with her bare hands. Her performative touch disrupts existing practices of handling art that are based on the preservation and sanctification of objects.
Rosemarie Trockel born in , West Germany is renowned for her large scale knitted paintings. Monochromatic and oversized in scale, Menopause is a framed expanse of mauve wool, turned inside out and supported by canvas stretched over a wooden frame. The stitches produced by the skilled hands of the knitter are irregular and inconsistent, recalling the handmade tactility of their production.
Today, it is often identified as a quintessential Canadian food. She started out as a hair model for Vidal Sassoon, as well as a backup singer and dancer. Paralleling the ostensible disconnect between AI Gore's title and its form , the Honeywell T87 is itself doubly disconnected-functionally and physically-from the trunk of the sculpture. Stories and summaries for 56 years ago it differs from consider lobster feels like consider the u. The thermostat's flat manufactured surface marries awkwardly to the uneven handmade skin of the sculpture.
Trockel references a further dimension of feminized productivity and its lack : that of fertility and reproductive capacity. A throw of black felt is draped over one, and a postcard is pinned to another. Reflective black plexiglass cut into rectangular and circular shapes puddle the surrounding floor or lean against each other.
The railings evoke support, function, confinement, and decoration all at once. This work was created, and originally exhibited, in dialogue with a series of iconic black-and-white portraits taken by Robert Mapplethorpe of a sitter known as Thomas.
Originally the same size and volume, the gum shelves droop and sag over the course of their display, their shape and form visually diverging even as their material constitution essentially remains the same. This gum retains its associations with food, even though its pale peach flesh color is an artificial addition.
The work is brittle to touch, like toffee. The allure of this work is strong and evokes an embodied response, which is gratuitously granted when Barrett touches them in Handle. Books, writing, and the paraphernalia of administration feature throughout the practice of Alex Martinis Roe born in , Australia.
In her artworks, she offers text in the same way a friend or influential teacher offers a reading list, bringing the viewer onto the same page. The books are arranged according to textual and interpersonal relationships that exist between the female-identified authors.
In this work, Martinis Roe explores the effects of interpersonal and inter-relational knowledge by way of how documents, records, and people come into contact with each other and generate new relations. More than mere jelly looks to the institution, and the surplus and subterranean labor contained within it. The artworks respond to the conditions of their presentation, drawing their resources from inside the museum, library and borrowing from other institutions.
In this way, nothing accumulates or depletes, and a steady state is maintained. Mauve is chromatically inconsistent.