If you have additional information or spotted an error, please send feedback to [email protected]. Migros Museum für Gegenwartskunst, Zürich In other works—such as Unplugged, produced for the 2000 Whitney Biennial—Harrison utilizes sculpture as a display device to support photographs. Carnegie Museum of Art, Pittsburgh Nor did Harrison mention other upcoming shows, at the Cleveland Museum of Art and at Regen Projects, in Los Angeles. Americans with Disabilities Act Statement. Rachel Harrison. She liked it, finding that she could engage the students in group projects, such as using math to plan and build a model of Michael Jackson’s Neverland ranch. J. Paul Getty Museum, Los Angeles She resists being photographed, and asked me not to name the neighborhoods in Brooklyn where she works, on two floors of a former industrial building—seldom with an assistant, a point of pride for her—and where she shares an apartment with her partner of ten years, the writer and editor Eric Banks. Sculpture with Boots, 2017. Part of a series that she has been working on for a couple of years, it was as striking in form as in wit, but she wasn’t yet sure how she would finish it. The addition fit perfectly, and turned the now barely legible offending hues mistily seductive. Soon we were sorting out best from next best, with attention to formal themes and variations in works ranging from tiny figures of various tribal origins to colossal Indonesian totems. This record is a work in progress. Recent solo exhibitions include House of the Dolphins, Rat Hole Gallery, Tokyo, 2018, Prasine, Greene Naftali, New York, 2017, Perth Amboy, The Museum of Modern Art, New York, 2016, Depth Jump to Second Box, Kraupa-Tuskany Zeidler, Berlin, 2016, Three Young Framers, Regen Projects, Los Angeles, 2015, Gloria: Rachel Harrison & Robert Rauschenberg, The Cleveland Museum of Art, Cleveland, 2015. In Nose, Harrison’s figure towers on a cardboard box plinth as an abject gargoyle, adorned with a plastic joke shop nose. Her work suggests standard categories of modern art—assemblage, construction, readymades—but evades them all, attaining a stalemate between figuration and abstraction. It may bear on a quality that Hal Foster noticed in her: a way of responding to past titans of art, up to and including Picasso, with neither piety nor any trace of generational revolt. One of the earliest sculptures by the artist Rachel Harrison I have seen is 20 × 24″ (for CDL), created in 1999. There is no front. How, if at all, these matters will register in her work, she wouldn’t say. We began talking about photography, and she drew me a sketch to explain an early work, from 1996, which I had seen and wondered about: a contact sheet of fifteen shots of people walking past a pile of green trash bags on a London sidewalk, interrupted by three pictures that show a roadside field, the interior of Salisbury Cathedral, and a mummy in the British Museum. More information is also available about the film collection and the Circulating Film and Video Library. 45 Main Street #515, Brooklyn, NY 11201, During the 1990s, Harrison developed an eclectic sculptural language in which abstract forms are juxtaposed with seemingly ignoble materials (jars of honey, aluminum cans) and peppered with pop-cultural references. Only she is. Untabled (Title) 1694, 2017. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. Her work sells at prices that are substantial—from about ten thousand dollars for a photograph to two hundred thousand for a large sculpture, Greene said—but nowhere near the millions that shower more biddable contemporaries. 1966) first full-scale survey will track the development of her career over the past twenty-five years, incorporating room-size installations, autonomous sculpture… Incidentally, it is elegant. Her father was born in Brooklyn, her mother in New Jersey; both came from Russian and Polish Jewish stock. The Cleveland Museum of Art, Cleveland who had promised, employing a Silicon Valley cliché, to “break shit.” Harrison is irritated, in general, by “startup companies calling themselves the new counterculture” when it’s really “just business.”, She also wrote “vertical patrolling,” the practice followed by New York City police officers in the stairwells of high-rise housing projects, which had figured in accounts of the fatal shooting of an unarmed African-American man in Brooklyn. Her more recent photographic series, (2007), named after Charles Darwin’s field journal, explores a wide gamut of figural representation ranging from mannequins to public sculptures, from taxidermy animals to 5000-year-old Corsican sculptures.

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