The Whitney to present Rachel Harrison’s first full-scale survey

Rachel Harrison

Rachel Harrison, Alexander the Great, 2007. Wood, chicken wire, polystyrene, cement, acrylic, mannequin, Jeff Gordon waste basket, plastic Abraham Lincoln mask, sunglasses, fabric, necklace, and two unidentified items, 87 x 91 x 40 inches (221 x 231.1 x 101.6 cm). The Museum of Modern Art, New York; Committee on Painting and Sculpture Funds, 2007; courtesy the artist and Greene Naftali, New York. Photograph by Jean Vong

NEW YORK – Since the early 1990s, Rachel Harrison (b. 1966) has combined pop-cultural, political, and art-historical references in her work, creating a distinctive visual language that is multi-layered and full of mordant wit. Rachel Harrison Life Hack is the first full-scale survey to track the development of Harrison’s career over the past 25 years, assembling approximately one hundred works, including sculptures, photographs, drawings, and installations, ranging in date from 1991 to the present.
Harrison’s complex works incorporate everything from consumer goods to cement, with objects both made and found. Cans of olives, remote controls, NASCAR paraphernalia, and a restaurant meal appear in configurations that open up simultaneous and unexpected layers of meaning. In her practice, Harrison brings together the breadth of art history, the impurities of politics, and the artifacts of pop and celebrity culture, conjuring unexpected, wryly humorous combinations and atmospheres that suggest allegories of the contemporary United States. A remarkable cast of characters appear in her work, ranging from Amy Winehouse to Abraham Lincoln, Mel Gibson to Marcel Duchamp, David Bowie to Angela Merkel, Hannah Wilke to Buckethead, and Bo Derek to Al Gore.

The exhibition, organized by Elisabeth Sussman and David Joselit, with Kelly Long, will fill the Museum’s fifth-floor galleries through January 12, 2020.

Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator, remarked: “Although Life Hack gathers together the most significant examples of Harrison’s art from across her career, she has brilliantly approached the exhibition itself almost as an entirely new work of art. Visitors will be immersed in a sequence of dramatic sculptural environments that unfold across the Whitney’s sprawling clear-span gallery, which was designed to inspire precisely such bold experimentation.”

As Sussman writes in her catalogue essay (entitled “Rachel Harrison: Two or Three Things I Know About Her” after a film by Jean-Luc Godard), “From the beginning, Harrison was omnivorous. Working on the principle that art should include everything, she made things and environments, she found stuff and collected it. Nor did she limit herself to a specific medium.” Sussman further comments: “Harrison’s importance lies in that she has absorbed commodity and media culture into a paradigm of object making. She has consistently kept at the task of making meaning out of modern-day life for thirty years, and her contribution to contemporary art is singular.”

Co-curator Joselit noted, “Drawing on past sculptural practice, from a wide and seemingly contradictory range of precedents including Michael Asher, Mike Kelley, Adrian Piper, and Fred Sandback, Harrison de-familiarizes museum space and exhibition practices. By playing with the idea of pedestal and wall and often exploiting the ad hoc qualities of assemblage, she undermines the sense that a work or an installation is ever finished by calling attention to how it is framed.”

The installation is loosely chronological, beginning with a gallery devoted to works from the 1990s, then moving into more thematic and atmospheric spaces punctuated by smaller galleries devoted to specific bodies of work (a selection of Harrison’s Amy Winehouse drawings, for example). Two large galleries in the exhibition engage with the idea of civic space and monumentality, providing complex, evocative environments for Harrison’s work that are further activated by the presence of viewers.

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