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Tag Archives: Rachel Harrison

JAY DEFEO

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THE RIPPLE EFFECT pairs the work of Jay DeFeo with eleven younger artists—Trisha Donnelly, Sam Falls, Rachel Harrison, Wyatt Kahn, Ron Nagle, Gay Outlaw, Tobias Pils, R. H. Quaytman, Ugo Rondinone, Bosco Sodi, and Oscar Tuazon—in an exhibition in Aspen.

Co-organized with Le Consortium in Dijon, the Aspen Art Museum show is curated by Franck Gautherot and Seungduk Kim, with the participation of The Jay DeFeo Foundation in Berkeley.

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JAY DEFEO—THE RIPPLE EFFECT, through October 28.

ASPEN ART MUSEUM, 637 East Hyman Avenue, Aspen.

aspenartmuseum.org/jay-defeo-the-ripple-effect

Above: The Ripple Effect installation view. Photograph by Tony Prikryl .
Below: Jay DeFeo, Untitled, part of the Eternal Triangle series, 1980. Image credit: Aspen Art Museum.
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RACHEL HARRISON – PRASINE

RACHEL HARRISON—PRASINE, through June 17.

GREENE NAFTALI GALLERY, 508 West 26th Street, New York City.

greenenaftaligallery.com/exhibitions/rachel-harrison7RH1663_a-1280x1920

Rachel Harrison, Marilyn With Wall, 2017, Sheetrock, aluminum studs, wood, and chromogenic print. Image courtesy of Greene Naftali.Rachel Harrison, Marilyn With Wall, 2017. Sheetrock, aluminum studs, wood, and chromogenic print. Image credit: Greene Naftali, New York.RH1618_aa-1280x1920

Rachel Harrison,Untabled (Title) 1694, 2017, wood, polystyrene, cement, acrylic, Krion, gymnastics rings, straps, toy gun, and bandana. Image courtesy of Greene Naftali, New York.Rachel HarrisonUntabled (Title) 1694, 2017. Wood, polystyrene, cement, acrylic, Krion, gymnastics rings, straps, toy gun, and bandana. Image credit: Greene Naftali, New York.RH1585_a-1280x1920

Rachel Harrison, Every Sculpture Needs a Trap Door, 2017, wood, polystyrene, cardboard, burlap, cement, plastic, acrylic, lacquer, metal tin, pushpins, and Andrea Fraser’s Why Does Fred Sandback's Work Make Me Cry?. Image courtesy of Greene Naftali, New York.Rachel Harrison, Every Sculpture Needs a Trap Door, 2017. Wood, polystyrene, cardboard, burlap, cement, plastic, acrylic, lacquer, metal tin, pushpins, and Andrea Fraser’s Why Does Fred Sandback’s Work Make Me Cry?. Image credit: Greene Naftali, New York.RH1583_a-1280x1920

Rachel Harris, Bears Ears, 2017, wood, chicken wire, polystyrene, cardboard, burlap,cement, acrylic, enamel, Nu-Wave drywall cart, soccer ball, and USB flash drive with 38 Harun Farocki films. Images courtesy Greene Naftali, New York.Rachel Harrison, Bears Ears, 2017. Wood, chicken wire, polystyrene, cardboard, burlap, cement, acrylic, enamel, Nu-Wave drywall cart, soccer ball, and USB flash drive with 38 Harun Farocki films. Images credit: Greene Naftali, New York.RH1582_b-1280x1920

Rachel Harrision, Scifi, 2017, cardboard, cement, polystyrene, wood, burlap, and acrylic. Image courtesy of Greene Naftali, New York.Rachel Harrision, Scifi, 2017. Cardboard, cement, polystyrene, wood, burlap, and acrylic. Image credit: Greene Naftali, New York.

THE ’90S AT REGEN PROJECTS

Regen Projects’ Spring 2017 show is an extraordinary survey of art from the 1990s.

WHAT I LOVED: SELECTED WORKS FROM THE ’90S includes Catherine Opie’s Vaginal Davis and Justin Bond; Glenn Ligon’s Untitled (I Remember the Very Day); Lari Pittman’s Existential and Needy; Karen Kilimnik’s Actresses sisters as murderers; erotic work from Wolfgang Tillmans, Marilyn Minter, and Cindy Sherman; Elizabeth Peyton’s Stephen Malkmus; Jack Pierson’s large collage tribute to ’50s iconography, Self Portrait (James Dean); Mike Kelley’s Party Girl; wall texts by Kara Walker and Lawrence Weiner; and an extensive series of drawings by Raymond Pettibon. Sixty works by 27 artists are on view.

WHAT I LOVED: SELECTED WORKS FROM THE ’90S, through April 13, 2017.

REGEN PROJECTS, Los Angeles

regenprojects.com/exhibitions/what-i-loved-selected-works-from-the-90s

Glenn Ligon, Runaways [detail] 1993 Suite of 10 lithographs 16 x 12 inches each Courtesy Regen Projects Los Angeles

Glenn Ligon, Runaways [detail]1993
Suite of 10 lithographs
16 x 12 inches each
Courtesy Regen Projects Los Angeles