Rachel Harrison
Hack
25 Oct 2019 - 12 Jan 2020
Installation view of Rachel Harrison Life Hack (Whitney Museum of American Art, New York, October 25, 2019–January 12, 2020). Should home windows or shutters be required to withstand a direct hit from an eight-foot-long two-by-four shot from a cannon at 34 miles an hour, without creating a hole big enough to let through a three inch sphere?, 1996/2019. Photograph by Ron Amstutz
Installation view of Rachel Harrison Life Hack (Whitney Museum of American Art, New York, October 25, 2019–January 12, 2020). From left to right: Mind the Gap, 1996; 2 a.m. 2nd Ave., 1996; Teaching Bo to Count Backwards, 1996–97; Jacob’s Arm, 1997; Oil of Olay, 1997; Four Quartets, 1998. Photograph by Ron Amstutz
Installation view of Rachel Harrison Life Hack (Whitney Museum of American Art, New York, October 25, 2019–January 12, 2020). From left to right: Gray or Roan Colt, 2004; Cindy, 2004; Nice Rack, 2006; Valid Like Salad, 2012; 20 × 24” (for CDL), 1999; Untitled, 2012; Brownie, 2005; Hoarders, 2012; Huffy Howler, 2004; Alexander the Great, 2007; Springs, 2017. Photograph by Ron Amstutz
Installation view of Rachel Harrison Life Hack (Whitney Museum of American Art, New York, October 25, 2019–January 12, 2020). From left to right: Nice Rack, 2006; Valid Like Salad, 2012; Hoarders, 2012; Huffy Howler, 2004; Springs, 2017. Photograph by Ron Amstutz
Rachel Harrison, Hack, exhibition view at the Whitey Museum, New York, 2019
Installation view of Rachel Harrison Life Hack (Whitney Museum of American Art, New York, October 25, 2019–January 12, 2020). From left to right: Dinner, 1991; I Like What’s Nice, c. 1995; Leaktite Luck, 1995. Photograph by Ron Amstutz
Installation view of Rachel Harrison Life Hack (Whitney Museum of American Art, New York, October 25, 2019–January 12, 2020). FullHD, 2019. Photograph by Ron Amstutz
Rachel Harrison’s (b. 1966) first full-scale survey will track the development of her career over the past twenty-five years, incorporating room-size installations, autonomous sculpture, photography, and drawing. Harrison's complex works—in which readymades collude with invented forms—bring together the breadth of art history, the impurities of politics, and the artifacts of pop and celebrity culture. The exhibition will include approximately one hundred works spanning the early 1990s to the present, drawn from private and public collections throughout the world.
This exhibition is organized by Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography, and David Joselit, Distinguished Professor, Graduate Center, City University of New York, with Kelly Long, curatorial assistant.
This exhibition is organized by Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography, and David Joselit, Distinguished Professor, Graduate Center, City University of New York, with Kelly Long, curatorial assistant.