There’s material there for stories, many. Through Jan. 12 at the Whitney Museum of American Art, 99 Gansevoort Street, Manhattan; 212-570-3600, whitney.org. Few artists are as irreverent as Rachel Harrison, whose first full-scale, mid-career survey—“Rachel Harrison Life Hack”—opens at the Whitney Museum of American Art this week. 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. That piece is titled “Dinner” and is — or once was — just that. Photo: John Berens, Rachel Harrison, Hoarders, 2012. until 12 January 2020, “Museum for Preventive Imagination — EDITORIAL” at MACRO, Rome, Jana Euler “Unform” at Artists Space, New York, Jess Mai Walker “Eurodaemons” at ALMANAC INN, Turin, Kris Lemsalu Malone & Kyp Malone Lemsalu “Love Song Sing Along (Once Again With Feeling! Photo: Oren Slor, Rachel Harrison, All in the Family, 2012 Courtesy: the artist and Greene Naftali, New York. For across the exhibition’s landscape of contrasting materials and forms, Life Hack communicates the importance of curation, holistically connecting Harrison’s different material practices throughout the exhibition. Walker Art Center, Minneapolis. Famous for humorous, electric-colored mashups that draw deeply on pop culture, Harrison creates a complex language that’s singularly her own. Ms. Harrison’s art is really good at that. In general the work tends to grow more “sculptural” — in the sense of more concentrated, unitary, handmade — as time goes on. Inspired by India’s review? Sorry, your blog cannot share posts by email. You feel things will come clear if you just hang out longer. In this central gallery, a photographic series hangs on each wall, framing the sculptures. Oh, and I’ve learned that “life hack” is internetese for myriad improvised tricks or techniques devised to make the practical crises of daily existence — how to remove ketchup stains from a shirt, how to relax with strangers — more manageable. In using identifiable objects — plastic bags, mason jars, and in other galleries, trash cans and clothing — Harrison conjures the banal and “mundane.” In separating each element of the meal, she foregrounds each constituent part of the whole experience, elevating the deconstructed meal to the status of fine art. One look at the Reagan image has you scrambling for a political message. Rachel Harrison ”Rachel Harrison Life Hack” at Whitney Museum of American Art, New York Since the early 1990s, Rachel Harrison (b. The show’s inventories of sculptural ingredients can become quite elaborate. And even when new the piece had time-capsule features. Visitors were spending time with sculpture that, despite — or because of — its enigmatic zaniness, inspired a slow look. Installation view of “Rachel Harrison Life Hack,” a midcareer survey of the artist’s work at the Whitney Museum of American Art. In the show’s final gallery, an ensemble of 15 inventive sculptures is circled by outward-facing metal chairs, on which visitors are invited to sit. Each jar contains a plastic bag, some filled with inconspicuous liquids and notably one with cigarettes. Harrison’s work as presented in Life Hack overwhelmingly resists unity and conformity. Installation view of “Rachel Harrison Life Hack,” a midcareer survey of the artist’s work at the Whitney Museum of American Art.Credit...Charlie Rubin for The New York Times. Her repetitions and reconstructions draw attention to the process of making, playfully pulled from and towards disparate directions. ( Log Out /  Change ), You are commenting using your Google account. What are the politics of exhibiting a white American woman’s work in conversation with itself? Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. It has made us look, with a synthesizing eye, at every detail, and then, thwarted but living in hope, look again. 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). You feel things will come clear if you just hang out longer. Through the careful selection of works, curators, as proxy for the museum, decide which are Harrison’s most significant pieces, telling each visitor a story about her artistic development and significant interests. And here and there we find colorfully labeled cans of supermarket peas (do the brands still exist or are the cans archival?) Although Ms. Harrison is not credited as a curator, she is largely responsible for the show’s distinctive look. 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. On a recent Saturday there was strong foot traffic on the fifth floor of the Whitney Museum of American Art where the New York artist Rachel Harrison’s exuberant midcareer survey is installed.

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