Rachel Harrison was born in 1966 in New York. She received a BA in fine art from Wesleyan University in 1989. During the 1990s, she 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. The resulting works, which mix the seemingly incommensurate languages of Minimalism and Pop, are powerful both as three-dimensional structures and as assemblages of two-dimensional imagery.

Harrison’s first solo show, at Arena Gallery in New York in 1996, was titled 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? In it, the artist created an installation that resembled an absurdly decorated interior, replete with such heterogeneous materials as photographs of trash bags, globs of brightly colored papier-mâché, and cans of peas. In other works—such as Unplugged, produced for the 2000 Whitney Biennial—Harrison utilizes sculpture as a display device to support photographs. She has frequently made reference to systems of belief—both religion and consumer culture—in her selection of images; for Perth Amboy (2001), for example, she took photographs of a New Jersey home where an image of the Virgin Mary had been spotted in condensation on a window. Her Posh Floored as Ali G Tackles Becks (2004), an installation at the Camden Arts Centre in London, consisted of videos and dynamic sculptures of found objects painted and set in plaster; here the composite readymade was converted into an abstract reference to a tabloid news story. Her more recent photographic series Voyage of the Beagle (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. Sculptures like Blazing Saddles (2003) and All in the Family (2012) enact a range of dialogues—between handcrafted and commercially produced objects, aesthetic and consumer goods, among other topics—and engage broader social and political histories of exchange.

Rachel Harrison
New York, 1966
USA

Current Exhibitions

More / Less

de la Cruz Collection

01 Dec — 30 Nov
More / Less groups works by several international contemporary artists, produced during the last thirty years. The exhibition wants to investigate shifts in contemporary visual culture creating a mutual dialogue between...

Past Exhibitions

Family Guy

Simon Lee London
03/10/2018 — 20/10/2018

Face and Form

de la Cruz Collection
01/12/2017 — 30/11/2018

Progressive Praxis

de la Cruz Collection
29/11/2016 — 29/11/2017

Rachel Harrison

Kraupa-Tuskany Zeidler
29/04/2016 — 25/06/2016

The Calder Prize 2005 – 2015

Pace London Burlington Gardens
04/02/2016 — 05/03/2016

Solo Shows

2004
San Francisco MoMA, San Francisco, California
Posh Floored as Ali G Tackles Beck, Arndt & Partner, Berlin
Posh Floored as Ali G Tackles Beck, Camden Arts Centre, London
Latka/Latkas, Greene Naftali, New York

2003
Kunsthall No 5, Bergen, Norway

2002
Currents 30: Rachel Harrison, Milwaukee Art Museum, Milwaukee, USA
Brides and Bases, Oakville Gallery, Oakville, Canada
Seven Sculptures, Arndt & Partner, Berlin

2001
Perth Amboy, Greene Naftali Gallery, New York

1999
Patent Pending: Beveled Rasp Sac, Greene Naftali Gallery, New York

1997
The Look of Dress-Separates, Greene Naftali Gallery, New York

1996
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?, Arena Gallery, Brooklyn, New York

Group Shows

2004
Carnegie International, Pittsburgh
Art Gallery of Ontario, Ontario, Canada
Hysterical, Galerie Dennis Kimmerich, Düsseldorf, curated by Michelle Maccarone
Last One On is a Soft Jimmy, curated by Kelley Walker, Paula Cooper, New York
Slouching Towards Bethlehem, The Project, New York
Patterson Beckwith: Home, American Fine Arts, New York
American Idyll, Greene Naftali Gallery, New York
Collage, Bloomberg SPACE, London
Open House: Working in Brooklyn, The Brooklyn Museum of Art, New York
Drunk vs. Stoned, Gavin Brown’s Enterprise, New York

2003
The Inconsiderable Things-Peter Fraser and Rachel Harrison, Brighton Photo Biennial
The Structure of Survival, 50. Venedig Biennale, Venedig, Italien
Teenage Rebel – The Bedroom Show, John Connelly Presents, New York
Rachel Harrison, Hirsch Perlman, Dieter Roth, Jack Smith, Rebecca Warren, Matthew Marks Gallery, New York

2002
Telling Stories, Haus der Kunst, München
Whitney Biennale, Whitney Museum of American Art, New York

2001
Off the Wall, Gallery 400, Chicago
Walker Evans & Company, Getty Museum, Los Angeles

2000
Full Serve: Celebrating Ten Years of Shows, Kenny Schachter/Rove, New York
The Armchair Project, Cinch, London
Superpredators, C.R.P., Brooklyn
Dusk, I-20 Gallery, New York
New York Projects, Delfina Project Space, London
Walker Evans & Company, The Museum of Modern Art, New York
Rapture, curated by Janet Phelps, New York
Trailer, Greene Naftali Gallery
Photography about Photography, Andrew Kreps Gallery, New York, curated by Liz Deschenes
Greater New York: New Art in New York Now, P.S.1 Contemporary Art Center, Long Island City, New York
Photasm, Arts Strium Gallery, Union College, Schenectady, New York; Hunter
College of the City University of New York

1999
DOPE. An XXX-Mas Show, American Fine Arts, Co,New York
I’m Not Here: Constructing Indentity at the Turn of the Century, Susquehanna Art Museum, Harrisburg, Pennsylvania
Sleeping Waters, Chantal Crousel, Paris
Still Life”, State University of New York College at Old Westbury
GIRLSCHOOL, Brenau University Galleries, Gainseville, Georgia
What Big Is, Geoffrey Young Gallery, Barrington, MA
New York Neither/Nor, Grand Arts, Kansas City, MO
Monochrome, Patrick Callery Gallery, New York
Free Coke, Greene Naftali Gallery, New York
Answer yes, no, or don’t know; Part II: Layers, Andrew Kreps Gallery, New York
Hypervision, Elizabeth Cherry Contemporary Art, Tuscon, AZ

1998
New Photography 14, Museum of Modern Art, New York
Summer Group Show, Turner & Runyon, Dallas, Texas
Installations/Projects, P.S.1 Contemporary Art Center, New York
Super Freaks: Post Pop & The New Generation; Part I: Trash, Greene Naftali Gallery, New York
Lo-Fi Baroque, Thread Waxing Space, New York
Science, Feature Gallery, New York

1997
Funny Pictures, Ten in One Gallery, Chicago
The New God, Andrea Rosen Gallery, New York
24 Seven, Galerie Kklaus Peter Goebel, Stuttgart
Paper Trail, Pierogi 2000, Brooklyn, New York
Current Undercurrent: Working in Brooklyn, Brooklyn Museum of Art, Brooklyn, New York
Summer of Love, Futouhi Cramer Gallery, New York
Prosthetic Garden Daniel Silverstein Gallery, New York
The Experimenters, Lombard-Freid Fine Arts, New York
Normotic, 1 Great Jones, New York
Anne Chu, Rachel Harrison, Donald Moffet, Jasmin Sian, Marc Foxx, Los Angeles

1996
Rachel Harrison and Michael Lazarus, Feature, New York
Space, Mind, Place, Andrea Rosen gallery, New York
Shit”, Baron Boisante Gallery, New York
Summer Exhibition”, Greene Naftali Gallery
Sex, Drugs and Explosives, New London Arts Forms, London, England
Sculpture Incorporating Photography, Feature Gallery, New York
Post Hoc, Stark Gallery, New York
Facing The Millenium: The Song Remains The Same, Arlington Museum, Arlington, Texas

1995
Oy, 121 Greene Street, New York
Summer Exhibition, Paolo Baldacci Gallery, New York
High Anxiety, 66 Crosby, New York
Looky Loo, Sculpture Center, New York
Dark Room”, Stark Gallery, New York

1994
UnSuccess, 479 Broome St, New York,
Tight, Tannery Gallery, London; Liverpool, England
Dirty, John Good Gallery, New York
Galerie Elizabeth Valleix, Paris
I Could Do That, 109 Spring Street, New York,
Pre-Existing Condition”, The Puffin Room, New York

1993
Poverty Pop: The Aesthetics of Necessity, Exit Art, New York
Resurrections, The William Benton Museum of Art, University of Connecticut at Storrs
Shooting Blanks, 81 Greene Street, New York
1920: The Sublety of Subversion, The Continuity of Intervention”, Exit Art, New York

1992
Simply Made In America, The Aldrich Museum of Contemporary Art, Ridgefield, CT;
Contemporary Art Center, Cincinnati, The Butler Institute of American Art in Youngston, Palm Beach Community College of Art, and the Delaware Art Museum in Wilmington
I Was Born Like This, Mulberry Street Gallery, New York
Seven Rooms/Seven Shows, P.S.1 Institute for Contemporary Art, Long Island City, New York
Morality Café, Postmasters Gallery, New York
Lesbian Museum, Franklin Furnace, New York

1991
Unlearning, 142 Greene Street, New York
Open Bar, Flamingo East, New York
The Neurotic Art Show, Four Walls Gallery, Brooklyn, New York

Contacts & Details

City of birth: New York Country of birth: USA Date of birth: 1966 Lives in: New York, USA