•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Matthew Day Jackson

EXHIBITED AT THE SAATCHI GALLERY

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Matthew Day Jackson
Harriet (Last Portrait)

2006

Woodburned drawing, yarn, aniline dye, mother of pearl, abalone & black panther eyes on wood panel

243.8 x 182.9 cm
Matthew Day Jackson’s Harriet (Last Portrait) monumentalises the image of a black woman on a large oval panel. Working with the artisan techniques of wood-burning and precious stone inlaying, Jackson’s drawing alludes to both antique religious icons and the tradition of folk-craft. Coloured with aniline dye, a pigment used for staining fabric, and the collaged application of yarn, Jackson’s drawing conveys a stunning vivacity, offering a portrait of heroism that frames American cultural history with futuristic promise.
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Matthew Day Jackson
Hung, Drawn & Quartered II (Treeson)

2005

Tree branch, spiked leather, taxidermy eyes, braided rope, scythe handle (leg), birkenstocks, boot stretcher feet

198.1 x 61 x 15.2cm
Using found materials, Matthew Day Jackson’s sculptures appropriate the cultural symbolism of everyday objects to reassemble visions of American identity. Hanging from the ceiling as primitive mobile, Hung, Drawn and Quartered II is an abject effigy of a lynching. Constructed primarily of a tree branch, Jackson draws upon a romantic heritage, converting his felled utopia into an animistic totem: adding boggle eyes, scythe handle legs, leather studded ‘stockings’, and dangling Birkenstock feet. Uniting references to colonial optimism, native mysticism, pioneering technology, socialism, andhippie fashion, Jackson executes a portrait of lost ideals.
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Matthew Day Jackson
Alphorn with Quartered Stand (Horn of Lady Liberty)

2005

Woodburned drawing on dead tree trunk, handcarved, alphorn mouthpiece, abalone, epoxy, aniline dye, shellac & tree root

213.4 x 182.9 x 487.7 cm
Staging an uprooted tree trunk as trumpet, Matthew Day Jackson’s Alphorn With Quartered Stand poses as a figurative call for revolution. Harking back to an age of political innocence, Jackson adopts readymade natural form as an allegory of freedom; positioned beside a stump carved with an eagle insignia, the horn’s dead and varnished tendrils stand as monument and relic. Drawing reference to the American Transcendentalists and new world heroic folklore, Jackson’s sculpture resounds with a nostalgic patriotism reflective of contemporary discontents.
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Matthew Day Jackson
Dance of Destruction (Featuring

2005

Posters, stickers, photographs, acrylic, push pins & needlepoint

approx. 25 feet long, dimensions variable
Appropriating the media of grass-roots protest, Matthew Day Jackson’s Dance of Destruction is a conglomeration of prints and photographs fly-posted on the gallery wall. Satirically heralding the greatness of America, Jackson places images out of context, rewriting his own ironic version of history. From the origins of a dynasty evidenced by George Washington’s face on the Sphynx, an antique advert boasting the bio-hazard construction of the White House, to a cavalier image of Ronald Reagan made up of his own conflicting words, Jackson revises a nation’s mythology, consolidating parody of current political issues with ‘how it might have been’.
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Matthew Day Jackson
Hungry Ghosts (from the Civil War Battlefield series)

2006

C-print and bumper

121.9 x 152.4 cm
Matthew Day Jackson’s Hungry Ghosts pictures the spirits of the American Civil War foraging for food; their barren field now lush parkland emblazoned with an environmental bumper sticker. Highlighting the discrepancy between the pioneering lore of America and the state of its current affairs, Jackson’s photograph conveys cultural critique, reuniting national allegiance with moral responsibility.
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Matthew Day Jackson
The Lower 48 - Wyoming

2006

48 c-prints

34.3 x 50.8 cm each

ARTICLES

Sculptor

Inspired by Russian Constructivism, Jackson is a different kind of Young Pioneer: a sculptor who repurposes frontier symbols for political aims. The Rutgers grad had one grandfather who was a cop and another in the Marines; his background filters into projects like Tomb of the Unknown, based on a tank barrier and made of the wooden particleboard found in prefab homes. “It’s about the people going to war being cast aside,” he says. His contribution to “Greater New York” is Sepulcher, a commanding sculpture based on a Viking burial ship; for the sail, he stitched his own punk-rock T-shirts into the form of a Mondrian painting.

Read the entire article here
Source: newyorkmetro.com