Rachel Harrison at Greene Naftali by Mia Fineman
If most gallery shows are essentially one-liners, rewarding a few minutes of attention with a quick chuckle and a feeling of having "gotten it," Rachel Harrison's recent show at Greene Naftali was more like that long absurdist riddle about an elephant in a bathtub ending with the incomprehensible punch line, "No soap, radio."
Like the work of Jessica Stockholder and Jason Rhoades, Harrison's objects and installations fuse a mildly anarchic, neo-Dadaist sensibility with a free-wheeling, Home-Depot-inspired formalism. For the past few years, her work has been a prominent fixture in the many group shows curated by Kenny Schachter in and around New York; she made her solo debut last spring with an elaborate installation in the prewar parlor of the Arena Gallery in Brooklyn's Cobble Hill.
For her latest solo show, Harrison created a off-kilter world of creamy decorator pastels, a world in which a banal snapshot is mysteriously embedded in a boulder-like blob of cornflower-blue papier-mĂ˘chĂ©, a shelf is lined with a row of dusty cans of olives and celebrity photos, and petal-pink Styrofoam sheets are etched with melodramatic soap-opera phrases. Read the entire article hereSource:
Rachel Harrison: The Look of Dress-Separates by Devon Dikeou
After meandering through the fluorescently lit halls of 526 West 26th Street to finally emerge at Greene Naftali for the one person exhibition of Rachel Harrison, one encounters a peach wall blocking the entrance of the gallery with a magnetic sign board, seemingly having been lifted from an abandoned hospital. Through inspection (and/or the checklist), the viewer ascertains that the piece is entitled fegs (federal employment guidance service), and the tone is set for the inquisitive, wry treatment that Rachel Harrison achieves in her work. While most artists seemingly come up short when attempting to cross the barriers between photography, installation, picture making, and object making, Harrison not only gets it, but manages to make the embrace meaningful and memorable.
Scooting behind the employment menu from some antiquated government bureau, the single clean studded and painted wall gives way to the roughed-out construction revealing an L-shape set of walls (rather than a free standing uniwall), using materials normally associated with the artist's previous installations. This construction is adorned with a gigantic orange headless woman/goddess carved out of Styrofoam. Read the entire article hereSource: