Selected works by Rachel Harrison

Rachel Harrison
Nose (and detail)


Wood, polystyrene, cement, acrylic, rubber, cardboard

193 x 76.2 x 45.7 cm
Rachel Harrison’s work draws from a wide range of influence, wittily combining art historical and pop cultural references through a diverse play of materials. In Nose, Harrison’s figure towers on a cardboard box plinth as an abject gargoyle, adorned with a plastic joke shop nose. Grotesque and funny, Harrison’s humour derives from its carefully structured, yet open-ended suggestion, each element building up to a plausible punch line. Using visual language as a subversive tool, Harrison parodies expected comparison to artists such as Franz West and Paul McCarthy,
appropriating styles and motifs with subtle knowingness, wielding artistic process as a mode of investigation.
Rachel Harrison
Glamour Wig


Wood, polystyrene, acrylic, ladder, synthetic wig, digital photograph

170.2 x 71.1 x 40.6 cm
Like many of her creations, Rachel Harrison’s Glamour Wig plays sculptural dress-up by combining abstract forms and color with manufactured readymade products. Pairing the silver glitz of a rock-star wig with the aluminum of a utility ladder, its long, bare legs leading up to a gaping mouth, Harrison’s figure suggests the comical decadence and sexual innuendos of a Glam Rock queen. Glamour Wig, a sculptural “space oddity,” lends itself well to the intentional artificiality, synthesized sound, and androgyny for which this genre became notorious.

Other Resources
Additional Information on Rachel Harrison
Contemporary and modern artists and art - Rachel Harrison

Rachel Harrison represented by Greene Naftali; including images and biographical information - 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."
Rachel Harrison is interested in the act of looking and of comprehending (or not) the entire visual field that surrounds us. Perth Amboy is a series of photographs of a window in a suburban New Jersey house upon which an apparition of the Virgin Mary reportedly appeared. - Rachel Harrison by Geraldine Postel
The jabberwocky art of Rachel Harrison, often seen in group shows has finally asserted itself in her first solo exhibition at Arena. In the Cobble Hill Victorian brownstone of Renée Riccardo, Harrison was inspired to create her own world through an installation involving certain issues of the 90s: home decorating, consumerism, and security. - Rachel Harrison: Brides and Bases
In recent years, Brooklyn-based artist Rachel Harrison has carved out a distinctive niche in contemporary art with works and installations that hybridize the sculptural, the painterly, and the photographic. Her work examines the condition of looking, wanting and having, with a finely tuned balance of sharp wit, wry sympathy and sensitive insight which is Harrison’s own. - Rachel Harrison at Greene Naftali by Nancy Princenthal
For all its apparent haphazardness, Rachel Harrison's new work adheres to a few steady principles. First impressions are designed to deceive. Raw is mixed with cooked, handmade with commercial, offhand with careful, cheap with pricey. - Bear necessities - Rachel Harrisonby Saul Anton, Bruce Hainley
In the dimly received 2002 Whitney Biennial commentators from diverse, even rival camps found one bright spot: Rachel Harrison's slipshod constructions that serve both as sculptures and as supports for found photos and objects. In light of the surprise critical accord, Saul Anton and Bruce Hainley offer their thoughts on an art that plays one medium off another. - Rachel Harrison: The Look of Dress-Separates;
Greene Naftali, New York, New York 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. - Show World Rachel Harrison at Greene Naftali by Jane Harris
If it's at all possible to create work that acknowledges art making to be an increasingly anachronistic practice while actively engaging its formal and critical legacies, Rachel Harrison does it with great aplomb.