West German artist Natascha Sadr Haghighian (b. 1968) investigates modes of perception and the politics of representation in an expansive conceptual practice that includes performance, writing, video, installation and online projects. She is particularly interested in the consumption of visual art – a field the artist identifies as a reflection of its wider socioeconomic context. I can’t work like this (2007) was conceived in response to a gallery’s invitation to feature her work as the sole exhibition in a commercial art fair booth; the piece was intended to mount a tacit assault on a strolling audience of potential buyers. Continue reading Natascha Sadr Haghighian, I Can’t Work Like This
Tag Archives: Storylines
Modern Art Monday Presents: Ivan Navarro’s Homeless Lamp, The Juice Sucker
Ivan Navarro uses electric light as his primary medium, appropriate the austere visual language of Minimalism and imbuing it with political resonance. For Homeless Lamp, the Juice Sucker (2004–05), he built a grocery cart out of fluorescent tubes and, with it, wandered to the gallery-lined streets of Manhattan’s Chelsea neighborhood. The luminous sculpture evokes the work of Dan Flavin while also referencing an object commonly repurposed by homeless people for storage and transportation. Continue reading Modern Art Monday Presents: Ivan Navarro’s Homeless Lamp, The Juice Sucker
Rachel Harrison, All In the Family
Rachel Harrison (b. 1966) deploys a wide range of influences in her work, combining art-historical and pop-cultural citations with explorations of material, color and form. Her hybrid sculptures enact a range of dialogues — between handcrafted and commercially produced objects, aesthetic and consumer goods, among others — and engage broader social and political histories of exchange.
Maurizio Cattelan, Daddy, Daddy
Daddy, Daddy (2008) by Italian artist Maurizio Cattelan, is a sculpture of Walt Disney’s Pinocchio that was originally conceived for the Guggenheim Museum’s group exhibition, theanyspacewhatever (2008 – 2009). Cattelan installed the work in the fountain at the base of the Frank Lloyd Wright-designed rotunda, suggesting that hapless puppet has plummeted to his death from the ramps above and drowned.
Though Disney’s Pinocchio eventually finds a happy ending through moral redemption, Cattelan’s puppet is titled with a filial cry for approval or protection that has apparently gone unanswered.
Photographed in the Guggenheim Museum on the final day of their Storylines Exhibit.