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Carol Jackson’s sculptures simultaneously seduce and repel the viewer. For BLEHH, on view in the Biennial, Jackson has carefully worked an elaborately decorative frame that holds neither artwork nor mirror and bizarrely seems to regurgitate strands of leather from an orifice near its top.
Jackson’s three other sculptures included in the Biennial, like much of her work, are inspired by the landscape around us; she begins with the forms of architectural details, such as cornices, combining multiple shapes and dissociating them from their original context and decorative purpose. The shapes are embedded with found images that, with close looking, reveal grandiose, unspoiled landscapes of the Western United States, taken from National Park Service and Department of Transportation webcams. The result is like an alien geode: a fractured reflection of our contemporary setting. In all of Jackson’s work, the absurdity of the combinations she creates veers toward kitsch but then burrows deeper, leaving us with an object that is uncomfortable and somehow inherently wrong.
Carol Jackson’s work is on view in the Museum’s second floor galleries.
Academy Records and Matt Hanner
Ei Arakawa and Carissa Rodriguez
Robert Ashley and Alex Waterman
Lisa Anne Auerbach
Lucien Castaing-Taylor, Véréna
Paravel, and Sensory Ethnography Lab
Critical Practices Inc.
Zackary Drucker and Rhys Ernst
Radamés “Juni” Figueroa
Gaylen Gerber with David Hammons,
Sherrie Levine, and Trevor Shimizu
Tony Greene curated by Richard
Hawkins and Catherine Opie
Yve Laris Cohen
My Barbarian (Malik Gaines, Jade Gordon
and Alexandro Segade)
Sara Greenberger Rafferty
Steve Reinke with Jessie Mott
Valerie Snobeck and Catherine Sullivan
Charline von Heyl
David Foster Wallace