Bunny Rogers: Brig Und Ladder

July 7–Oct 9, 2017

In her work, Bunny Rogers draws from a personal cosmology to explore universal experiences of loss, alienation, and a search for belonging. Her layered installations, videos, and sculptures begin with wide-ranging yet highly specific references, from young-adult fiction and early 2000s cartoons, like Clone High, to autobiographical events and violent media spectacles, such as the 1999 Columbine High School shooting. Rogers’s techniques are equally idiosyncratic. She borrows from theater costuming, design, and industrial furniture manufacturing, and often crafts her work by hand. This hybrid approach gives Rogers’s objects and spaces a distinct texture; they read simultaneously as slick and intimate, highly constructed but also sincere. 

For her first museum solo show in the United States, Rogers creates a new body of work. The exhibition is on view in the John R. Eckel, Jr. Foundation Gallery on the Museum's first floor, which is free and open to the public.

This exhibition is organized by Elisabeth Sherman, assistant curator and Margaret Kross, curatorial assistant.

Major support for Bunny Rogers: Brig Und Ladder is provided by John R. Eckel, Jr. Foundation.

Generous support is provided by Jackson Tang.


View all


Installation view of Bunny Rogers: Brig Und Ladder

Remnants and Remembrance

By Elisabeth Sherman and Margaret Kross

"Neopets, The Walking Dead, Clone High, totem pole trench trope, Silence of the Lambs, Picasso’s harlequins, Tilikum, Flowers for Algernon, Lady Train, The Green Ribbon, The Ice Palace. Bunny Rogers is a collector of cultural artifacts."

Read essay

Explore works from this exhibition
in the Whitney's collection

View 2 works

In the News

"Stepping into a Bunny Rogers exhibition has the effect of a teleportation device."

"Bunny Rogers grew up on the internet, and her art vividly conveys a childhood lived partly in the real world and partly online.” 

"With Brig Und Ladder, Rogers once again exquisitely portrays a troubled mythic realm, quiet in the wake of violence.” 
The New Yorker

"There is no denying her skill in creating ambience and mood, her consummate craftsmanship and stagecraft, or her fascinatingly idiosyncratic re-envisioning of iconic images and events.”