German-born artist Josephine Meckseper has become known as a maverick talent, subverting both political mores and the art-world establishment with her film, photography, and installation work. (She once put “Help Wanted" signs in the window of a New York gallery, surrounded by signs that it had gone out of business.) The artist, represented by Andrea Rosen Gallery, has said that she doesn't want her work to be exclusively for art insiders, but to engage the interests of the average Joe as well. Now, for her new exhibition at the Parrish Museum, her signature blend of the paradoxes at play in advertising as well as in the art world can be experienced throughout the Southampton museum.
Only the second artist to show in the remodeled Parrish’s “Platform” series, she has created five large-scale sculptural works that interact with the museum’s outdoor space as well as its galleries, with inspirations ranging from minimalist architecture to automobile branding. The group of two works appearing outside consist of giant vitrines within which original sculptures and readymades intermingle, partially inspired by Mies van der Rohe’s German Pavilion for the 1929 International Exposition in Barcelona.
Inside, her mixed-media works Corvette and Crow employ actual car materials—ranging from tires to break lights—as comment on consumption, car culture, and even museum-going itself: her show will undoubtedly be viewed by the weekender crowd, who need to traverse highways to visit the Parrish. As always, her work makes ample use of humor, even self-deprecation.
Click through the slideshow to tour the exhibition, up through October 14.