Rachel Rose (artist)

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Rachel Rose
Born1986 (age 32–33)
NationalityUnited States
EducationB.A. Yale University
M.A. Courtauld Institute of Art
M.F.A. Columbia University.
OccupationArtist
Known forDeft digital editing that aligns disparate visual images and historical references
Parent(s)Diana Calthorpe Rose
Jonathan F. P. Rose
FamilyPeter Calthorpe (uncle)
Frederick P. Rose (grandfather)

Rachel Rose (born 1986) is an American visual artist known for her video installations that merge moving images and sound within nuanced environments connecting them to broader subjects -- whether investigating cryogenics, the American Revolutionary War, modernist architecture, or the sensory experience of walking in outer space.[1][2][3][4][5] Rose has presented solo exhibits at the Serpentine Galleries and the Whitney Museum of Art.[6][7] Rose has presented solo exhibits at Fondazione Sandretto, Turin, Italy (2018); Philadelphia Museum of Art, Philadelphia (2018); Kunsthaus Bregenz, Bregenz (2017); Museu Serralves, Porto (2016); The Aspen Art Museum, Aspen (2016); The Whitney Museum of American Art, New York (2015) and Serpentine Sackler Gallery, London (2015).[8][7][9]

Among her recent projects are Enclosure (2019), jointly commissioned by the Park Avenue Armory in New York and LUMA Foundation in Arles, Wil-o-Wisp (2018), jointly commissioned and owned by the Philadelphia Museum of Art and Fondazione Sandretto Re Rebaudengo; Everything and More (2015), presented at the Whitney Museum of American Art, New York; and Palisades (2015), at the Serpentine Sackler Gallery in London in 2014. Rose is the recipient of the 2015 Frieze Artist Award.

In addition to these and other solo exhibitions, the artist’s work has been featured in the 2018 Carnegie International, the 2017 Venice Biennale, the 2016 São Paulo Biennial, and numerous other group exhibitions. Rachel Rose is represented by Pilar Corrias Gallery, London and Gavin Brown’s enterprise, New York/Rome.

Early life and education[edit]

Rachel Rose was born to Diana and Jonathan F.P Rose in 1986. Her father is an urban planner with a focus on sustainable housing,[10] her uncle is the architect Peter Calthorpe.[11]She started her education by earning a B.A. in humanities and B.A. art from Yale University; an M.A. in art history from the Courtauld Institute of Art; and a M.F.A. from Columbia University.[12] She entered graduate school as a painter, and quickly shifted, she studied under Rirkrit Tiravanija.[13]

Work[edit]

Rose produces video installations juxtaposing images and sounds.[14] Whitney curator Christopher Y. Lew approved of “how she was able to gather such a mix of images, and of content as well, and weave it into a unique narrative. She pulled some kind of order out of our whirlpool of information, without ever denying the flood".[15] Her experiential pieces work to convey sensorial aspects of ideas by manipulating sound and image.[16] Her imagery depicts "humanity's shard current anxieties and their multi-layered interconnectivity" as well as humanities' relationship to the natural world, advancing technology, mortality, and history.[17]

The Taipei Biennial featured Rose's 2013 video, Sitting Feeding Sleeping.[18][19] She filmed this at a cryogenics lab in Arizona.[20] She also shot in zoos where she saw many different ways animals themselves were being presented. The third place she shot was in a robotics perception lab. All three of these spaces express a liminality between life and death, and the video expresses this.


Rose's 2014 video Palisades in Palisades focuses on the human relationship with the natural world and was shot in Palisades Interstate Park in New Jersey. She chose the park, just outside of Manhattan, because it sits on a rock face cliff. This site had been a place for the Battle of Fort Lee during the American Revolutionary War. This site was also the place where the term cliff-hanger was coined through the first TV series, The Perils of Pauline, which was shot there.[21] To create this feeling of circularity in her film she edited together sounds from across time. Showing the everyday with that of history to bring about depth where we normally wouldn’t look.[22]


Rose’s video A Minute Ago (2014) focuses on Philip Johnson's Glass House[23] and was shown in Rose's exhibition, Palisades, at the Serpentine Gallery in London in 2015. Palisades featured both A Minute Ago and Palisades in Palisades.[24][25] Her third work, A Minute Ago, came about after Hurricane Sandy had hit New York. The work takes its cues from two main reference points: found video footage of a hail storm that happened suddenly on a sunny day in 2014 in Novosibirsk, Siberia, and documentary footage of the architect Philip Johnson conducting a tour of his famous Glass House in New Canaan. In October 2015, Rose presented Everything and More, a solo show at the Whitney Museum of American Art.[2][26] Rose projected the video on a semi-transparent screen and covered the windows of the gallery's black box with opaque scrim to achieve an out-of-body feel. Everything and More was inspired by David Wolf's experience of a space walk.[4][5] The film was partially shot in a neutral buoyancy pool at the University of Maryland.[27]


In October 2015, Rose presented Everything and More, a solo show at the Whitney Museum of American Art.[28][29] Instead of blacking out the room’s floor-to-ceiling windows, Rose has covered them with a translucent scrim, dimming but not fully obscuring the view of the rooftop behind it, full of sculptures from the current Frank Stella retrospective. This unusual arrangement will have the disconcerting effect of merging Rose’s film with the urban scene just beyond the glass, taking advantage of the ever-changing cityscape to layer even more imagery on her densely visual, collage-like films. The film’s overall effect is to transport viewers into the void, even during snippets of an electronic dance music show. To capture the feeling of weightless described by Wolf, Rose filmed at the University of Maryland’s Neutral Buoyancy Laboratory, plunging a camera into the lab’s watery depths. She achieved the film’s abstract, vaguely extraterrestrial shots by filming in her kitchen materials with an air compressor on liquids such as milk, oil, water, and ink.[30]


In September 2016, Rose presented Lake Valley, a solo show at Pilar Corrias gallery in London.[31] While Rachel Rose was working on Lake Valley in 2016, she was connecting themes like life and death with childhood. This work was a first for the artist because she worked with a cell animator, together they created a new way to construct images from the 19th-century illustrations she archived. Each frame is a composite of elements from 19th-20th century children’s book illustrations cut, layered, and re-mapped for the present-day. The suburban places encountered in the video—the house, the parking lot, the park—are familiar and not. There is simultaneity of past and present in the surfaces of the video.[32]

The story of Lake Valley follows an imagined pet as it seeks attention on one particularly lonely day. The pet leaves its family in search of connection in the nearby green. The narrative is rooted in the theme of abandonment that permeates childhood in children’s literature. Abandonment, like a suburban house, is relatively ordinary experience sustained by everyday routines and anxieties.


Rose’s work Wil-o-Wisp (2018) draws from historical accounts of 17th C. agrarian England, the story follows Elspeth Blake, a mystic and healer, across three decades. Across a series of tableaux, we see her life unfold in a world where animism suffused the forest and magic was real. Meanwhile, the process of enclosure — the division of previously common land — was violently re-shaping the landscape into what would become modern industrialised society. By focusing in on this time and place, Rose redirects the past in which this perspective rooted in the supernatural, coincidence, and magical transformations might be rehabilitated towards imagining a future.[33] The Philadelphia Museum of Art featured Rose's Wil-o-Wisp in May of 2018.[34]


Rose’s latest work, Enclosure (2019), is presented on an originally developed holographic screen format and is a heist story about survival in the seventeenth-century agrarian English landscape, a period of radical economic, environmental and social transformation that left its disenfranchised in a state of uncertainty, susceptible to both fear and theft. The film bristles with parallels to the present: globalisation, the loss of public space, and the destruction of the landscape, all causes for displacement and demagoguery. Extending the visual and historical themes of Rose’s recent work Wil-o-Wisp (2018), Enclosure unfolds against the social and political backdrop of the Enclosure movement—the large-scale privatization of common land that transitioned England from a feudalist to a capitalist society.[35] In July 2019, Rose will present Enclosure, a solo show at Luma Arles in Arles, France.[36] The Park Avenue Armory will feature Rose's Enclosure in 2020.


Exhibitions[edit]

  • A Programming Language, Primary Work Surface, London, UK (2012)
  • Shelf Life, Primary Work Surface, London, UK  (2012)[37]
  • xoxo, Night Gallery, Los Angeles, CA (2013)
  • Sonic Hedgehog, Malraux’s Place, New York, NY (2013)[38]
  • Visual Arts Columbia University Thesis Show, Fisher Landau Center for Art, New York, NY (2013)
  • Uncanny Valleys, Electronic Arts Intermix, New York, NY (2013)[39]
  • Geographies of Contamination, David Roberts Art Foundation, London (2013)[40]
  • Chance Motives, Sculpture Center, New York, NY (2013)[39]
  • The Great Acceleration, Taipei Biennial, Taipei (2014)[39]
  • Phantom Limbs, Pilar Corrias Gallery, London, UK (2014) [41]
  • A Minute Ago, High Art, Paris, France (2014)[39]
  • The Elephant Test, Lothringer 13, Munich, Germany (2014) [42]
  • Welt am Draht at Julia Stoschek Collection, Berlin[43]
  • Palisades at the Serpentine Galleries London, UK (2015)[7]
  • Co-workers at the Musee D'Art Moderne Paris, France (2015)[44]
  • Everything and More at The Whitney Museum of American Art New York, NY (2015)[2]
  • Interiors at Castello di Rivoli Turin, Italy (2015)[45]
  • Visitors, Governor's Island, New York, NY (2015)[46]
  • Works on Paper, Greene Naftali, New York, NY (2015) [47]
  • Visitors, Governor's Island, New York (2015)[39]
  • Cloud Cover, CCS Hessel Museum of Contemporary Art, Annandale-on-Hudson, New York (2015)[39]
  • The Importance of Being a (Moving) Image, National Gallery, Prague, Czechia (2015)[48]
  • This a Way, White Flag Projects, Saint Louis, MO (2015) [49]
  • The Infinite Mix at Hayward Gallery (2016)[50]
  • Take Me (I’m Yours), The Jewish Museum, New York, NY (2016)
  • Incerteza viva [Live Uncertainty], 32nd Bienal de Sao Paulo, Sao Paulo, Brazil (2016) [51]
  • Frozen World of the Familiar Stranger, Khoj, New Delhi, India (2016) [52]
  • Frozen World of the Familiar Stranger, Kadist, San Francisco, CA (2016) [53]
  • Invisible Adversaries, Marieluise Hessel Collection, The Hessel Museum of Art Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY (2016)[54]
  • Lake Valley at Pilar Corrias, London, UK (2016)[55]
  • Okayama Art Summit in Japan (2016)[56]
  • Rachel Rose at Aspen Art Museum Aspen, CO (2016)[57]
  • Life Itself at Moderna Museet Stockholm, Sweden (2016)[58]
  • Rachel Rose, Museu Serralves, Porto, Portugal (2016) [59]
  • Biennale, Venice, Italy (2017) [60]
  • Truth: 24 frames per second, Dallas Museum of Art, Dallas, TX  (2017)[61]
  • The Forecast, Croy Nielsen, Vienna, Austria (2017)[62]
  • In relation to a Spectator, Kestner Gesellschaft, Hanover, Germany (2017)[63]
  • Group Exhibition, SESC Palmas, Segurado, Palmas, Brazil (2017)
  • Generation Loss: 10 Years, Julia Stoschek Collection, Düsseldorf, Germany (2017)[64]
  • Tomorrow Will Still Be Ours, A Festival of Visionary Ideas, Activism & Arts[65]
  • GBE & The Tate Group, Gavin Brown’s enterprise, New York, NY (2017)
  • Lake Valley, Gavin Brown’s enterprise, New York, NY (2017)[66]
  • Rachel Rose, Kunsthaus Bregenz, Bregenz, Austria (2017)[67]
  • Enfance at Palais de Tokyo, Paris, France (2018)[68]
  • Carnegie International, Carnegie Museum of Art Pittsburgh, PA  (2018)[69]
  • One Day at a Time: Manny Farber and Termite Art, Museum of Contemporary Art,  Los Angeles, CA (2018)[70]
  • THE MOON, The Louisiana Museum of Modern Art, Humlebæk, Denmark  (2018)[71]
  • GIVE UP THE GHOST, Baltic Triennale XIII, Vilnius, Lithuania  (2018) [72]
  • A Minute Ago, Zabludowicz Collection, London, UK (2018) [73]
  • Rachel Rose: Wil-o-Wisp/The Future Fields Commission at Philadelphia Museum of Art (2018)[74]
  • Rachel Rose: Wil-o-Wisp/The Future Fields Commission at Fondazione Sandretto Re Rebaudengo, Turin, Italy (2018)[75]
  • Wil-O-Wisp, Pilar Corrias, London, UK (2019) [76]
  • Time Kills – Time-based art from the Julia Stoschek Collection, Sesc Avenida Paulista, São Paulo, Brazil (2019) [77]
  • The Moon – From Inner Worlds to Outer Space, Henie Onstad Kunstsenter, Høvikodden, Norway (2019) [78]
  • Enclosure, LUMA Arles, Arles, France (2019)
  • Enclosure, The Park Avenue Armory, New York, NY (2020)

Awards[edit]

Rose won the illy Present Future Prize at Artissima 2014[79] and the Frieze Artist Award for site-specific installations by emerging artists at the London fair.[80][81]

References[edit]

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  4. ^ a b W Magazine: "Rachel Rose: Art Star – The artist goes interstellar with her new Whitney exhibition" by Fan Zhong November 3, 2015
  5. ^ a b The New Yorker: "Seeing Stars – A young New Yorker brings her space odyssey to the Whitney" BY ANDREA K. SCOTT November 30, 2015
  6. ^ Ann Binlot (November 11, 2015). "Rachel Rose, Jared Madere Take Center Stage At The Whitney Art Party". Forbes. Retrieved July 14, 2015.
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  11. ^ New York Times: "Rachel Rose, Driven by Distraction, Heads to the Whitney" By BLAKE GOPNIK October 16, 2015 | She tidily leaves out one detail: His “planning” comes in the context of a vast real estate empire. Jonathan F. P. Rose, who develops sustainable housing, is the scion of the same Rose clan whose name is on Manhattan’s Rose Center for Earth and Space and the Brooklyn Academy of Music’s Rose Cinemas.)[verification needed]
  12. ^ Seehaus, Christoph (2016), "YouTube-Videos interaktiv gestalten", Video-Marketing mit YouTube, Springer Fachmedien Wiesbaden, pp. 11–19, ISBN 9783658102562, retrieved 2019-03-27[verification needed]
  13. ^ Seehaus, Christoph (2016), "YouTube-Videos interaktiv gestalten", Video-Marketing mit YouTube, Springer Fachmedien Wiesbaden, pp. 11–19, ISBN 9783658102562, retrieved 2019-03-27[verification needed]
  14. ^ Seehaus, Christoph (2016), "YouTube-Videos interaktiv gestalten", Video-Marketing mit YouTube, Springer Fachmedien Wiesbaden, pp. 11–19, ISBN 9783658102562, retrieved 2019-03-27[verification needed]
  15. ^ New York Times: "Rachel Rose, Driven by Distraction, Heads to the Whitney" By BLAKE GOPNIK October 16, 2015 | She tidily leaves out one detail: His “planning” comes in the context of a vast real estate empire. Jonathan F. P. Rose, who develops sustainable housing, is the scion of the same Rose clan whose name is on Manhattan’s Rose Center for Earth and Space and the Brooklyn Academy of Music’s Rose Cinemas.)
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  29. ^ Saisselin, Remy G.; Diamonstein, Barbaralee (1978). "The Art World: A Seventy-Five-Year Treasury of ARTnews". Leonardo. 11 (4): 336. doi:10.2307/1573973. ISSN 0024-094X.[verification needed]
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  34. ^ Barone, Joshua (2017-05-18). "Philadelphia Museum of Art Chooses Rachel Rose for New Commission". The New York Times. ISSN 0362-4331. Retrieved 2019-06-11.
  35. ^ "Page d'accueil – EN" (in French). Retrieved 2019-06-11.
  36. ^ d'Arles, Les Rencontres. "RACHEL ROSE". www.rencontres-arles.com. Retrieved 2019-06-11.
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  56. ^ Abrams, Amah-Rose (9 August 2016). "Liam Gillick Is Artistic Director of Okayama Art Summit's First Edition". ArtNet News. Retrieved 11 January 2017.
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  61. ^ "Truth: 24 frames per second". Apollo Magazine. 2017-10-20. Retrieved 2019-05-01.
  62. ^ "Croy Nielsen". Vienna Business Agency. Retrieved 2019-05-01.
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External links[edit]