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Rachel Feinstein

Rachel Feinstein, Bradbury, 2018 Oil enamel on mirror, 42 × 54 inches (106.7 × 137.2 cm)© Rachel Feinstein, photo by Jeff McLane

Rachel Feinstein, Bradbury, 2018

Oil enamel on mirror, 42 × 54 inches (106.7 × 137.2 cm)
© Rachel Feinstein, photo by Jeff McLane

Rachel Feinstein, Bandleader, 2018 Hand-applied color resin over foam with wooden base, 76 × 40 × 30 inches (193 × 101.6 × 76.2 cm)© Rachel Feinstein, photo by Jeff McLane

Rachel Feinstein, Bandleader, 2018

Hand-applied color resin over foam with wooden base, 76 × 40 × 30 inches (193 × 101.6 × 76.2 cm)
© Rachel Feinstein, photo by Jeff McLane

Rachel Feinstein, Girl on the Stairs, 2012 Oil enamel on mirror, 21 ½ × 18 inches (54.6 × 45.7 cm)© Rachel Feinstein

Rachel Feinstein, Girl on the Stairs, 2012

Oil enamel on mirror, 21 ½ × 18 inches (54.6 × 45.7 cm)
© Rachel Feinstein

About

I’ve always been interested in portraying some kind of fantasy, then showing that it’s completely constructed. There are always dark messages hidden behind beauty, and the act of sculpting is about listening to that inner voice that warns you about something lurking beneath the surface.
—Rachel Feinstein

In richly detailed sculptures and multipart installations, Rachel Feinstein investigates and challenges the concept of luxury as expressed in eighteenth- and nineteenth-century Europe, in the context of contemporary parallels. By synthesizing visual and societal opposites such as romance and pornography, elegance and kitsch, and the marvelous and the banal, she explores issues of taste and desire.

Born in Fort Defiance, Arizona, and raised in Miami, Feinstein received a BA in 1992 from Columbia University, New York, where she studied religion, philosophy, and studio art. That same year she attended the Skowhegan School of Painting and Sculpture in Madison, Maine. She found her passion for sculpture under the influence of mentors such as Kiki Smith, Ursula von Rydingsvard, and Judy Pfaff. In 1994 Feinstein was included in several group shows in New York, including Let the Artist Live! at Exit Art, where she presented a large gingerbread house modeled after Sleeping Beauty’s castle in which she slept throughout the exhibition.

Feinstein’s work was included in the first iteration of MoMA PS1’s Greater New York in 2000. She had her first solo exhibition at Marianne Boesky Gallery, New York, the following year, showing large plaster and wood sculptures of lions, swans, angels, and waterfalls, and transforming one of the galleries into an all-white Rococo-style salon, inspired by imperial palaces in Munich and Vienna. The construction of fantastical, multidimensional environments is integral to Feinstein’s practice. Preferring to see her work in complex interiors, she often brings Baroque elements into exhibition spaces, complicating the relationship between sculpture and painting, positive and negative space. The sculptures, viewed from certain angles, flatten, while the walls seem to expand through Feinstein’s use of mirrors and wallpaper.

Seeing her ornate sculptures reflected in her paintings on mirror from the early 2000s, Feinstein began to explore spatial landscapes, notably those depicted in panoramas from the 1800s. Using found images, she created hybrid arcadian landscapes printed on mirrored wallpaper. The first of these wallpapers, Panorama of Rome (2012), was installed in the elliptical gallery at Gagosian in Rome, offering visitors an impressionistic view of the city around them. In 2010–11 Feinstein transformed the modernist interior of Lever House, New York, into a snowy wonderland, rife with stylized elements of Rococo and Gothic design. Interpreting Hans Christian Anderson’s Snow Queen, she created a gilded carriage, groups of toy soldiers, arched alcoves containing characters from the story, and sublime architectural ruins painted onto floor-to-ceiling mirrors. Three years later her sculpture Folly (2014) was installed in New York’s Madison Square Park, marking Feinstein’s first public art exhibition in the US.

In 2018 Feinstein produced the Secrets series, comprising eight large-scale sculptures that reimagine the Victoria’s Secret “Angels,” as well as ceramic sculptures inspired by Franz Anton Bustelli’s Rococo commedia dell’arte figurines. As in much of her work, the theatrical and the intricate verge on the grotesque, becoming strangely erotic abstractions, and suggesting the body through its absence.

Rachel Feinstein

Photo: Markus Jans, Architectural Digest © Condé Nast

From the Quarterly

Fairs, Events & Announcements

Rachel Feinstein, Corine, 2018 © Rachel Feinstein

Public Installation

Frieze Sculpture

July 4–October 7, 2018
Regent’s Park, London
www.frieze.com

Clare Lilley, director of programs at Yorkshire Sculpture Park, has selected new and significant sculptures by leading artists around the world to be on view in Regent’s Park. A set of four majolica sculptures by Rachel Feinstein will be included.

Rachel Feinstein, Corine, 2018 © Rachel Feinstein

Honor

Hirshhorn Gala
Honors Women Artists

Each year at their annual gala, the Hirshhorn celebrates incredible artists from around the world who throughout their careers continue to challenge and inspire. This year Hirshhorn director Melissa Chiu is proud to honor thirty-one outstanding female artists—from pioneers of performance and video art to emerging painters and sculptors—whose collective contributions to the field have transformed the way we look at art and set the stage for generations of creative talents yet to come. Artists to be honored include Rachel Feinstein, Katharina Grosse, Taryn Simon, and Tatiana Trouvé. The gala will take place on November 6 at Lincoln Center in New York. 

Museum Exhibitions

Photo by Pierre Even

Closed

Rachel Feinstein
Wall of Rome

June 1–July 29, 2017
Le Mur, Paris
mursaintbon.com

Rachel Feinstein has covered the wall of Le Mur on rue Saint-Bon with a panoramic wallpaper of an impressionistic Rome. Read more about the artist’s process and philosophy.

Photo by Pierre Even