Installation view
Installation view, photo by Matteo Piazza
Installation view Photo by Matteo Piazza
Installation view, photo by Matteo Piazza
Installation view Photo by Matteo Piazza
Installation view Photo by Matteo Piazza
Installation view Photo by Matteo Piazza
Installation view Photo by Matteo Piazza
Installation view Photo by Matteo Piazza
Installation view Photo by Matteo Piazza
Rachel Feinstein
Panorama of Rome 2012, 2012
Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)
Rachel Feinstein
Panorama of Rome 2012, 2012
Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)
Photo by Rob McKeever
Rachel Feinstein
Panorama of Rome 2012, 2012
Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)
Photo by Rob McKeever
Rachel Feinstein
Panorama of Rome 2012, 2012
Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)
Photo by Rob McKeever
Rachel Feinstein
St. Peter, 2012
Oil enamel on mirror, 46 × 26 inches (116.8 × 66 cm)
Photo by Giorgio Benni
Rachel Feinstein
Girl by Fountain, 2012
Oil enamel on mirror, 26 × 24 inches (66 × 61 cm)
Rachel Feinstein
St. Michael, 2012
Oil enamel on mirror, 31 × 21 ½ inches (78.7 × 54.6 cm)
Rachel Feinstein
Monk, 2012
Oil enamel on mirror, 31 × 24 inches (78.7 × 61 cm)
Rachel Feinstein
St. Christopher, 2012
Aqua resin, steel, wire, and wood, 104 × 76 × 35 inches (264.2 × 193 × 88.9 cm)
Photo by Giorgio Benni
Rachel Feinstein
St. Sebastian, 2012
Aqua resin, steel, wire and wood, 100 × 48 × 24 inches (254 × 121.9 × 61 cm)
Photo by Giorgio Benni
Rachel Feinstein
St. Michael, 2012
Aqua resin, steel, wire and wood, 102 × 56 × 30 inches (259.1 × 142.2 × 76.2 cm)
Photo by Giorgio Benni
Rachel Feinstein
St. Agatha, 2012
Aqua resin, steel, wire and wood, 100 × 48 × 38 inches (254 × 121.9 × 96.5 cm)
Photo by Giorgio Benni
I'll do a drawing, and then drawings of the drawing, and keep getting away from the source as many times over as I can so I don't just replicate. I'm not interested in trying to copy the object itself. And then sometimes I'll cut up the drawing and hot glue-gun the whole thing into a three-dimensional paper drawing, and either that will become a sculpture on its own—because that weird, flattened, planed-wood sculpture will be really beautiful—or I'll use that as a skeleton, and then I'll add stuff on top.
—Rachel Feinstein
Gagosian Gallery is pleased to present a site-specific installation by Rachel Feinstein. This is her first exhibition in Rome.
Feinstein's multi-part installations, which contain autonomous sculptures and paintings, reveal her singular flair for synthesizing a myriad of cultural fascinations—religion, myth, beauty, mortality, decadence—into vignettes of the marvelous. Oil paintings on mirrored surfaces, flat propped sculptures reminiscent of stage dressings, and abstracted reworkings of classical sculpture confront persistent issues of artistic representation such as theatricality and illusionism. By layering quotations from diverse artistic, architectural, cultural, and stylistic sources—from religious iconography to Baroque sculpture, Romantic landscapes, and popular cartoons—art and history are charged with a burlesque sensibility.
In this latest of her compelling fantasies, Feinstein has covered the interior gallery walls with a panoramic wallpaper of an impressionistic Rome. Sourcing and collaging diverse artistic visions of the city from different historical periods, she first made a large oil painting on mirror depicting this heterotopia of her own invention, where an eighteenth century piazza scene buzzing with life jostles against ancient ruins and an Arcadian landscape. This was then printed on mirrored wallpaper, to which five diamond-shaped glass mirrors, painted with faces, are fixed, merging cunningly with the background panorama while catching and reflecting the passing viewer's gaze.
The Bass Museum of Art, Miami Beach, is presenting Rachel Feinstein: The Miami Years (through August 17, 2025), an expansive exhibition of the artist’s multidisciplinary approach to sculpture. Ahead of the opening, Feinstein met with longtime friend and fellow artist Jack Pierson to reminisce about their years spent in Miami.
Join Rachel Feinstein in her New York studio as she addresses the genesis of her exhibition Mirror in London and the enduring power of religious iconography.
Famed photographer of the famous, Jean Pigozzi speaks with artist Rachel Feinstein about the publication of his new book, The 213 Most Important Men in My Life, and provides a sneak peek at what’s coming up next.
The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.
On the occasion of Frieze New York 2021, the two artists discuss remixing conventions, the allure of Rococo, and the importance of research and history within their respective practices.
The artist discusses her life and work with Alan Yentob.
The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.
A new sculpture by Rachel Feinstein has been unveiled on the grounds of Chatsworth, the celebrated Derbyshire estate, where Feinstein recently spent time as Gucci’s inaugural artist in residence. Alice Godwin tells the story of how it came to be.
Rachel Feinstein speaks about her outdoor installation for Frieze Sculpture 2018—a set of four majolica sculptures, inspired by Franz Anton Bustelli’s Rococo commedia dell’arte figurines.
Rachel Feinstein speaks to Gagosian’s Angela Brown about “bringing Rome to Paris,” for her exhibition at Le Mur.
