German artist From Wikipedia, the free encyclopedia
Josephine Meckseper is a German-born artist, based in New York City.[1] Her large-scale installations and films have been exhibited in various international biennials and museum shows worldwide.
Quick Facts Born, Known for ...
Josephine Meckseper
Born
Lilienthal, Lower Saxony, Germany
Knownfor
installation, sculpture, painting, photography, film
Awards
John Simon Guggenheim Memorial Foundation Fellowship
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Meckseper grew up in Worpswede, Germany, an artist community founded at the beginning of the 20th century, by a group of artists including Heinrich Vogeler (1872- 1942).[2] Vogeler was a diverse political artist and architect whose early work is situated within the Jugendstil movement, a German offspring of Art Nouveau. Paula Modersohn-Becker (1876-1907) and the writer and poet Rainer Maria Rilke (1875-1926), both lived in Worpswede for parts of their life.
Early Work: Meckseper’s first films time at CalArts coincided with the Gulf War and the Los Angeles riots, 1992; during this politically-charged period her first installations and films reflected upon the actions of the Situationist International who advocated experimentation with the construction of situations, namely setting up environments as alternatives to capitalist order.[6] Meckseper’s subsequent short films followed a similar principle and were filmed at Anti-capitalist and Anti-war protests in different parts of the world; as well as at the Mall of America in Minneapolis.
Meckseper’s film PELLEA[S], 2018 adapts the Symbolist play Pelléas et Mélisande (1892), weaving together fictional scenarios and dramatic footage captured by the artist at the 2017 presidential inauguration and the landmark women’s march that followed. Conflating contemporary political realities to Arnold Schoenberg’s modernist sound poem of Pelléas et Mélisande, the city of Washington, D.C. and its architecture become a context and site of departure, giving voice to debates around notions of gender found in the original play. Meckseper expresses through cinema the dramatic narratives and relationships contained within the universe of her signature glass and mirror vitrines, and draws a direct correlation to the way early Modernism and the avant-garde developed into a form of political and aesthetic resistance to classism and capitalism.
FAT Magazine
In 1994, Meckseper founded FAT Magazine, a conceptual magazine project distributed at newsstands and in supermarkets, but also exhibited in galleries and museums in the form of wallpaper. It was inspired by political theorist and radical publisher Jean-Paul Marat’s newspaper, published during the French Revolution called L'Ami du peuple and the avant-garde tradition of breaking down barriers between art and life.[7] Since 1994 Meckseper has published five issues: Good and Evil (1994); Surrender (1995/1996); on Fire (1997); Overflow (1999); Objectification (2018).[8]
Vitrines
Installation view, “Josephine Meckseper,” Parrish Art Museum, Water Mill, NY, 2013
While Meckseper’s earliest vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest, documented in her film works, her later steel and glass vitrines, allude to the political dimension of early modernist Bauhaus display architecture and design between World War I and II in Weimar Germany. Meckseper melds the aesthetic language of early modernism with her own objects and paintings and footage of historical and political undercurrents, taking on a similar function as Mies van der Rohe’s well-known designs and glass structures for art collections: art and art history are on display. Often contained within Meckseper’s displays are paintings that nod to 20th century European modernist art, such as Russian constructivism.[10]
Manhattan Oil Project
In 2012, her public art project Manhattan Oil Project, commissioned by the Art Production Fund, was installed on the corner of 46th Street and 8th Avenue in New York City.[11] Consisting of two monumental kinetic sculptures modeled after mid-20th century oil pumps, these 25 feet tall sculptures were inspired by oil pumps that the artist discovered in Electra, a boarded-up town once famous for being the pump jack capital of Texas. Placed in a vacant lot next to Times Square, the fully motorized pump jacks recalled the ruins of ghost towns, forgotten monuments of America's decaying industrial past.[12]
Lucklow, Dirk, and Snoeck Verlag, ed. Viehof Collection: International Contemporary Art. Koln: Snoeck Verlag, 2016.
Meckseper, Josephine, and Francesco Bonami. Josephine Meckseper. New York: FLAG Art Foundation, 2011.
Saadawi, Ghalya, ed. Sharjah Biennial 10: Plot for a Biennial. Sharjah, United Arab Emirates: Sharjah Art Foundation, 2011.
Bonami, Francesco, and Gary Carrion-Muriyari, eds. 2010, Whitney Biennial (Whitney Museum of American Art, New York, NY). New Haven: Yale University Press, 2010.
Matt, Gerald, Cathérine Hug and Thomas Mießgang, eds. 1989. Ende der Geschichte oder Beginn der Zukunft (Kunsthalle Wien and Villa Schöningen). Nuernberg: Verlag für moderne Kunst, 2009.
Amira Gad, Juan A. Gaitán, Nicolaus Schafhausen, Monika Szewczyk, eds. Morality. Witte de With Center for Contemporary Art, 2009.
Müller, Vanessa Joan, ed. Béton Brut, Dance in My Experience (Kunstverein für die Rheinlande und Westfalen, Düsseldorf). Schwarzach am Main: Benedict Press, 2009.
Bloemink, Barbara, et. al, Prospect.1 New Orleans. Brooklyn: Picturebox, 2008.
Steinbrügge, Bettina, René Zechlin, and Sabine Schaschl-Cooper, eds. Cooling Out - On the Paradox of Feminism. Zürich: JRP|Ringier, 2008.
Weibel, Peter, Common Affairs: Steirischer Herbst 2008. Graz: Edition Camera Austria, 2008.
Jansen, Gregor, Thomas Thiel, eds. Vertrautes Terrain - Aktuelle Positionen in & über Deutschland. ZKM / Museum für Neue Kunst, Karlsruhe, 2008.
Brand, Roy, ed. Bare Life. Museum on the Seam, Jerusalem, 2007.
Enwezor, Okwui, Christian Hoeller, and Marion Ackermann, eds. Josephine Meckseper. Ostfildern: Hatje Cantz Verlag, 2007.
Hooper, Rachel. “Satire and a Cynical Smile: Josephine Meckseper.” Brave New Worlds, edited by Doryun Chung and Yasmil Raymond, Minneapolis: Walker Art Center, 2007.
Merali, Shaheen, ed. New York – States of Mind. London: Saqi, 2007.
Ribeiro, Antonio Pinto. An Atlas of Events. Calouste Gulbenkian Foundation, 2007.
Dailey, Meghan and Norman Rosenthal, USA Today: New American Art from The Saatchi Gallery. London: Royal Academy of Arts, 2006.
Day For Night (Whitney Biennial 2006). New York: Henry N. Abrams, Inc., 2006.
Enwezor, Okwui, ed. The Unhomely: Phantom Scenes in Global Society (2nd International Biennial of Contemporary Art of Seville). Seville: Fundación BIACS, 2006.
Trial Balloons. Museo de Arte Contemporaneo de Castilla y Leon, MUSAC, Leon, 2006.
Expérience de la durée (Biennale d’art contemporain de Lyon 2005). Paris: Paris Musées, 2005.
Holert, Tom and Heike Munder, eds. The Future Has a Silver Lining: Genealogies of Glamour (Migros Museum für Gegenwartskunst, Zurich), 2004.
Kelsey, John, and Andrew Ross. The Josephine Meckseper Catalogue. New York: Lukas & Sternberg, 2004.
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