PRINT November 2002

Bear Necessities

In the dimly received 2002 Whitney Biennial commentators from diverse, even rival camps found one bright spot: RACHEL HARRISON’s slipshod constructions that serve both as sculptures and as supports for found photos and objects. Former editor SAUL ANTON offers his take on the surprise critical accord as well as his thoughts on an art that plays one medium off another.

It’s snotty, I know, but I tend to become that much more interested in an artist if, say, a journalist from one of the glossies turns to me and says: “I don’t get it. I mean, isn’t this just plain ugly?” Of course, you won’t always find the next Matthew Barney this way, but one should never overlook an artist who offends middlebrow cosmopolitan (Cosmopolitan?) taste. In any event, it’s an exchange I recently experienced in front of a sculpture by Rachel Harrison at Art Basel, where she was one of seventeen artists

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