Rosemarie Trockel

Gladstone Gallery | West 21st St

When Rosemarie Trockel began showing in New York in the late ’80s, her best-known work—machine-made woolen pieces presented as “paintings” and minimalist cubes with stove-top burners—seemed to categorize her as interested in the female domestic realm. She became known in the shorthand of the moment as “the knit person,” but a certain chilliness or ironic distance pervaded these pieces; this somewhat mocking stance problematized easy feminist labels, suggesting instead a stranger, more idiosyncratic engagement with questions of female subjectivity in the process of making art.

Trockel’s recent show affirmed those perceptions, attesting not only to strong developments in her work, but to the ongoing evolution of what used to be called feminist praxis; that is, the idea that what is most powerful for women (or anyone struggling against objectification) is to claim full and fully nuanced

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