New York

Jason Rhoades, Tijuanatanjier­chandelier, 2006, mixed media. Installation view.

Jason Rhoades, Tijuanatanjier­chandelier, 2006, mixed media. Installation view.

Jason Rhoades

David Zwirner | 519 West 19th Street

Monet had his lilies, Degas his dancers. If one leitmotif defines the madcap oeuvre of Jason Rhoades, it’s pussy. By the time he died, in 2006 at the age of forty-one, Rhoades had collected more than seven thousand euphemisms for female genitalia in several languages. He was on a quest, he said, for “the ultimate pussy word.” This dubious grail—a satirical ode to testosterone-addled idolatry and locker-room patois—gave rise to brashly festive sculptures and performances, as well as delirious, room-size installations. His series “Pussy Trilogy,” 2003–2006, for instance, addressed the crossroads of East and West, sex, religion, and commerce in works such as Meccatuna, 2003, a project involving a scale model of the Kaaba shrine made of Lego bricks. Rhoades was fascinated by the history of Islam, particularly Mohammed’s destruction of false gods in Mecca, and his late works explore what we

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