[22][23][24][25][26] In the 2000s, she installed stapled-textile works at venues including SculptureCenter, Smack Mellon, Herbert F. Johnson Museum of Art, Aldrich Museum of Contemporary Art, and the Drawing Center;[27][2][19] in 2009, the Daum Museum of Contemporary Art presented a fifteen-year survey of her work. [34][26][35] This work alluded to the body, gender and women's undergarments, nature, cleanliness and privacy. Between 2012 and 2016, Herzog lectured at Yale University. Ofta använder hon brukstextil – sängöverkast, draperier eller disktrasor – till sina verk. My current focus is on the global migrations of culture and technology as seen through the lens of textile. [21], After turning to textile-based works in the 1990s, Herzog attracted growing attention with several site-specific installations, group shows at White Columns, Hofstra University and the Brooklyn Museum, and solo exhibitions at Black + Herron, Momenta Art, and P.P.O.W. Elana Herzog is a mixed-media installation artist who has exhibited widely nationally and internationally. Nationality. [29], Herzog began working in handmade paper after a residency at the Dieu Donné Papermill in Manhattan (2008–9) suggested similarities between paper production and her own processes of deconstruction and reconstitution. And I just try to get out of the way.". She is most known for abstract, tactile works in which she disassembles, reconfigures and embeds second-hand textiles in walls, modular panels and architectural spaces with industrial-grade metal staples. Elana Herzog lives and works in New York City. [51][32][52] In 2009, she was invited by the publisher Gervais Jaussad to produce an edition of twelve unique artist books pairing her work with poetry by Jerome Rothenberg. W(e)ave featured lacy white bedspread fragments embedded on custom-built walls; Nancy Princethal wrote that the ghostly floral fragments suggested faded memories of the one-time 18th-century residence's eroded decorative motifs. Elana Herzog, partial view of Return of the Repressed, 2012, carpets, wood and composite materials, fabric, metal staples, dimensions variable. "[47] In Valence (2014, The Boiler), Herzog created two overlapping, 17' x 24' surfaces of tattered fabric, staples and paint inspired by the Bauhaus textiles of Anni Albers—one supported by steel shelving posts leaning against a massive brick wall and the other mounted directly to the brick. As I work I am building a language that is formal and abstract, as well as directly evocative of cultural and emotional experience. She has a BA from Bennington College and an MFA from Alfred University. Herzog, Elana (art) and Jerome Rothenberg (poetry). "[36][25][11], Art in America critic Nancy Princethal, however, relates Herzog more to postminimalists, such as Mary Kelly and Richard Tuttle—for her focus on formal-spatial properties and exploration of the limits of the acceptable in art—than to contemporary artists engaging domestic materials in debates over "women's art" (e.g., Untitled I, 1996)[26] For the installation The Carpet Paradigm (1998, Wesleyan University), Herzog strewed thousands of square feet of diverse carpet remnants throughout an architecturally altered exhibition space; writers compared the layered formal effects to color field painting and the abstract landscapes of Richard Diebenkorn, while noting allusions to the obsolescence of design and the discard of cultural products in the work's appearing and disappearing patterns. [23][24][11] Her first textile work, Rapunzel (1990), featured a long, knotted piece of sheer fabric that hung below an altered, used wooden table and snaked along the floor;[20] in 1995, The New York Times likened her installation of elastic-ringed fabric pieces at the Islip Art Museum to a chamber colonized by caterpillars and candy-striped cocoons or pajamas gone berserk. "[8][44] For Into The Fray, Herzog mounted sections of stapled textiles on fiberboard on to freestanding metal shelving struts, found wood, and walls throughout the space, rendering armature and art indistinguishable;[1] curator Dan Cameron called the show a poetic, "refreshingly anti-academic" deconstruction of late-modernist painting. This page will put a light upon the Anna-Elena Herzog bio, wiki, age, birthday, family details, affairs, boyfriend, controversies, … From CUE Art Foundation Benefit Auction, Elana Herzog, Untitled (2015), Paper pulp, linoleum printed paper, textile, 12 × 14 1/2 in [11][37], In 1999, Herzog began embedding found textiles in walls, movable panels and built surfaces using thousands of heavy-gauge metal staples that often re-inscribed selected patterns in the material. Read the artist bio and gain a deeper understanding with MutualArt's artist profile. Buy / Sell. show as "amusing, sophisticated formal objects whose poise belies their homely origins. [33][11], Herzog expanded her themes and formal ambitions in four subsequent installations. "Interview With Elana Herzog,", Beachler, Justin. Untilled, 2012, Handmade cotton paper, textile, 17 x 11 inches. Auction Records (1) "[13] She works intuitively, through a process-based method of accumulation and subtraction that involves improvisation, context-sensitive experimentation, and labor-intensive, heavy-duty assemblage. For the last two decades, she has reveled in creating immersive situations that obliterate distinctions between old and new, common and precious, in process and completed. Elana Herzog skapar skulpturer och platsspecifika installationer. Elana Herzog is known for installation art, textilels, sculpture, abstract domestic imagery. [12][31][41], Herzog first exhibited this work in shows at the Kohler Arts Center and GAGA ("Projected") in 2000. Dec 23, 2018 - Explore Astrid Bowlby's board "Elana Herzog", followed by 578 people on Pinterest. See more ideas about herzog, textile art, fiber art. [3][4][5] She has exhibited nationally and internationally, including at the Brooklyn Museum, Museum of Arts and Design (MAD), Tang Museum, Weatherspoon Art Museum, Sharjah Art Museum, and Reykjavik Art Museum. Her GAGA exhibition featured six sections of a shredded red bedspread embedded in panels that she integrated with gallery walls to suggest pieces created in situ, rather than modular units. 20w cm) Elana Herzog (20/21st century) Elana Herzog is active/lives in New York. [42][11] At the Herbert F. Johnson Museum (2006), she reconfigured that work alongside carpets and art from the museum's own collection to further those themes. For the last two decades, Herzog has been the subject of museum surveys and solo exhibitions in over 20 cities in the U.S. (including her native New York City) and numerous cities in Europe. Learn more about Elana Herzog . Seems there's no news about Elana Herzog. [47][14] Hyperallergic compared the show's elements to "precisely arranged shreds of viscera and lopped-off limbs" that offered a "witheringly beautiful meditation on the murderous elegance of fate. At the outset of the U.S. War in Iraq, she turned to more specific cultural referents—Persian-style carpets deconstructed to the point of dissolution—in order to convey powerlessness, fragility, the fluidity of cultural meaning, and global power dynamics for Civilization and Its DisContents (Smack Mellon, 2003). [1][2] Herzog has been recognized with a Guggenheim Fellowship, Anonymous Was a Woman Award and Louis Comfort Tiffany Foundation Award, among others. [18][17] She extended this linear work into the gallery space and its built structures in the shows "The Jewel Thief" (2010, Tang Museum) and Into The Fray (2011, LMAK Projects, solo). Einarsdottir, Anna Sigridur. [30][17] Art in America's James Hyde described the zigzagging remnants as "intimate and architectural, delicate and rough," unconventional drawings with "juicy" surfaces of liquid-like fabric, glistening embroidery-like staples and dislodged chunks of sheetrock. "Elana Herzog at Black + Herron,", Castro, Jan Garden. Check below for more deets about Anna-Elena Herzog. Find the latest shows, biography, and artworks for sale by Elana Herzog Images courtesy of the artist —Brenda Coultas is the author of the poetry collection The Tatters, forthcoming from Wesleyan University Press in January. [46][50], For two international exhibitions, Scale Shifts; Vision Adjusts (2016, Sharjah Museum, UAE) and "Material Migrations" (2017, Artisterium 10, Tbilisi, Georgia), Herzog collected carpets from New York and each show's locale, from which she created largely horizontal works that reference the global movement of culture and allude to (and upend) the Modernist grid and aesthetic. Elana Herzog: For many years I have used material culture to consider aspects of ephemerality, entropy, pleasure and pain, attraction and revulsion. Check out other popular news on News Break. [45], In two large installations, Herzog explored history as a cycle of resurrection and collapse, and rationality spiraling into entropy. Born on , , Anna-Elena hails from , , . At the end of the day, my work is process-based, intuitive. [19] In the 1980s, she worked a variety of blue-collar jobs, including electrician's apprentice, mechanic and construction worker, while producing mixed-media sculpture out of a studio in Williamsburg, Brooklyn. As in 2020, Anna-Elena Herzog‘s age is * years. "Elana Herzog; The Carpet Paradigm,". Auction Records. This project was funded in part by a Foundation for Contemporary Art Emergency Grant. Herzog has been recognized with artist residencies from the MacDowell Colony, Sondre Green Farm (Norway), Albers Foundation, Gertrude Contemporary Art Spaces (Australia), Marie Walsh Sharpe Space Program, and Farpath Foundation (France), among others. [46][14] "SHIFT" (2015, Studio 10) featured 6'–8' amputated tree logs embedded with textile remnants and arranged on tattered Persian rugs that were surrounded by walls punctured with vertical, sutured bits of a sports jacket. [20][43][12], Herzog's textile works evolved in a more minimal, linear direction beginning with a new, site-specific installation in her Daum Museum survey, Untitled 2009 (Seams). Recommended Cities. Canadian-American. [3][4] She has also received awards from the Foundation for Contemporary Arts, The Saint Gaudens Memorial, Louis Comfort Tiffany Foundation, Joan Mitchell Foundation, and New York Foundation for the Arts, among others. Elana Herzog book. BIO. [11][12][13] Artcritical editor David Brody writes of that process: "Herzog's ambitiously scaled compositions are built up from small, provisional decisions—unruly brushstrokes, in effect—that coalesce into powerful storms of texture. [17] It featured floor-to-ceiling forms that Review Magazine described as "eloquent lines created through violent physical action," resembling frayed seams or fibers forcing their way through walls. Elana Herzog's first artwork to be offered at auction was Untitled at Brooklyn Academy of Music in 2008Elana Herzog has been featured in articles for the Art in America, the ArtDaily and the ARTFORUM. Overview . Background Checks. [48][49] In 2018, she recreated Valence at the Rubin Foundation's 8th Floor Gallery in a 10'-high version inhabiting a corner in the gallery; writers likened it to intimate, peeling layers of civilization evoking aerial views and underlying structures of urban planning, power relations and global change. Herzog delights in the de-materializing of form, only to embed those broken-down forms into larger contexts like museums and institutions to see what meaningfully joyous havoc they will wreak. She was also awarded the Anonymous Was a Woman Award in 2009, the Louis Comfort Tiffany Award in 2007, the NYFA Individual Artist’s Fellowship in 2007 and 1999, the 2004 Lillian Elliot Award, the 2003 Lambent Fund Fellowship, and the 1999 Joan Mitchell Award. [11][33], In her early career, Herzog aggressively reconfigured found linens, shower curtains, rugs, drapery and lace, smocking, puckering, cutting and stretching them into minimal sculptures. Elana Herzog lives and works in New York City. "[14] Thematically, Herzog's conversion of household castoffs into minimalist art raises questions about value, ownership and high- and low-culture conventions of taste and beauty;[15][16][17] Review Magazine describes her work as a "conceptual, emotional, and gutsy" alternative to most fiber art, which leaves viewers to conjecture on associations between women, fiber and gender stereotypes, the destructive capacities of the creative process, and the layering of history. [28][9][29], Herzog's art has been described as a mix of visceral color and texture, formal rigor and whimsy[30][1] that balances between decorative beauty and violence and "ruin and monument. The Artist. Elana Herzog consistently makes and unmakes objects, ripping and cutting textiles and carpets and situating them in and against specific gallery and museum architecture. Foundation Fellowship in 2017 and the Anonymous was a Woman Award in 2009 printed paper, textile, 17 11... 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