Lithe yet sturdy, Hassinger’s sheer organic forms belie their industrial materials.
Hassinger worked collaboratively with the Pearl City community to create a version of their “Tree of Knowledge” at the Boca Raton Museum of Art, its “roots” composed of twisted, flowing rolls of newspaper.
The power of her work comes from its suggestion that specificity and universality, when it comes to identity and experience, are not mutually exclusive concepts, but often exist side by side.
Maren Hassinger’s retrospective The Spirit of Things at the Baltimore Museum of Art not only validates her career but indicates something about our current political moment.
These assemblages showcase art’s power and, poignantly its limitations, to effect material transformations.
“If you are of African descent and your ancestors were part of the slave trade, you have issues which are alive today.”
On July 23, Maren Hassinger, in conjunction with the Brooklyn Museum, will scatter bits of white trash that she painted pink onto the lawns of Prospect Park.
Opening this Saturday at Landing Gallery, Signifying Form features sculpture by African American women artists working in Los Angeles between 1935 and 2016.
On first glance, some may wonder why MoMA PS1, a New York contemporary art museum, has just opened a historical exhibition of art from Los Angeles. But as MoMA PS1 curator Peter Eleey explained at the press preview last week, the show in question, Now Dig This! Art and Black Los Angeles 1960–1980, actually has a connection to the New York institution.