The Story
This book was published on the occasion of the exhibition Rachel Feinstein: Mirror at Gagosian, Davies Street, London. The exhibition featured a series of paintings in oil, acrylic urethane, and charcoal on mirror that reference carved wood sculptures and altarpieces by sixteenth-century German artists Tilman Riemenschneider and Gregor Erhart as well as a single sculpture, Metal Storm (2021), that interprets a drawing by Hans Baldung Grien. Shifting between two- and three-dimensional modes of representation, these works use historical and religious symbolism to embody worldwide anxieties of the unknown.
The catalogue’s design is inspired by a vintage art historical book on Riemenschneider, with intimate dimensions recalling a devotional volume. It includes an essay by art historian Yvonne Owens (“Time Traveling in Rachel Feinstein’s Mirror”) and a conversation between the artist and Jungian analyst Miriam Stein (“Archetypal Visions”), as well as a series of never-before-exhibited pastel and charcoal studies.
Details & Craftsmanship
Every detail has been carefully considered to bring you the perfect product.
Details & Craftsmanship
Every detail has been carefully considered to bring you the perfect product.
Details & Craftsmanship
Every detail has been carefully considered to bring you the perfect product.
Description
This book was published on the occasion of the exhibition Rachel Feinstein: Mirror at Gagosian, Davies Street, London. The exhibition featured a series of paintings in oil, acrylic urethane, and charcoal on mirror that reference carved wood sculptures and altarpieces by sixteenth-century German artists Tilman Riemenschneider and Gregor Erhart as well as a single sculpture, Metal Storm (2021), that interprets a drawing by Hans Baldung Grien. Shifting between two- and three-dimensional modes of representation, these works use historical and religious symbolism to embody worldwide anxieties of the unknown.
The catalogue’s design is inspired by a vintage art historical book on Riemenschneider, with intimate dimensions recalling a devotional volume. It includes an essay by art historian Yvonne Owens (“Time Traveling in Rachel Feinstein’s Mirror”) and a conversation between the artist and Jungian analyst Miriam Stein (“Archetypal Visions”), as well as a series of never-before-exhibited pastel and charcoal studies.
