East Village, New York
Jordan Wolfson
Female Figure
The Brant FoundationTo reserve a free timed-entry ticket, please visit: bit.ly/3RCJHHo Due to the artistic and technical nature of this work, the installation can only be experienced by a limited number of people at one time and visitors may experience extended wait times. Timed tickets are available every 15 minutes and are free of charge. Please note: this installation may not be suitable for children. — The Brant Foundation is pleased to present Jordan Wolfson’s (Female Figure), 2014, at its East Village location. Last exhibited in New York City in 2014, this technologically complex sculpture is on view at the Foundation’s historic building, housed in a new artwork-specific room. Wolfson is well known for his powerful and unsettling artworks that examine the conditions of contemporary life. Pulling from a variety of sources, including advertising, the internet, and technology industries, the artist explores difficult and ambitious narratives. The questions he interrogates are numerous: How is information and imagery understood? What is the role of fetishization in art? How does technology infiltrate our perception of the world? These queries are decidedly left unanswered by the artist; Wolfson’s animated figures speak for themselves. (Female Figure) combines film, installation and performance into an animatronic figure of Wolfson’s design. Scantily clad in a white negligée and sporting a blonde wig with thigh-high white boots, the robotic figure dances in front of a mirror. Black eyes follow the viewer from behind the sculpture’s green visage—likened to a witch’s mask—confronting the viewer with disgust: she is both attractive and grotesque. As the sculpture gracefully dances to blaring pop-music, the whirrs and creaks from the figure’s joints remind the viewer of its technological construction. Simultaneously, Wolfson’s voice projects from the figure: the phrase, “My mother is dead, my father is dead, I’m gay, I’d like to be a poet, this is my house,” and the command to “Tell them touch is love,” are just two examples of the disorienting voiceover. There is no way to avoid sculpture’s narration nor gaze. (Female Figure) creates a different kind of viewing experience that inherently incorporates the viewer into the troubling and provoking performance of the sculpture. Here, it is the agitating tension between subject and object that truly encapsulates Wolfson’s immersive installation.