Rita Ackermann

Rita Ackermann (born April 19, 1968 in Hungary) is a Hungarian-American artist. She is currently living and working in New York City.

Rita Ackermann
Born
Bakos Rita

(1968-04-19) April 19, 1968
Budapest, Hungary
NationalityHungarian
EducationUniversity of Fine Arts Budapest New York Studio School of Drawing, Painting and Sculpture
Known forPainting
Notable work
Fire By Days Blues X, Negative Muscle,
MovementAbstract Expressionism

Early life and education

Rita Ackermann was born in Budapest (Hungary) in 1968.[1]

Ackermann trained at the University of Fine Arts Budapest from 1989 until 1992. Ackermann moved to New York City to study at The New York Studio School of Drawing, Painting and Sculpture.[2] In an interview Ackermann was asked about her choice to move to New York and how it has influenced her work to which her response was, "It gave me possibilities that I had to choose from and then learn to narrow… narrow things down to their bare existences to find out the reason to make something where everything is already made or readymade. I am an optimist always full of hope that I find my way that is only my way that is my work."[3]

Career

Rita Ackermann has been featured in numerous museum and gallery exhibitions in the United States, Japan and Europe.[4][5][6][7]

Since the mid-1990s Ackermann has been adding to her knowledge of painting and her social comment. "from stained glass to the red ballpoint pen she's applied to runway models' faces in lieu of makeup. She has realized multiform shadow puppet theaters like The Deer Slayer (1997), performed as a band member of the art collaborative Angelblood, and curated exhibitions including The Perfect Man (2007) and The Kate Moss Show (2006, with Olivier Zahm)." [1]

"In both her drawings and collages Ackermann juxtaposes characters and narratives, as in Scorpionun (Man on My Breast/Man, Man between My Legs) (2006), which draws on the semiotics of fertility charms and pornography to create an Anthropomorphism like womanman- child. The superimposed images composing this life-size freestanding collage on plexiglass come from the artist's own sketches—a row of her lithe women, wearing bowler hats and holding tennis rackets — as well as other sources, such as an illustration of the Madonna and Child positioned over the figure's heart. As Scorpionun's content suggests, Ackermann's interest in constructions of gender and the fantasies that subtend and are sustained by them has survived her transformation of scale and material. Indeed, the oversize cruciform Nun/Skeleton/Cross (2006) and comparably large-scale Nun/Mother/Whore (2006) revolve around the bifurcated, simultaneously present identities of these objects of desire. The aggregation in these collages' listlike titles is mirrored in the conspicuous overlay of their images: Ackermann does not negate tropes of womanhood but stages them as acts and processes of becoming to be set into dizzying and conflicting relief with and within one another. Few clear plots emerge despite her utilizations of fairy-tale themes, and irrespective of the ingratiatingly beautiful protagonists who inhabit them, neither are there storybook endings." [1]

Her work includes paintings, drawings, t-shirts, a line of underwear, and skateboard designs.[7] Her paintings in the early and mid 1990s featured nymphetish girls.[8]

In 2008 she participated in the Whitney Biennial [1]

Recent

"She's not judgmental, just fascinated by American extremism in all its guises," Ms. Clearwater said. In recent years Ms. Ackermann's politically and erotically stimulating works have encompassed pictures of society divas portrayed as monsters, talons uncovered. Other paintings denote towards our current day sociocultural climate she found in her adoptive country, a climate she studied without the passion, as if she had microscopic vision on some especially innate life form. Extracts of car crashes, beggars and lurkers, grimacing cowboys, and scenes of mass mayhem like the Oklahoma City bombing are few of the works we see from Ackermann. She has strayed away from fashion, but was quick to appear earlier this month at Acme, a new downtown hub for all the artists, while images from her recent video series, "Warfilm," was projected on the walls. "It gives you a certain freedom," she said, and yes, an air of mystery. "When you are enigmatic, you are untouchable." Says Ackermann.

Solo exhibitions
  • 1994: Andrea Rosen Gallery, New York, "After Dinner I'm Gonna Shoot You But Before I'll Take A Shower", July 8 - August 12, 1994
  • 1995: Rebecca Camhi Gallery, Athens, Greece, "It Doesn't Matter if You Love Me or Not....I'll Be Always There For You...", February 11–March 25
  • 1995: Interim Art, London, England, "out of the blue into the black", June 1–July 15
  • 1995: Peter Kilchmann Galerie, Zurich, Switzerland, "The Birth of Tragedy", September 1–30
  • 1995: Museum of Contemporary Art, "Options 48: Dan Peterman", November 12–January 8
  • 1996: Andrea Rosen Gallery, New York, "If Anyone Hurts My Brother, I'll Kill That...", January 19–February 24
  • 1997: Peter Kilchmann Galerie, Zurich, Switzerland, "The Good, The Bad and The Evil", May/June
  • 1998: Bartok 32 Galeria, Budapest, Hungary, "Just Do Whatever You Want", March 13–April 5
  • 1998: Rebecca Camhi Gallery, Athens, Greece, June–September
  • 1999: Swiss Institute, New York, January 21–March 6, with Ana Axpe
  • 1999: Parco Gallery, Tokyo, Japan, "Revelation", September 3–October 11
  • 2000: Andrea Rosen Gallery, New York, "corvette", March 10–April 15
  • 2000: Galerie Krobath Wimmer, Vienna, Austria, "God's Little Helpers", May 17–July 1
  • 2000: Annet Gelink Gallery, The Netherlands, "Lost and Found Notes", September 2–October 15
  • 2001: Peter Kilchmann Galerie, Zurich, Switzerland, "the only way to get to my vagina is through Jesus!", March 10–April 12
  • 2001: The Deep Gallery, Paris, France, "Style Show for the Levitation of the Strong American Women", June 28–July 28
  • 2002: Museum Het Domein, Sittard, Holland, "Snowfall in August", June 2–August 18
  • 2003: Galerie Almine Rech, Paris, France, "Ördögök" (Devils) January 11–February 22
  • 2003: Galerie Peter Kilchmann, Zurich, Switzerland, "Memoires d'Une Jeune Fille Rouge", May 23–July 26
  • 2003: Andrea Rosen Gallery, New York, "Listen to the Fool's Reproach", December 13, 2003 – January 17, 2004
  • 2004: "The Dreamland Artist Club", public project with Creative Time for Coney Island redevelopment, June 12–September 6
  • 2005: "Jump On Me", Bonner Kunstverein, April 29–July 3
  • 2005: "Collage: 1993-2005", Andrea Rosen Gallery, September 9–October 8
  • 2016: "JEZEBELS", FARAGO, Los Angeles, March 12–April 16
  • 2016: "The Aesthetic of Disappearance", Malmö Konsthall, Malmö, Sweden, October 22–February, 2017

Selected works
  • Revelations #14
  • Fire By Days 4/III
  • Fire By Days (Mono)
  • Flipped Over II

References
  1. "About The Artist: Rita Ackermann". Whitney Biennial 2008 Exhibition. New York, New York: Whitney Museum of American Art. 2008. Retrieved 2 January 2010.
  2. "NYC Artist Portfolio Rita Ackermann". New York, New York: Hercules Magazine. 2011. Archived from the original on 22 December 2013. Retrieved 5 May 2013.
  3. Smith, Roberta (2 February 1996). "Art in Review". The New York Times. New York, New York: The New York Times Company. p. C26. Retrieved 2 January 2010.
  4. Smith, Roberta (7 October 2005). "Art in Review; Rita Ackermann -- Francis Upritchard". The New York Times. New York, New York: The New York Times Company. Retrieved 2 January 2010.
  5. Santiago, Fabiola (25 October 2009). "MOCA acquisitions highlight pivotal works in artists' careers". The Miami Herald. Miami, Florida: Miami Herald Media Co. Retrieved 2 January 2010.
  6. DiPietro, Monty (1999). "Rita Ackermann at the Parco Gallery". AssemblyLanguage. AssemblyLanguage. Archived from the original on 5 July 2008. Retrieved 2 January 2010.
  7. Rita Ackermann Archived 2008-12-02 at the Wayback Machine, Frieze, Nov-Dec 2005.
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