Simply titled "Rita Ackermann," the exhibit boasts 48 works from 1993 to the present and includes paintings, drawings, and collages, several which have not been previously publicly displayed. "It's a great, big painting show," says MOCA's chief curator and executive director, Bonnie Clearwater, who organized it. On view is Picnic 2010, a heavily impastoed canvas inspired by French nabi painter Pierre Bonnard in which Ackermann spackles her surface with sand and even adds shattered wine goblets, popcorn, and Marlboro butts to the mix. Also on display are recently created collaborative pieces based on Harmony Korine's Trash Humpers, a film depicting the foibles of a loser-gang cult-freak collective. One of these works, Trouble Is Comin', features a dead ringer for a decomposing Celia Cruz wearing a purple space suit and bright-orange wig as she reaches out with a crudely drawn talon-like claw. The crone vaguely echoes Ackermann's 2008 collage opus, Firecrotch, created from yarn, printed paper, cardboard, tape, charcoal, spray paint, stickers, and bolts sandwiched between sheets of Plexiglas. Reclining against a wall, this totemic scarecrow that rises above a viewer's noggin is cobbled together not unlike Frankenstein's monster. It features a creepy cat's head with a carrot-hued mane atop a movie poster of a man's torso pointing a gun at the spectator's chest.
Read more at "Rita Ackermann Shifts Gears Wildly at MOCA."