New York based artist Josephine Meckseper melds the aesthetic language of modernism with her own images and film footage of historical undercurrents. Her large-scale installations, sculptures, paintings, and films––simultaneously expose and encase signifiers such as advertisements, political imagery, and everyday objects, to form an investigation into the collective unconscious of our time.
Like a female Jacques Villeglé Josephine Meckseper likes to abuse existing ready made publicity images and posters. Making them her own, she invades the public domain and clearly explains the viewer that she -as final author- is the master of the situation. She decides what you get to see and what remains hidden. The graffiti stripes and text covering the image reminds us that she is a socially and politically engaged artist and that her work always echoes in a way political protest or social uproar.
In a subtle way the artist makes use of the commercial forms and strategies of presentation and framing to seduce the viewer, influenced by consumer culture. She melts it together in an elegant mixture using the language of modernism with strategies known from window display. But the beauty of the resulting image blurs the mind only a little, inviting for other, more complex interpretations.
Her works have been exhibited in numerous international biennials and museum shows, including solo-exhibitions at: Frac des Pays de la Loire (2019), MOSTYN Contemporary Art Gallery, Wales (2018); Neuer Aachener Kunstverein, Aachen, Germany (2014); The Parrish Art Museum, Water Mill, NY (2013); Kunsthalle Münster, Germany (2009); Migros Museum für Gegenwartskunst, Zurich (2009); and Museum of Modern Art, New York (2008). Her works are in the permanent collections of numerous institutions, including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, New York, The Museum of Modern Art, New York, the Metropolitan Museum, New York and the Hammer Museum, Los Angeles.