Joan Mitchell Center

Maren Hassinger

Sculptor
September 11 – November 3
New York City, NY
➔ marenhassinger.com

The Los Angeles native has mounted many solo exhibitions and participated in more than 120 group shows. Her work is included in more than 34 catalogs and in the public collections of AT&T and Pittsburgh Airport. The Anonymous Was A Woman and International Association of Art Critics awards recipient has performed at the Museum of Modern Art, been reviewed in Art in America, The New York Times, and ARTnews, and received grants from the Gottlieb Foundation, Joan Mitchell Foundation, Pollock-Krasner Foundation and the National Endowment for the Arts. Maren Hassinger has been Director of the Rinehart School of Sculpture at Maryland Institute College of Art, one of the oldest programs of its type in America since 1997. The Rinehart School of Sculpture is at the center of innovation in this evolving medium, where students work in a wide range of mediums and approaches – from stone-carving and metals casting to installations and time-based art such as video and performance.

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Twelve Trees #2

Twelve Trees #2

1979, wire rope, 10 feet x 140 feet x 5 feet

On Dangerous Ground

On Dangerous Ground

1981, wire rope, 21 units, each approximately 4 x 3 x 3 feet filled the room at Los Angeles County Museum of Art

Pink Trash

Pink Trash

1982, various pieces of trash, painted pink, performance and installation at three New York City Parks, sponsored by Art Across the Park, approximately 50 x 50 feet at each location

Daily Mask

Daily Mask

1997, 16mm film, 3:30 minutes

The Dream

The Dream

2001, rosebud leaves hung as a canopy. In this installation view, 3 x 3 x 6 feet

   Love  , 2008, pink shopping bags filled with human breath, 32 feet high.   Wrenching News   (on floor in front of   Love  ), 2008, New York Times newspapers, twisted and positioned, dimensions variable.

Love, 2008, pink shopping bags filled with human breath, 32 feet high. Wrenching News (on floor in front of Love), 2008, New York Times newspapers, twisted and positioned, dimensions variable.

Women's Work

Women's Work

2006, ongoing. Performance with New York Times newspapers, twisted, knotted, and balled up. Usually with 5 participants, but has been as much as an entire audience of 40 people. Time varies from 5 minutes to 30 minutes depending on participants.

Boxes

Boxes

2013, installation with consumer product boxes, dimensions variable. As installed at Mechanical Hall Gallery, University of Delaware.