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Rose McLaren

Rose McLaren is an artist in London.



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Talk Into My Bullet Hole

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July 2015

Rose McLaren

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July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for those people?’ ‘Oh, I don’t...

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May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

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May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

Friendship often requires the careful dance of shared time and being attentive to one another’s needs Recently when I visited San Francisco with my two closest friends, we spent a lot of time seeking cheap dinners at different times of day, according to the various cycles of our appetites—deli sandwiches, burritos, greasy slices of pizza, hot dogs slathered with sweet onions and mustard It became essential to learn the rhythms of each other’s bodies, aches and pains Then there is the matter of overcoming the small irritations, the disputes over rules for card games, or who owes money for last night’s round of drinks On day one of our trip we visited We Are Here at San Francisco Museum of Modern Art (SFMOMA), the first retrospective dedicated to artist and activist Suzanne Lacy’s over-forty-year career Lacy is interested in hunger and waiting, sharing food, and the anticipation and patience that attends communality  As the exhibition shows, her formal and thematic concerns have remained pretty much consistent: food, dinner parties, tables, maps, quilting Among her best-known works is The Crystal Quilt (1985-7), for which she brought together more than 400 women over the age of 60 to discuss their views on growing older while collectively producing a quilt She has since staged various versions of this social action, including ‘Silver Action’ at Tate Modern in 2013 It’s because of works like this that I think of her career as productively ghostly and incomplete Lacy is committed to waiting things out, to seeing things through over and again — whether pleasurable, uncomfortable or violent   On display in the middle of the exhibition is a set of photographs depicting one of Lacy’s first collaborative performance works, Ablutions (1972) The images show three bathtubs in the middle of a gallery filled with blood and clay Broken eggshells and animal kidneys are scattered across the space In the early seventies, when sexual violence against a spouse was still legal in California, Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani’s Ablutions (1972) placed women in

Contributor

August 2014

Rose McLaren

Contributor

August 2014

Rose McLaren is an artist in London.

The Prosaic Sublime of Béla Tarr

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Issue No. 6

Rose McLaren

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Issue No. 6

I have to recognise it’s cosmical; the shit is cosmical. It’s not just social, it’s not just ontological, it’s really huge. And that’s why we...
Stalker, Writer or Professor? Geoff Dyer's Zona and Genre

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February 2012

Rose McLaren

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February 2012

‘So what kind of a writer am I, reduced to writing a summary of a film?’ wonders Geoff Dyer half way through Zona. Such...

READ NEXT

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September 2015

Immigrant Freedoms

Benjamin Markovits

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September 2015

My grandmother, known to us all as Mutti, caught one of the last trains out of Gotenhafen before the...

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May 2014

Preparation for Trial

Ben Hinshaw

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May 2014

Establish remorse from outset. Express bewilderment at sequence of events so unlikely, so absurd and catastrophic. Assure all present...

Art

September 2011

Interview with Cornelia Parker

Lowenna Waters

Art

September 2011

Cornelia Parker has over the past twenty years carved out a reputation as one of Britain’s most respected sculptors...

 

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