Birgit Jürgenssen

March 2, 2017

Ladies First at the ADAA Art Show

Hyperallergic by Benjamin Sutton

Fergus McCaffrey’s booth devoted to Austrian Birgit Jürgenssen spans three distinct bodies of work. It includes her overtly feminist photography, her sculptural assemblages that take up similar themes in somewhat more ambiguous arrangements, and her more enigmatic but startling grids of found and original photographs under fabric. Spanning the 1970s to the ’90s and all those materials, the work nevertheless feels unified and begs for a more comprehensive institutional survey. Read More
January 15, 2017

Fergus McCaffrey at The Art Show 2017, Booth C11

Fergus McCaffrey is pleased to present a solo exhibition of works by the Viennese artist Birgit Jürgenssen (1949-2003).
The presentation will feature a group of Jürgenssen’s photographic works, presented in combination with a selection of her sculptures. This juxtaposition underscores Jürgenssen’s refusal of a single approach or influence, and created work that is abundant in sources and techniques.
The selection will center on Jürgenssen’s photographic works, focusing on her experimental works, primarily the series Stoffarbeiten (Fabric Works), created from the late 1980s to the early 1990s. These works consist of photographic prints mounted on canvases, which are screwed to iron frames that she herself constructed. Thin, translucent fabrics such as gauze, are stretched over the surface, veiling and slightly obscuring the images. The photographs themselves are created through a range of processes, including photograms, solarization, and multiple- exposures.
In another related series, Jürgenssen employs cyanotype, one of the oldest contact printing techniques, through which a blue tint creates an almost dreamy effect. The blurring effect reduces figures to silhouettes, thus rendering portraits unrecognizable. Jürgenssen's multiple overlays increase the sense of dreamscape and indecipherability. The cyanotype process recalls architectural blueprints, and Jürgenssen's adaptation of the form also points to the figure of the botanist Anna Atkins, the first woman to make photographs and the first to use blueprints as illustrations. While references to Feminism, abstraction, and Surrealism are plentiful in Jürgenssen's work, her practice is at the same time marked by a modernist concern with and intense awareness of issues of representation and originality.
May 1, 2015

Redefined Expectation: The Feminist Avant-Garde of the 1970s

Aesthetica by Niamh Coghlan

In-depth article about the current touring exhibition "The Feminist Avant-Garde of the 1970s", on view at the Hamburger Kunsthalle, Hamburg; including works by Cindy Sherman, Penny Slinger and Birgit Jürgenssen. Download
January 5, 2015

Critics’ Pick: Birgit Jurgenssen


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December 18, 2014

Review: Birgit Jürgenssen

The New Yorker

December 3, 2014

A Trio of Galleries Showcase Austrian Art, From Vienna and Beyond

New York Observer

October 13, 2017

FIAC 2017: Top galleries in “Avenue Winston Churchill, On Site”


FIAC 2017, the International Art Fair exhibiting the best Contemporary Art galleries of the world, awaits its grand opening on October 19 in Paris. This year FIAC will have two sub-sections, Avenue Winston Churchill and Petit Palais, showcasing outdoor works featuring seminal works by the most prominent galleries all over the world. These two sub-sections fall in FIAC’s new sub division of “On Site” that was introduced last year. Read More
September 5, 2017

Marcia Hafif: Upcoming Museum Shows in Switzerland

Opening at Kunsthaus Baselland: Thursday 14th September, 6:30 PM

The MARCIA HAFIF exhibition is created in collaboration with the Kunstmuseum St. Gallen (MARCIA HAFIF: September 16-January 14, 2018) and the Kunsthaus Baselland in Muttenz (MARCIA HAFIF: September 15–November 12, 2017).
Hafif (b.1929, USA, living in New York and Laguna Beach) is among the pioneers of the 1970s who fundamentally broadened con­ceptions of the practice of painting and under­standing of art per se. Since the 1980s, terms like ‘radical’ have been used to describe Hafif’s work with monochrome painting. The pencil on paper drawings, vertical pencil marks cover­ ing a surface, begun in 1972, led to the ver­tical stroke in paint. Her work in both mediums still continues, fitting within what she calls The Inventory. Each series included in The Inventory develops a single medium using tra­ditional methods and materials for making paint and preparing a ground. Individual works in a series can be larger or smaller, and usually are made with vertical brush­strokes, with which the effects of unmixed colours on a suit­able painting ground are sounded out. Works from the series that may be her most radical will be exhibited at the Kunsthaus Baselland: the Black Paintings (1979/80) in which she found black by layering ultramarine blue and burnt umber. There will also be photographs and films on display.
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