Elana Herzog, ‘Untitled P73’, 2013, FRED.GIAMPIETRO Gallery

Herzog delights in the de-materializing of form, only to embed those broken-down forms into larger contexts like museums and institutions to see what meaningfully joyous havoc they will wreak. At the Humanities Gallery at Long Island University, in a work titled "The Return of the Repressed," she layered the floors with lush Persian carpets that had been cut out and reassembled (this for a show inspired by Sigmund Freud's office in Vienna, where Persian carpets were much in use during analysis) only to reconfigure them yet again at other venues. (As the title suggests, Herzog, like Freud, finds the Unconscious a compelling cultural signifier.) At the Herbert F. Johnson Museum, Cornell University, Ithaca, Herzog was invited by the curators to essentially de-stabilize their permanent collection and she responded with an exhibition called "Civilization and its DisContents" in which (among other things) the museum's own collection of carpets and fine art commingled with hers. She dangled carpets, new and old, from the balcony above the public's heads, and reduced her own Afghan carpets to bare, spine-like skeletons of staples on the wall shot through with flimsy strands of yarn. And recently, at the Tegnerforbundet Gallery, in Oslo, Norway, the artist reconfigured a single child's woolen winter jacket into a reductive, Minimalist composition of vertical lines surrounding the gallery desk. Less is decidedly more for Herzog, who often prefers to let what is Not there speak for itself. "If my work projects a sense of strength, it's through fragility and tangential qualities -- not the myth of greatness," says the artist. "Speed, labor, progress, obsolescence, loss, kitsch, camp, nostalgia, sentimentality, taste…there are too many cliches out there for what I and other women artists do. At the end of the day, my work is process-based, intuitive. It evolves through the process of being made and my subsequent response to that. And I just try to get out of the way."
Elana Herzog lives and works in New York City.

2014 Terra Infirma, The Boiler, Pierogi Gallery, Brooklyn, New York, with Linda Herrit
Plumb Pulp, Lmak Projects, New York
2013 Re-Constructions,, The Picture Gallery, Saint Gaudens Memorial, Cornish, New Hampshire
2012 Solo Project,, Lmak Projects at NADA Hudson, Hudson, New York
2011 Into the Fray, Lmak Projects, New York
Project in the Study, Morgan Lehman Gallery, New York, New York
2010 Romantic Subtractions, Artist Book Program, BravinLee Programs, New York February 5th thru April 17th
The Elephant in the Room, New/Now Gallery, New Britain Museum of American Art, New Britain, Connecticut
2009 Un-Warped and De-Weft, Daum Museum, Sedalia, Missouri, (catalogue)
2008 Catherine J. Smith Gallery, Boone, North Carolina
2007 Making Traces, LMAK Projects, New York, with Lieven DeBoeck
Plaid, Smack Mellon, Brooklyn, New York
W(e)ave , Aldrich Museum, Ridgefield, Connecticut, Collaboration with Michael Schumacher
2006 Wallscape, Gahlberg Gallery, College of Dupage, Glen Ellyn, Illinois, (catalogue)
Civilization and its Discontents, Herbert F. Johnson Museum, Ithaca, New York
So Bennington, Usdan Gallery, Bennington, Vermont, with Eve Sussman
2002 Negative Capability, Diverse Works, Houston, Texas
2001 Material Matrix, Richard L. Nelson Gallery, UC Davis, Davis, CA
2000 GAGA, New York, NY,
1999 Mercer Union, Toronto, Canada, with Dianna Frid
1998 P.P.O.W. Gallery, New York, NY
The Carpet Paradigm, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT
Florence Lynch Gallery, New York, NY,
1997 Momenta Art, Brooklyn, NY,
1995 Black and Herron, New York, NY, Inaugural exhibition

About Elana Herzog

Canadian, b. 1954, Toronto, ON, Canada, based in New York, NY, USA