Lauren Fensterstock - Claire Oliver Gallery

Lauren Fensterstock

Every planned landscape reveals the particular philosophy of its maker; one could say it leaves an allegorical map of the world’s structure at the time of its creation. For example, as early as the 18th century, European gardeners created purposefully ruinous landscapes to suggest a continuum of change in a world where man had only a temporary impact. This lies in stark contrast with 16th-century Baroque gardens, such as Versailles, in which nature was forcibly tamed to man’s exacting rule. In Lauren Fensterstock’s works, we see imagery drawing from the history of Man’s varied and often contradictory relationship with the natural world.

June 12, 2021 to August 7, 2021

Claire Oliver Gallery

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August 2, 2018 to August 5, 2018

CenturyLink Field Event Center, Seattle WA

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It has become increasingly difficult to discern fact from fiction. Voyeurism is in, yet can we believe what we see? In today’s digitized, Instagram world, nothing is sure; one always must distrust. Photoshop naturalizes the false. Any image can be manipulated, cropped, retouched, enhanced, any sound altered, any voice “Auto-Tuned” until no authenticity remains. Reality T.V. is artifice with predictable narrative, directed and scripted dialogue, and post-production editing that seamlessly delivers emotional attachment and pleasure in between strategically placed commercial breaks. In “CelebReality” everyone can vicariously share Warhol’s 15 minutes of fame not so readily found in our work a day lives.

March 18, 2017 to June 18, 2017

MOCA Jacksonville

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Fensterstock transforms the Atrium Gallery at MoCA Jacksonville into a cabinet of curiosity that expands her interest in natural history and personal collections, principally Holophusicon, an eighteenth-century natural history and ethnographical museum in London, and American artist Robert Smithson's Mirror with Crushed Shells, created during an exploration on the beaches of Sanibel, Florida. Inspired by one quirky collection and a conceptual artwork, Fensterstock will collect shells in her native Maine and Sanibel Island to produce large ornamental cabinets as well as loose, organic stalactites to pepper the wall. At times described as grottos, at others cabinets of curiosities, the physical black elements merge disparate parts into a single organism.

March 1, 2017 to March 5, 2017

NYC Pier 90

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The installation is comprised of a large cabinet on the west wall of the stand, housing a series of handheld black glass objects that, when held up as a mirror, reflect an unnaturally large human in relation to the world around him. A series of rubber, glass and chrome wall pieces reflect and refract with black mouthblown glass mirrors. Viewed through today’s lens of “selfie culture”, we see man’s continued struggle to hold dominance over nature and the natural world. Ultimately, mirrors provide a space for the viewer’s own interpretation. Scrying will offer the visitor an opportunity to examine the cultural precedents that influence and shape our current worldviews; Fensterstock presents an opportunity to look out, beyond, and within.

July 11, 2019 to August 31, 2019

Claire Oliver Gallery

View exhibit press release (pdf)

Scrying, a solo exhibition of new mixed media sculpture by Lauren Fensterstock. The artist's newest works combine chromed and rubberized shell work with mouth blown and cold worked glass, conceptually questioning the current "selfie" obsession and a possible link between this and past social obsessions.

April 14, 2016 to May 22, 2016

Claire Oliver Gallery

View exhibit press release (pdf)

With a similar faculty as Robert Smithson’s Spiral Jetty, seen as a personal dialogue between an individual and nature, Fensterstock reminds us we must take heed of the global forces impacting our environment. The Order of Things is not a map that paints the world as a whole, but one that seeks discovery in glints and crumbles; in contrast to Smithson, Fensterstock’s work intentionally avoids grand narratives in favor of the fractious, the illogical, and the contradictory. The Order of Things uses theatrical means to create a hybrid natural/unnatural space using the continued potency of nature as a cultural metaphor.

Public Collections:

  • Museum of Glass, Tacoma, WA
  • Bowdoin College Museum of Art, Bushwick ME
  • Wheaton College, Norton, MA
  • Maine General Medical Center, Agusta ME
  • Ogunquit Museum of Art, Ogunquit ME
  • Museum of Contemporary Art, Jacksonville, FL
  • Portland Museum of Art, Portland ME
  • Fidelity Investments
  • Tiffany & Co, Kuwait City, Kuwait
  • Tiffany & Co, Prague, Czech Republic
  • Tiffany & Co, Apkujong, South Korea
  • Tiffany & Co, Daegu, South Korea
  • Tiffany & Co, New York, New York
  • University of Maine Museum of Art, Orono ME

Solo Exhibitions:

  • New Work, Claire Oliver Gallery, New York, NY, 2019
  • Lauren Fensterstock: Portal, Lupin Foundation Gallery, University of Georgia, 2019
  • Holophusicon, MOCA Jacksonville, Jacksonville, FL, 2017
  • Scrying, VOLTA NY, solo presentation with Claire Oliver Gallery, NY, 2017
  • The Order of Things, Claire Oliver Gallery, New York, NY, 2016
  • Forays and Follies, Leonard Pearlstein Gallery, Drexel University, Philadelphia, PA, 2015
  • New Work, Lauren Fensterstock, Independent Art Projects, North Adams, MA, 2014
  • Preparatory Drawings, Aucocisco, Portland, ME, 2014
  • Lauren Fensterstock, Sienna Patti Contemporary, Lenox, MA, 2013
  • The Celebration of Formal Effects, Weather Natural or Artificial, John Michael Kohler Art Center, Sheboygan, WI 2013
  • Incidents of Garden Displacement, Ogunquit Museum of American Art, Ogunquit, ME, 2011
  • Mound, Sienna Patti Contemporary, Lenox, MA, 2010
  • Of Groves, Labyrinths, Dedals, Cabinets, Cradles, Close-walks, Galleries, Pavilions, Portico’s, Lanterns and other Relievo’s of Topiary and Hortulan Architecture, Walker Contemporary, Boston, MA, 2010
  • New Projects, Washington Art Association, Washington Depot, CT, 2009
  • Parterre, Bowdoin College Museum of Art, Brunswick, ME, 2008

Two Person Exhibitions:

  • Renwick Invitational, Renwick Gallery, Smithsonian American Art Museum, Washington DC, 2020
  • Nature in Art, MOCAK, Krakow, Poland, 2019
  • Ritual and Desire, Wichita Art Museum, KS, 2017
  • Seattle Art Fair, Claire Oliver Gallery, 2016
  • Theories of the Earth: Lauren Fensterstock and Beth Lipman, Beard and Weil Galleries, Wheaton College, Norton, MA, 2016
  • Two Takes: One Space, Lauren Fensterstock and Steve Wiman, The Contemporary Austin, Austin, TX, 2011
  • Lauren Fensterstock and John Bisbee, Aucocisco Gallery, Portland, ME, 2011

Group Exhibitions:

  • A Dark Place of Dreams, The Gibbs Museum of Art, Charleston, SC, 2018-19
  • Seattle Art Fair, Claire Oliver Gallery, 2018
  • The Bleak and the Burgeoning, Walton Arts Center, Fayetteville, AK, 2018
  • Natural Wonders, Brandywine Museum, Chadds Ford, PA, 2018
  • A Dark Place of Dreams, MOCA Jacksonville, Jacksonville, FL, 2018
  • Dark and Stormy Night: The Gothic in Contemporary Art, Lehman Gallery, Bronx, NY, 2017
  • Ruptures, Des Moines Art Center, IA, 2017
  • Deep Cuts, Currier Museum of Art, Manchester NH, 2016
  • Sisters of the Moon, Kentucky Museum of Arts and Crafts, Louisville, KY, 2016
  • Paper Biennale, Museum Rijswijk, Rijswijk, Netherlands, 2016
  • Director’s Cut, Portland Museum of Art, Portland, ME, 2015
  • Recurrence, Friedman Gallery, New York, NY, 2014
  • Surface, Stephen D. Paine Gallery at Mass Art, Boston, MA, 2014
  • Piecework, Portland Museum of Art, Portland, ME, 2013
  • DUBH: Dialogues in Black, Oliver Sears Gallery, Dublin, Ireland, 2012
  • Maine Biennale, Center for Maine Contemporary Art, Rockport, ME, 2012
  • Maine Women Pioneers, UNE Gallery at the University of New England, Portland, ME, 2012
  • DUBH: Dialogues in Black, American Irish Historical Society, New York, NY, 2011
  • Buds, Blooms & Berries: Plants in Science, Culture & Art, Everhart Museum, Scranton, PA, 2011
  • Field of Vision: Artists Explore Place, Racine Art Museum, Racine, WI, 2011
  • Sacred and Profane, Portsmouth Museum of Fine Art, Portsmouth, NH, 2010
  • The Thinking Body, Museum of Craft and Design, San Francisco, CA, 2008
  • The Thinking Body, Jordan Schnitzer Museum of Art, Eugene, OR, 2008
  • New Natural History, Portland Museum of Art, Portland, ME, 2008
  • In Situ, Sandra and David Bakalar Gallery, Mass Art, Boston, MA, 2007
  • Laced with History, John Michael Kohler Art Center, Sheboygan, WI, 2007
  • Marriage of True Minds, University of New England Art Gallery, Portland, ME, 2007

Awards and Honors:

  • Virginia A. Groot Foundation Grant, 2018
  • USA Barr Fellow, United States Artists, 2016
  • Individual Artist Fellowship, Maine Arts Commission, 2010
  • Louis Comfort Tiffany Foundation grant nominee, 2005, 2009
  • Good Idea Grant, Maine Arts Commission, 2004, 2006, 2008
  • Creative Project Award, Grant Recipient, SUNY New Paltz, New Paltz, NY, 1999
  • Graduate Fellowship, SUNY New Paltz, Fall 1999, Spring 1999

Bibliography:

  • McQuaid, Cate. Resilient Nature, Spiritual Echoes in New Shows, Boston Globe, March 22, 2016.
  • Ferris, Alison, Uncommon Ground, exhibition catalog, John Michael Kohler Art Center, 2015
  • Take Magazine, Art with Attitude, December 2015,
  • Hagan, Debbie, Portland’s Contemporary Baroque, Art New England, November 2015
  • Papagni, Chris, Dining Art: Inside Outside Above Below, Portland Phoenix, September 30, 2015
  • Lieberman, Michael, Forays, and Follies, Artblog.com, August 6, 2015
  • Minutella, Erica, Taking Stock of Lauren Fensterstock, InLiquid Art and Design, July 24, 2015
  • Keyes, Bob the Maine/Miami art connection, Portland Press Herald, Maine Sunday Telegram, December 14, 2014.
  • Gjording, Lindsey Rae, The Dark Yet Luminous World of Lauren Fensterstock, beautifuldecay.com, December 12, 2014
  • Schiff, Lisa, The Top Nine Trending Artists Under 40 in Miami, artsy.com, December 3, 2014
  • Butler, Sharon, Inspired by Fiction: Recurrence at Fridman, Two Coats of Paint, August 16, 2014
  • Bigman, Alex, Recurrence at Fridman Gallery, Daily Serving, August 7, 2014
  • McQuaid, Cate, Glassy works get to the heart of prejudices, Boston Globe, January 28, 2014
  • Kany, Dan, Lucinda Bliss, Lauren Fensterstock at Aucocisco in Portland, Portland Press Herald, January 12, 2014
  • Beem, Edgar Allen, and Konnau, Britta, Maine Women Pioneers III, exhibition catalog, University of New England, 2013
  • Morris, Mark, iPastoral, Landscape into Architecture, Architectural Design, March 2013
  • Jurkiewicz, Colleen, “Uncommon Ground” Brings the Natural World Inside, On Milwaukee, July 14, 2013
  • Daniel, Eddee, Review: Field of Vision at the Racine Art Museum, Milwaukee Journal Sentinel, August 2011
  • Diehl, Carol, Radical Sentimentalism: The World of Lauren Fensterstock, artist monograph, 2011
  • Beem, Edgar Allen, Art on the Edge, Downeast, August 2010
  • McQuaid, Cate, Gardens Dark and Foreboding, Boston Globe, April 14, 2010
  • Weisgall, Deborah, SEE: Lauren Fensterstock, Maine, Nov/Dec 2009

Download Biography

Forces of Nature: Renwick Invitational 2020 – Virtual Preview

Lauren Fensterstock is featured in the Smithsonian American Art Museum (SAAM) exhibition virtual opening reception and program for “Forces of Nature: Renwick Invitational 2020

Holophusicon @ MOCA Jacksonville

Lauren Fensterstock Holophusicon "Project Atrium" installation at the Museum of Contemporary Art Jacksonville.

RUPTURES

Ballet Des Moines' Luis Delcid inspired by Lauren Fensterstock's work The Order of Things performs at the Des Moines Art Center.

Meet The Artist

An intimate introduction to the fascinating work of Lauren Fensterstock. Produced during the artist's The Museum of Glass 2016 residency.

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Aperture Foundation

March 4, 2008 - May 17, 2008

Press

MATTHEW SLEETH: WORLD VISION

Art Collector

July 1, 2007

Press

Matthew Sleeth

Cool Hunting

June 14, 2006

Museum & Institutional News

Judith Schaechter’s Hemophilia Aquired

The Mint Museum of Art, Charlotte NC

June 1, 2005

Press

ART IN REVIEW; Judith Schaechter — ‘Extra Virgin’

The New York Times

February 28, 2003

Press

Bernardi Roig @ Claire Oliver

ARTnews

January 1, 2003

Museum & Institutional News

“Birdbath” acquired for V&A collection

Victoria & Albert Museum, London

Press

Vanilla Scented Sovereignty artwork by Lisa Alonzo

Tweeds: Magazine of Literature & Art

Press

Contexted Landscapes

New York Foundation for the Arts

Press

Nasty Maine Women Artists

The Maine Arts Journal

Press

Taking Stock of Lauren Fensterstock

INLIQUID Art + Design

Press

Bernardi Roig

Oral Memories

Press

PS1 Studio Visit

MoMA PS1

Museum & Institutional News

BISA BUTLER: Represent

The Art Institute of Chicago