'Engagement' by Jennifer Rubell, London

Side by side images of the same male and female. The male is in a black suit with a burgundy tie. Standing next to him is a female with black clothing.
The centrepiece of the current exhibition at London's Stephen Friedman Gallery is a work titled 'Engagement' by Jennifer Rubell, 2010, comprising a life-sized wax model of Prince William (sculpted by Daniel Druet) in the exact stance seen in the engagement announcement photograph. Pinned to his sleeve is a replica of the famous sapphire and diamond ring, this time sans Kate Middleton.
(Image credit: Stephen White)

Our fixation with the royal engagement was never going to be placated with some souvenir mugs and a bunch of commemorative memorabilia. As if to answer to an unspoken call, artist Jennifer Rubell is exhibiting a thought-provoking body of work in response to the official announcement, marking her first UK solo exhibition.

Rubell (of Rubell Family Collection fame) is known for her participatory artwork that sits somewhere between installation and performance art. 'All the work I create has to do with interactivity between the viewer and an object of some kind, whether that be durable, like the material in this exhibition, or consumable like food,' she explains. Back in 2009, at a New York gallery, she even had visitors feasting on a pile of ribs mounted on a plinth, onto which honey dripped from the roof.

The centrepiece of this exhibition at London's Stephen Friedman Gallery is a life-sized wax model of Prince William standing on a low plinth in the exact stance seen in the engagement announcement photograph. He holds a replica of the famous sapphire and diamond ring, but this time, sans Kate Middleton. Rubell invites the public to step up onto the plinth and slide their finger through the ring. Anyone can play the role of fiancé, making the experience part formal, part seaside entertainment.

'When I first saw the official announcement picture, what struck me was that Prince William's position felt very sculptural,' says Rubell. 'I immediately understood that there could be an opportunity for people to engage with this sculptural element.'

But the work has a strong dose of fantasy to it too. 'As a woman, I look at that photograph, and wonder what it would be like to be in that position. I'm the last person in the world to look for "prince charming", but I'm still curious. It's an instinct that's in all women, and the interaction gives you a chance to validate that instinct, rather than to judge it.'

The exhibition's title, Engagement, speaks about more than just the impending nuptials - it also points to the viewer's interaction with the sculptures on display. Taking the latter further is a second series of 'drinking paintings', which Rubell has mounted to the exact scale of the portrait of William IV that hangs behind the real posing couple in the photograph. A tap protrudes from each canvas, from which visitors can poor themselves a drink.

Gradually the works become more and more splashed with alcohol - art in motion, if you like. And, as an added bonus, each tap offers a different tipple, including sloe gin, Irish whiskey, rum or Madeira, so there's something for every taste.

The artist invites visitors to step onto the plinth and slip their finger into the ring.

The artist invites visitors to step onto the plinth and slip their finger into the ring.

(Image credit: Stephen White)

Jennifer Rubell plays the role of Prince William's fiancé.

Jennifer Rubell plays the role of Prince William's fiancé.

(Image credit: Stephen White)

Prince William's position felt very sculptural


(Image credit: Stephen White)

'When I first saw the official announcement picture, what struck me was that Prince William's position felt very sculptural,' says Rubell. 'I immediately understood that there could be an opportunity for people to engage with this sculptural element.'

Anyone can play the role of Miss Middleton, making the whole thing part formal, part seaside entertainment.

Anyone can play the role of Miss Middleton, making the whole thing part formal, part seaside entertainment.

(Image credit: Stephen White)

Drinking Paintings


(Image credit: Stephen White)

Also on show at Stephen Friedman Gallery is a second series of Rubell's 'Drinking Paintings', from which visitors can poor themselves one of four tipples - sloe gin, Irish whiskey, rum or Madeira ‘Drinking Painting #9: Gin’ Canvas, birch plywood, MDF, stainless steel, gauge, tap and gin 220 x 169 x 100cm (106 3/4 x 70 1/2 x 10 5/8in) 

All images © the artist and courtesy of the artist and Stephen Friedman Gallery.

Drinking Painting


(Image credit: Stephen White)

‘Drinking Painting #9: Gin’ by Jennifer Rubell, 2011 Canvas, birch plywood, MDF, stainless steel, gauge, tap and gin 220 x 169 x 100cm (106 3/4 x 70 1/2 x 10 5/8in)

All images © the artist and courtesy of the artist and Stephen Friedman Gallery.

Drinking Painting Gin’ by Jennifer Rubell


(Image credit: Stephen White)

‘Drinking Painting #9: Gin’ by Jennifer Rubell, 2011 Canvas, birch plywood, MDF, stainless steel, gauge, tap and gin 220 x 169 x 100cm (106 3/4 x 70 1/2 x 10 5/8in)

All images © the artist and courtesy of the artist and Stephen Friedman Gallery.

From the 'Courage' exhibition in New York by Jennifer Rubell, May 2010


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

From the 'Courage' exhibition in New York by Jennifer Rubell, May 2010

The hammers seen here were used by participants to break down a styrofoam wall, revealing an adjacent room with long tables set for a family-style meal with 16 legs of lamb and knives for carving. 

The safety goggles used to shield participants as they broke down the temporary wall


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

From the 'Courage' exhibition by Jennifer Rubell, May 2010 

The safety goggles used to shield participants as they broke down the temporary wall. 

From the 'Courage' exhibition by Jennifer Rubell, May 2010


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

From the 'Courage' exhibition by Jennifer Rubell, May 2010 

Visitors in action in the gallery 

From the 'Icons' exhibition at Brooklyn Museum of Art by Jennifer Rubell, April 2010


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

From the 'Icons' exhibition at Brooklyn Museum of Art by Jennifer Rubell, April 2010 

Seven identical casts of Rubell's head in Fontina cheese were suspended from the ceiling, with heat guns strapped to each one, melting the 'heads' onto a pedestal of crackers below. 

From the 'Icons' exhibition by Jennifer Rubell, April 2010


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

From the 'Icons' exhibition by Jennifer Rubell, April 2010 

In a separate space there were pedastals holding giant cuts of beef, lamb, pork and turkey, accompanied by carving tools and butchers' aprons. 

From the 'Icons' exhibition by Jennifer Rubell, April 2010


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

From the 'Icons' exhibition by Jennifer Rubell, April 2010 

After 'dinner', participants congregated in the exhibition space lobby, where they were confronted with a 20-ft tall piñata of Andy Warhol’s head. 

From the 'Icons' exhibition by Jennifer Rubell, April 2010


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

From the 'Icons' exhibition by Jennifer Rubell, April 2010 

Guests used baseball bats to break into the piñata, which revealed classic American chocolates and sweets. 

A wall of donuts from the 'Old Fashioned' exhibition at LACMA by Jennifer Rubell, April 2010


(Image credit: Courtesy of the artist and Stephen Friedman Gallery)

A wall of donuts from the 'Old Fashioned' exhibition at LACMA by Jennifer Rubell, April 2010 

On entering the gallery, visitors were confronted by a huge wall of donuts, which they could eat, hung in a grid formation at perfect 6-inch intervals. 

ADDRESS

Stephen Friedman Gallery

25-28 Old Burlington Street

London W1S 3AN

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