Erika Vogt’s ‘Stranger Debris Roll Roll Roll’ Now on View at New York’s New Museum

New Museum_2013_Benoit Pailley_Erika Vogt

Installation view: Erika Vogt, 'Stranger Debris Roll Roll Roll,' at the New Museum. | Courtesy New Museum, New York. Photo: Benoit Pailley

New Museum_2013_Benoit Pailley_Erika Vogt

Installation view: Erika Vogt, 'Stranger Debris Roll Roll Roll,' at the New Museum. | Courtesy New Museum, New York. Photo: Benoit Pailley

New Museum_2013_Benoit Pailley_Erika Vogt

Installation view: Erika Vogt, 'Stranger Debris Roll Roll Roll,' at the New Museum. | Courtesy New Museum, New York. Photo: Benoit Pailley

New Museum_2013_Benoit Pailley_Erika Vogt

Installation view: Erika Vogt, 'Stranger Debris Roll Roll Roll,' at the New Museum. | Courtesy New Museum, New York. Photo: Benoit Pailley

01 Field of Debris

Erika Vogt, Field of Debris, 2012 (detail). Plaster, paint, rope, wood. | Courtesy of the artist and Overduin and Kite, Los Angeles.

16 Erika Vogt still 2

Erika Vogt, 'Stranger Debris Roll Roll Roll,' 2012 (still). Two channel digital video. | Courtesy of the artist and Overduin and Kite, Los Angeles.

EV_04

Erika Vogt, 'Stranger Debris Roll Roll Roll,' 2012. Digital video, plaster, paint, wood, . | Courtesy of the artist and Overduin and Kite, Los Angeles.

There are still a few weeks left to catch CalArts’ alumna Erika Vogt’s (Film /Video MFA 03) first solo museum presentation, Stranger Debris Roll Roll Roll, at the New Museum in New York.

On view through Sept. 8, Vogt’s work examines the relationship of people to objects by incorporating elements of sculpture, drawing, video and photography in an elaborate installation in the museum’s Lobby Gallery.

From the New Museum:

For this work, the artist [composed] a dense arrangement of cast plaster and found objects that float in the gallery space like a field of debris. Some of the littered forms suggest cast-off relics; others evoke tools of an indeterminate functionality. A series of vertically aligned pulleys levitate these sculptural forms above the floor, demarcating the gallery space as a volumetric drawing through which the viewer can navigate. Included within this surreal landscape are three of Vogt’s most recent videos, in which objects are exchanged. Graphic aspects of the videos are echoed in the installation itself, creating a tension between the objects and images on screen and their deployment as physical presences within the space of the gallery.

Although this is Vogt’s first major museum show, her works have been included in a number of prestigious group exhibitions, including the 75th Whitney Biennial in 2010 and Made in L.A. 2012—the first Los Angeles biennial organized by the Hammer Museum and LAXART. She was named one of the five finalists for Made in L.A.’s 100,000 Mohn Prize.