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Jordan Wolfson’s robotic cube simulates sex and suicide. He says it is his most universal work yet
Jordan Wolfson has a reputation as a provocateur. The 43-year-old US artist shot to fame in 2014 when he unveiled Female Figure, a lifesize animatronic sculpture of a dancer that gyrated against a mirrored wall, wearing nothing but a negligee and knee-high boots. The robot was embedded with facial-recognition software that enabled it to stare audience members in the eye as it performed its creepy seduction.
Was it a comment on sexism, or was the work itself misogynist? The argument raged in the media and controversy has dogged Wolfson in the years since, as he’s produced sculptures, videos and virtual-reality works that have ignited debates about racism, homophobia, antisemitism and violence.
Throughout it all, Wolfson has remained inscrutable, dancing around difficult questions and even arguing that his work has no moral meaning at all. “I would really hate it if my sculpture is taken as a morality lesson,” he told the Guardian in 2018, shortly before he unveiled another animatronic sculpture, Colored Figure, at Tate Modern in London. “I’m no moralist trying to shock people into behaving better … I don’t care about your interpretation.”
‘Being an artist, you have to grow a thick skin’ … Jordan Wolfson. Photograph…The most shocking thing about the NGA’s new sculpture is the price tag
This was published 2 years ago
December 8, 2023 — 3:30pm
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Kiss kiss bang bang ... Jordan Wolfson’s Body Sculpture goes through an elaborate range of gestures in a half-hour cycle, from the sexually suggestive to the suicidal. The National Gallery of Australia has invested $6.67 million in this work and waited 5½ years for it to be delivered.
Conscious of the magnitude of the gamble he has taken, NGA director Nick Mitzevich tells us: “Body Sculpture is a historic acquisition for the National Gallery, marking a milestone in contemporary art. As with other works in the national collection, it will continue to reverberate into the future.”
In the past, Mitzevich has suggested the piece is of comparable importance to Jackson Pollock’s Blue Poles. It’s a big rap for Wolfson, a 43-year-old New Yorker who has made an international reputation with large-scale animatronic sculptures and installations that dabble dangerously with sex and violence.
Jordan Wolfson’s Body Sculpture.David SimsSo what exactly does the Australian taxpayer get for $6.67 million? Answer: a large gizmo, 17.98 metres…
Call to arms: Jordan Wolfson’s ‘Body Sculpture’
In 2003, while a student at New York’s Rhode Island School of Design, the artist Jordan Wolfson encountered a classical Buddhist sculpture in the campus museum. It was a simple thing, but something about it lodged deep in his consciousness and stayed there. He remembers it well: how he would visit the museum, and spend time simply looking at the unassuming figure, basking in its palpable energy. At times it appeared as if it might overwhelm him. “It was like I would hallucinate that it would come and it would, like, smash me,” he tells me. “It was a crazy feeling. It carried this kind of intense frequency of consciousness.”
Wolfson, 43, has just premiered his newest work – a major acquisition for the National Gallery of Australia titled Body Sculpture – to a gaggle of press, gallery staff and board members, and has retreated to the relatively quiet surrounds of the gallery’s members’ lounge. The view before him takes in the tall gums of the sculpture garden and the lake beyond. He is tired. It has, after all, been more than five years since he and his dealer first caught the ear of the NGA’s director, a then newly…