Carissa Rodriguez

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A boy plays, cries, smiles, and grimaces in a group of candid, gloss images. Josephine Pryde’s Adoption (2009) series is comprised of pictures of a well-dressed toddler. His name-brand clothing and the environment in which he is photographed give us insight into his life, but also raise questions about choice and consumption. One by one, these images accumulate into an unsettling representation of childhood. The boy pictured is complex—he is frustrated, he is happy, he has desires. He can be manipulated, but he can also manipulate. Subject to mood swings, he can appear alternately adorable and grotesque. Necessarily passive, this ...
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Newborn was made multiple times. The Romanian-born French modernist sculptor Constantin Brancusi made the first iconic version, Le Nouveau Né, early in the early twentieth century. He carved the eggshaped form from marble in 1915, then made another version in bronze in 1920. The title’s allusion to originality— a key tenet of avant-garde art at the time—also embraced the peculiarities of artistic creation by comparing it to birth; the ovoid sculpture abstractly resembles a crying baby through an indentation on its surface. By shaping an evocative object out of physical material, Brancusi brought a thing into existence. His paternity was ...
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The Center for Experimental Lectures, in collaboration with the Rhode Island School of Design Department of Sculpture, The RISD Museum, and RISD’s Center for Arts & Language presents three new lecture-performances by Carissa Rodriguez, Naama Tsabar, and Pablo Helguera. These three pieces are site-specific to the internet, using a variety of online presentation platforms and presented remotely on three separate dates throughout the month May. This series is the RISD Sculpture Department’s Visiting Artist Program, and has been developed throughout the spring with RISD students in the course “Talking Is Dancing: Lecture-Performance As Form,” written and taught by CEL founder Gordon ...

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