Jacqueline Fraser

Biography

Jacqueline Fraser, The Making of In the Heat of the Night 2018, 2018, mixed media, Installation view, The Walter’s Prize, Auckland Art Gallery Toi o Tāmaki, 2018

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of a Most Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of a Most Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of a Most Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of a Mot Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of Close Encounters of The Third Kind 2014, 2014, paper, cardboard, magazine collage, archival glue, plastic, 2800 x 2800 mm

Jacqueline Fraser, The Making of Close Encounters of The Third Kind 2014 (detail), 2014, paper, cardboard, magazine collage, archival glue, plastic

Jacqueline Fraser, The Making of 8 1/2 2015, 2015, mixed media collage, 955 x 660 mm (framed)

Jacqueline Fraser, The Making of 8 1/2 2015, 2015, Installation view, Art Basel, Hong Kong

Jacqueline Fraser, The Making of 8 1/2 2015, 2015, Installation view, Art Basel, Hong Kong

Jacqueline Fraser, The Making of Repulsion 2013, 2012, luxury fabric on stretcher, duratran prints, bridal veil, each 1020 x 760 mm

Jacqueline Fraser, The Making of the Ciao Manhattan Tapes 2013, Installation detail, Adam Art Gallery, 2013

Jacqueline Fraser, The Making of American Gangster 2012, 2012, archival card, magazine collage, archival glue, plastic sheeting, 400 x 330 mm

Jacqueline Fraser, The Making of American Gangster 2012, Installation view, Michael Lett, 2012

Jacqueline Fraser, The Making of American Gangster 2012, Installation view, Michael Lett, 2012

Jacqueline Fraser, Looking at Alexander Wang Looking at Daniel Buren at the Guggenheim NYC, 2013, fabric, duratran prints, wig, stretcher, 2150 x 1200 mm

Jacqueline Fraser, The Making of The Pope of Greenwich Village, 2012, 2011, digital video

Jacqueline Fraser, A Portrait of the Lost Boys <>, 2001, Installation view, The New Museum, New York

Jacqueline Fraser, A Portrait of the Lost Boys <>, 2001, Installation view, The New Museum, New York

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of a Most Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of a Mot Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of Close Encounters of The Third Kind 2014 (detail), 2014, paper, cardboard, magazine collage, archival glue, plastic

Jacqueline Fraser, The Making of 8 1/2 2015, 2015, Installation view, Art Basel, Hong Kong

Jacqueline Fraser, The Making of Repulsion 2013, 2012, luxury fabric on stretcher, duratran prints, bridal veil, each 1020 x 760 mm

Jacqueline Fraser, The Making of American Gangster 2012, 2012, archival card, magazine collage, archival glue, plastic sheeting, 400 x 330 mm

Jacqueline Fraser, The Making of American Gangster 2012, Installation view, Michael Lett, 2012

Jacqueline Fraser, The Making of The Pope of Greenwich Village, 2012, 2011, digital video

Jacqueline Fraser, A Portrait of the Lost Boys <>, 2001, Installation view, The New Museum, New York

Jacqueline Fraser

Close

Born 1956, Dunedin (NZ). Lives and works in Auckland (NZ)

Jacqueline Fraser draws upon the relationships between identity, media, fashion, and popular culture. Since 2011 she has been producing series of works that pose as the fictional ‘making of’ arthouse and Hollywood cinema. These works dismantle, deconstruct, and reimagine the premise and visual language of a film through installations collaged from cultural and material ephemera.

Fraser has been exhibiting both internationally and in Aotearoa New Zealand for over three decades. Her work has been included in major international exhibitions such as Feminism Never Happened, Institute of Modern Art, Brisbane (2010); Superstars: The Celebrity Factor. From Warhol to Madonna, Kunsthalle Wien, Vienna (2005); the Yokohama Triennale (2002); Eventa 5, Kontsmuseum Uppsala (2001); Volume and Form, National Museum of Singapore (1997) and Prospect, Frankfurter Kunstverein, Frankfurt (1993). In 2001 Fraser was selected alongside Peter Robinson to represent New Zealand at the 49th Venice Biennale. Significant solo exhibitions include: THE MAKING OF MARIA BY CALLAS, Kunsthalle Zürich (2020); THE MAKING OF MISSISSIPPI GRIND, Auckland Art Gallery Toi o Tāmaki (2017) and Jacqueline Fraser << A portrait of the lost boys >>, New Museum, New York City (2001). Fraser has been nominated twice for Aotearoa’s premiere contemporary art award, the Walter’s Prize (2018, 2004) and for the Artes Mundi prize in 2004. She was awarded the Seppelt Art Award in 1999 and the Moët & Chandon Residency in 1992.

 
Close
Left
Right

Jacqueline Fraser, The Making of In the Heat of the Night 2018, 2018, mixed media, Installation view, The Walter’s Prize, Auckland Art Gallery Toi o Tāmaki, 2018

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of Mississippi Grind 2017, 2017, mixed media, commissioned by Auckland Art Gallery Toi o Tāmaki, 2017

Jacqueline Fraser, The Making of a Most Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of a Most Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of a Most Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of a Mot Violent Year, 2017, Installation view, TG, Nottingham

Jacqueline Fraser, The Making of Close Encounters of The Third Kind 2014, 2014, paper, cardboard, magazine collage, archival glue, plastic, 2800 x 2800 mm

Jacqueline Fraser, The Making of Close Encounters of The Third Kind 2014 (detail), 2014, paper, cardboard, magazine collage, archival glue, plastic

Jacqueline Fraser, The Making of 8 1/2 2015, 2015, mixed media collage, 955 x 660 mm (framed)

Jacqueline Fraser, The Making of 8 1/2 2015, 2015, Installation view, Art Basel, Hong Kong

Jacqueline Fraser, The Making of 8 1/2 2015, 2015, Installation view, Art Basel, Hong Kong

Jacqueline Fraser, The Making of Repulsion 2013, 2012, luxury fabric on stretcher, duratran prints, bridal veil, each 1020 x 760 mm

Jacqueline Fraser, The Making of the Ciao Manhattan Tapes 2013, Installation detail, Adam Art Gallery, 2013

Jacqueline Fraser, The Making of American Gangster 2012, 2012, archival card, magazine collage, archival glue, plastic sheeting, 400 x 330 mm

Jacqueline Fraser, The Making of American Gangster 2012, Installation view, Michael Lett, 2012

Jacqueline Fraser, The Making of American Gangster 2012, Installation view, Michael Lett, 2012

Jacqueline Fraser, Looking at Alexander Wang Looking at Daniel Buren at the Guggenheim NYC, 2013, fabric, duratran prints, wig, stretcher, 2150 x 1200 mm

Jacqueline Fraser, The Making of The Pope of Greenwich Village, 2012, 2011, digital video

Jacqueline Fraser, A Portrait of the Lost Boys <>, 2001, Installation view, The New Museum, New York

Jacqueline Fraser, A Portrait of the Lost Boys <>, 2001, Installation view, The New Museum, New York