The Meat Grinder’s Iron Clothes
The Meat Grinder’s Iron Clothes
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Samara Golden ’95 is receiving high praise from several major media outlets for her installation in the Whitney Biennial 2017—the seventy-eighth survey of American art, which “arrives at a time rife with racial tensions, economic inequities, and polarizing politics.” The work, spanning 33 x 14 feet, is a stacked series of mini domestic interiors surrounded by mirrors that, as the New York Times puts it, “create endless kaleidoscopic reflections of class conflict.”

New Yorker: “The work that you are most apt to remember, The Meat Grinder’s Iron Clothes, by the Los Angeles artist Samara Golden, marries technique and storytelling on a grandiose scale. (She is the most ambitious of several artists in the show who appear bent on rivalling Hollywood production design.)”

New York Times: “The melding of pleasure and horror it can elicit would have delighted Georges Bataille, the radical philosopher for whom 'truth has only one face: that of a violent contradiction.'”

Vulture: “But just gawk at Samara Golden’s dizzying showstopper, The Meat Grinder’s Iron Clothes, a simple but labor-intensive hall of mirrors installation that imparts an endless optical illusion of the interior of a skyscraper going Jack and the Beanstalk high and descending infernally into the earth. (This Kafkaesque or Boschian structure seems to house laboratories, beauty salons, bathrooms, crash pads, waiting rooms, gyms, bedrooms, wheelchairs, restaurants, and work stations.)”

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