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Ulrik is pleased to present Non-Waiver, Bettina's second solo exhibition at the gallery. The show consists of two series: photographs made in the 1970s and wooden sculptures realized between 1977–81, variously titled Weapons, The Cutting Edge, Stroke, Non-Waiver, Knife Edge, and Shango. Both series unfold through Bettina’s method of the “random constant.” A sign on the door of her Chelsea Hotel apartment pronounced: “unequal elements constrained and equivocated by a rigid structure of predetermined parameters.”
Emblematic of Bettina’s systematic approach to repetition and variation, the untitled self-portraits apply this framework directly to the image of her own body. They extend her Phenomenological New York series (1972-86), which captured distorted reflections in the city’s glass facades, carrying its investigation into her live–work space. She made the silver gelatin prints in her bathroom, which she turned into a dark room. Bettina often described her apartment as the “Institute…
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Press Release
Ulrik is pleased to present Non-Waiver, Bettina's second solo exhibition at the gallery. The show consists of two series: photographs made in the 1970s and wooden sculptures realized between 1977–81, variously titled Weapons, The Cutting Edge, Stroke, Non-Waiver, Knife Edge, and Shango. Both series unfold through Bettina’s method of the “random constant.” A sign on the door of her Chelsea Hotel apartment pronounced: “unequal elements constrained and equivocated by a rigid structure of predetermined parameters.”
Emblematic of Bettina’s systematic approach to repetition and variation, the untitled self-portraits apply this framework directly to the image of her own body. They extend her Phenomenological New York series (1972-86), which captured distorted reflections in the city’s glass facades, carrying its investigation into her live–work space. She made the silver gelatin prints in her bathroom, which she turned into a dark room. Bettina often described her apartment as the “Institute…
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