Anyone who has ever obsessed over a luxury handbag or shoe will love
Josephine Meckseper. One of the most important young artists to come out of Germany recently. Maybe being half German is what makes me gravitate so much to German artists (Polke, Richter, Struth) - that and the fact that they are usually pretty amazing.

I especially loved her use of the seventies German Quelle catalog (the Sears of Germany which my Grandmother shopped from) source material for much of her large scale mirrored installations. So beautiful and poetic in it's tackiness.

Fashion, design, the object of display and seductive all in one. I love it. Here are shots from her work currently displayed at MOMA NYC.

I am also including two critical reviews of her work.
Mecksepers work equates our induced desire for fashion and luxury goods with the manipulations of media-driven ruling regimes, but it likewise compares both of these to their supposed antithesis in political protest movements. Partisan politics is just another status symbol. Radicalism quickly becomes radical chic, which is presented as just another formal element to be fetishized and sold in a museum cum gallery cum boutique that nostalgically samples utopian dreams from the Russian Constructivists to 1960s hippies. As the curators of the 2005 Lyon Biennale write,
in Mecksepers work politics becomes a style, and commitment an object to be displayed in a chic display cabinet, suggestive of those in museums and ethnographic societies. Through this approach, Meckseper explores the questionable links the media establish between images of political news, the fashion industry and advertising. Read the entire article here Source: www.re-title.com

Another review of her work by renowned art critic Roberta Smith for the NY Times.
Art in Review; Josephine Meckseper
Josephine Meckseper's show is a total environment riven with interesting cracks. Elegantly mirrored, paneled and shelved, it has the stark, slightly too-bright emptiness of an abandoned high-end boutique occupied by style-conscious anarchists. At first the second New York gallery show of this German-born, New York-based artist swings anemically between the obvious and the lazy - not an engaging range of motion. But look again and the piece functions as walk-in Conceptual Art. Enveloped in a brittle glamour, its desiccated scraps mine the overlap of art, politics and consumerism.
Outside the gallery's soaped-over front door, forlorn window displays acknowledge both the real and the plausible: the Women's House of Detention across the street, and the imminent arrival of a business named DR Gagosian UBS. Inside, a hammer and sickle sit on a mirrored cube, and the Texaco star doubles as the Red Star. A red-and-white sign blares SALE. Mannequins, glass baubles and toilet-bowl cleaners alternate with collages that mix black lace, scraps of Palestinian scarves and Constructivist geometries. One collage mentions the Angry Brigade, a group of British anarchists believed to have bombed more than 100 sites (including a Biba boutique) in the early 1970's, without casualties. Read the entire article here
Source: New Tork Times