Tag: feminist art

Posted on , by Etty Yaniv

Bascha Mon’s Life and Journey of Dreaming at Tappeto Volante

In Dialogue
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A Celebratory Retrospective of an Artist’s Life and Journey of Dreaming, Perseverance, Activism, & Unconscious Expression.”

The retrospective of Bascha Mon’s paintings at Tappeto Volante offers a focused look at an artist whose career has been shaped by both creative achievements and personal struggles. Mon first gained recognition in the 1970s and 80s, with numerous exhibitions and critical acclaim. However, her trajectory was interrupted by health challenges that led to a long period of seclusion. During this time, she continued to work from her basement studio in New Jersey, expanding her creative vocabulary across various mediums while remaining largely out of the public eye. In recent years, Mon turned to digital platforms like Facebook and Instagram. Paola Gallio, the exhibition curator and gallery co-founder, describes this phase as “dissolving the physical isolation that had once defined her situation.” These platforms allowed Mon to reconnect with the art community and sustain an active, visible presence. Gallio emphasizes that “Mon’s modest basement studio became a metaphor for boundless creative space,” where the constraints of physical isolation were replaced by the limitless possibilities of virtual engagement. For deeper insights into the retrospective, Gallio’s interview with Art Spiel offers further reflections on Mon’s artistic journey and the significance of this exhibition.

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Posted on , by Etty Yaniv

Assembled Worlds: Hannah Höch at Lower Belvedere

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Installation view “Hannah Höch, Assembled Worlds”. Photo: kunst-dokumntation.com, Manuel Carreon Lopez, @ Bildrecht, Vienna 2024

“I wish to blur the firm boundaries which we tend to delineate around all we can achieve,” Hannah Höch once said, challenging the rigid limits that society often imposes on creativity, identity, and social roles. This sentiment resonates deeply throughout the Assembled Worlds exhibition at Vienna’s Lower Belvedere, curated by Martin Waldmeier from the Zentrum Paul Klee in Bern. This major showcase of Höch’s work in Austria feels long overdue, bringing together around 80 of her photomontages, alongside paintings, drawings, prints, and archival materials. Together, they offer a vivid glimpse into her groundbreaking contributions to 20th-century art.

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Posted on , by Etty Yaniv

Paula Modersohn-Becker: Ich bin Ich / I am Me at the Neue Gallerie

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Installation views of “Paula Modersohn-Becker: Ich bin Ich / I Am Me” at Neue Galerie New York. Photography by Annie Schlechter, courtesy Neue Galerie New York

German painter Paula Modersohn-Becker, born in 1876, is relatively unknown in the United States. This is quite surprising, considering she painted the first nude self-portraits known to have been made by a woman. Many of these audacious portraits capture her own pregnancy—another first among Western women artists, paving the way for later figures like Alice Neel. Modersohn-Becker’s portraits of women spanning all ages—bold in their composition, subtle in their detail, and utterly present—strike a powerful note throughout the first major retrospective of her art in the United States, curated by Jill Lloyd at the Neue Galerie New York, and fittingly titled Ich bin Ich / I Am Me.

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Posted on , by Sara Farrell Okamura

Judith Braun’s, I’m Bad at Kiddie Pool is So Good

Featured Exhibition
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Judith Braun, I’m Bad, installation view, photo courtesy of Kiddie Pool and the artist

Veteran, age-defying, feminist artist Judith Braun’s exhibit, I’m Bad, opened on June 28 in a pristine, Victorian-era brownstone that doubles as Kiddie Pool, a residential project space in downtown Albany, NY. As contemporary contronym phrases go, I’m Bad conjures a sense that exemplifies Braun as a person and her body of work. Through decades whether it was as a generation-defining member of the lower east side collaborative Group Material, where she created Pussy Works, as part of the seminal 1988 show, Democracy: Cultural Participation to exquisitely painted angels to her current exhibit that includes new monumental collages at Kiddie Pool, Braun consistently challenges and baits the status quo with unbridled glee.

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Posted on , by Art Spiel

Women Heavy at Gardenship Gallery

In Dialogue
Laia Cabrera and Isabelle Duverger, QUALIA – YOU MATTER TO ME, immersive installation, UltraHD, color, sound, 10 minutes, 2024. Courtesy of the artists

Throughout the group exhibition Women Heavy at the Gardens Gallery in Kearny, NJ, curator Donna Kessinger references contemporary and second-wave feminist ideas. The curator aims to create a clinical and visceral experience by investigating broad concepts and featuring among many notable others work by Charlie Spademan, Gwen Charles, Jeanne Brasile, Josh Knoblick, Judi Tavill, Kasia Skorynkiewicz, Charlee Swanson, Lauren Vroegindewey, Kristin J. DeAngelis, Michael Angelo, Richard Gaines, Suzan Globus, Vikki Michalios, A.V. Ryan, Donna Conklin King, Anna Ehrsam, and Doris Cacoilo. In our interview curator D. Kessinger sheds some light on her curatorial vision.

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Posted on , by Yindi Chen

Womanhood 102: Lesley Bodzy and Katie Commodore Challenge Gender Norms

Installation view Womanhood 102 (with Lesley Bodzy’s Soft Embrace I, 2022. Acrylic. 69 x 43 x 11 inches, on the left and works by Katie Commodore in the middle and on the right). Courtesy of the curator.

A golden, shimmering drapery cascades from the wall—the skin-like surface of Soft Embrace is from Lesley Bodzy’s experimental work with acrylic paint. She uses the liquid pigment as a sculptural material, shaped into a malleable cloth, reminding of Lynda Benglis’s poured latex on the floor or Eva Hesse’s visceral and alluring sculptures. The sensuous object evokes a tactile experience, an imagination of how touching it might feel, through looking. Matter surprises, entering a threshold between fluid and solid, elasticity and delicacy. Jamaica Kincaid’s 1978 story Girl tells a mother-daughter dispute about how a girl should behave. “…on Sundays try to walk like a lady and not like the slut you are so bent on becoming…” The mother’s advice seems endless and castigating, instructing every aspect of daily living. Side-by-side, Bodzy’s curved drapery recalls ‘how girls should behave,’ as it seemingly hides things beneath and its smooth surface presents an image of flawless elegancy, concealing feelings in a muted position.

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Posted on , by Saul Ostrow

Jenny Holzer’s Hypocrisy

Opinion
Walls of the Guggenheim Museum bathed in a purple glow. A scrolling LED text installation winds up the ramps of the Guggenheim Museum, displaying texts written and curated by the artist, leading to a blue sky beyond the oculus.
Installation view, Jenny Holzer: L: right Line, May 17-September 29, 2024. Solomon R. Guggenheim Museum, New York. @2024 Jenny Holzer, Artists Rights Society (ARS), New York, Photo: Filip Wolak

“I want people to concentrate on the content of the writing and not ‘who done it.’ I want the work to be of utility to as many people as possible. And I think if it were attributed to me, it would be easier to toss.”

Quote by Jenny Holzer from Art21

Recently, I wrote an opinion piece on the suspect politics of Maurizio Cattelan’s show at Gagosian Gallery — it questioned why successful artists who make political claims for their work do not use their privilege to engage in direct political commentary and action rather than critique by analogy. I’m not suggesting they need to engage in social practices like Mel Chin or Tania Bruguera; I think artists like Cattelan can be more direct in their criticism or more like Theaster Gates, who acknowledges the contradictions and privilege that comes with his success to the degree that he openly differentiates between museums and institutional exhibits that permit him to experimentation and his gallery exhibits that afford him market engagement. Meanwhile, while those works have an implied politic, he is an activist who focuses on community development, which is realized through his Chicago-based Rebuild Foundation, which is a platform for cultural development and neighborhood transformation. This multifaceted approach enables Gates to navigate and influence both the art world and broader societal issues without collapsing one into the other.

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