feminist art – Page 7

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July 25, 2022December 30, 2022, by Art Spiel

The Baroness at Mimosa House London

Art Spiel Photo Story

Elsa von Freytag-Loringhoven (c. 1921-22), George Grantham Bain Collection, Library of Congress Prints & Photographs Division, LC 5677-2. From digital scan of photograph.

The Baroness at Mimosa House in London is a group exhibition dedicated to Dada artist, the Baroness Elsa von Freytag-Loringhoven (1874–1927). The exhibition manifests the ongoing influence of the Baroness on contemporary artists and poets, showcasing artworks and performative contributions created in homage to Elsa von Freytag-Loringhoven or influenced by her radical work and effervescent personality. The show questions the legacy of Dada poetry and performance today, in a feminist and queer dimension in particular. How can artists navigate the art world, politics and society while creating a work which resists and disrupts the conventional canon? Elsa von Freytag-Loringhoven becomes a role model and inspiration for international artists of different generations and media of work.

July 18, 2022December 30, 2022, by Jac Lahav

Jodi Hays – The Find at Night Gallery in LA

In Conversation with Jodi Hays and Night Gallery

Installation image courtesy of Night Gallery and Marten Elder

A new show at Night Gallery in L.A. explores feminine conventions in painting. Large cardboard assemblages counter the traditional stretched canvas by repurposing a commonplace consumerist material. The Find is Jodi Hays’s first solo show in L.A. and a poetic contemplation on space, landscape, and material. Working in layered and dyed cardboard, Hays creates subtle landscapes reminiscent of long drives down winding roads. These works are odes to the quotidian, evoking both nostalgia and references to femininity, while straddling the line between painting and assemblage. Contributor Jac Lahav sat down with artist Jodi Hays and Night Gallery to talk about the show.

May 12, 2022November 2, 2022, by Cigdem Asatekin Macinnis

How Soon is Now? On Cat Del Buono’s Art

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Description automatically generated — Installation view, Cat Del Buono, “Voices,” July 17 – 31, 2020 at Microscope Gallery, New York, NY. Photo by Seze Devres. Courtesy of Microscope Gallery.

The time is passing but the image dwells. 47 men are posing to get their picture taken, completely still. These men in suits and ties are U.S. Attorneys in the year 1933, basking in their moment of power and glory. Above them, an old wall clock’s pendulum keeps moving from one end to the other, its ticking sound loud and clear. The moment is eternalized, and the power remains, even now. 89 years and the image is still relevant: White men are in charge. Artist Cat Del Buono’s video piece Time (2011) is an illusory work in between a video and a still, framed and hung like a photograph that uncannily moves, and it displays a perpetual stalemate.

Cat Del Buono, Time (video still), 2011, video frame with mat. Courtesy of the artist.

April 18, 2022February 25, 2022, by Etty Yaniv

Anonda Bell – Incidental Encounters with Nature

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Description automatically generated — Installing “Belladonna” piece at Village West Gallery in Jersey City, March 2020. Photo courtesy of Michael Endy

Artist Anonda Bell reflects in her mixed media installations on a range of complex notions—from exploring different ways women have been perceived throughout history to environmental concerns. The entry point to her projects include homages to historical figures like the American feminist Charlotte Perkins Gilman who protested in her book Yellow Wallpaper the oppression of women at the end of the 19th century, and the Australian Lindy Chamberlain who was falsely charged with murdering her baby; references to cultural trends in psychology related to women’s anxiety and Hysteria; or environmental concerns referencing Biophobia and extinction.

March 24, 2022March 24, 2022, by Nina Potischman

Revisiting Pritika Chowdhry’s Feminist and Decolonial Installations Speaking to India’s Partition for Women’s History Month

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Description automatically generated — Pritika Chowdhry. What the Body Remembers, 2008. Paper pulp, mason stains. 6 ft. x 3 ft. x 10 ft. installed dimensions. All photographs courtesy of the artist.

On India’s 75th year anniversary, the horrors of the Partition cannot be forgotten. Yet despite the atrocities committed against women, their experiences are often excluded from discussions of Partition’s impact. In What the Body Remembers and Queering Mother India, artist Pritika Chowdhry pushes back against this historical erasure. Revisiting two of Chowdhry’s installations for women’s history month, one is struck by the sensitivity and delicacy of her work alongside the urgency of her message.

January 24, 2022December 20, 2021, by Etty Yaniv

Gabriela Vainsencher: Unfolding Motherhood

Gabriela Vainsencher in the studio with “Mom”, 2021

Gabriela Vainsencher works in photography, video and drawing, while merging all of these forms in her porcelain sculptures. Her sculptures and wall reliefs are as far off the smooth perfection we traditionally associate with porcelain – twisted forms merge into each other or repel, forming a fiery existential dance that sometimes invokes symbiosis and sometimes pulling apart.

January 17, 2022January 9, 2022, by Etty Yaniv

Brenda Zlamany – Shifting Historical Iconographies

In Dialogue with Brenda Zlamany

Portrait of Brenda Zlamany with *the Davenport Dining Room Scene*, 2018. Oil on panel. Left panel: 58 x 42 in. Right panel: 58 x 39 in. Photo courtesy of Robert Lowell.

In recent years we have been experiencing a major re-examination of iconographies and narratives portrayed in historical paintings and sculptures—portraits of male figures re-evaluated and removed, portraits of females and people of color, added. Working within the context of historical portrait painting, till surprisingly quite recently, has implied working within a mostly male dominated territory, for both artist and subjects. Additionally, depicting Historical figures requires the artist to develop their own research approach, which typically differs from the process of depicting living subjects. Painter Brenda Zlamany, who has been commissioned to paint several substantial group portraits of historical women, among them—Yale’s First Seven Women PhDs and Rockefeller University’s five women scientists—elaborates on these issues and describes her approach to historical portrait paintings.

January 14, 2022November 2, 2022, by Casey Curry

Reflections on Humanity Is Not a Spectator Sport

In Dialogue with Caron Tabb

*Caron Tabb, Justice Vessels: Tzedakah Box For Tina (2021), Scorched tree branches, stainless steel, wool roving, thread, 16 x 16 x 22 inches. Photo credit Julia Featheringill.*

In Humanity Is Not A Spectator Sport, on view at Beacon Gallery in Boston from November 5th 2021 through January 17th, 2022 (sponsored in conjunction with JArts), Caron Tabb draws upon her expertise in multiple media to create works meant to provoke and inspire. She leans into the tensions that have characterized the recent past to question her role and culpability as a White woman; where inaction itself is a statement. The exhibition offers an intimately visual response to Tabb’s personal reckoning along with a wealth of programming focused on sparking difficult conversations about race and privilege as well as presenting opportunities to take action. As the exhibition entered its final weeks, I asked Tabb to reflect on some of the conversations the exhibition inspired.

December 29, 2021October 6, 2024, by Art Spiel

Black Moves First at GAVLAK Palm Beach

Featured Artist

Photo by Alex Berliner

In Black Moves First, NYC-based artist Kim Dacres brings together eight new sculptures where all chess-like pieces depict solely black female figures, based on characters from the artist’s own life – mother, grandmother, sisters, aunts. The show is on view through January 2, 2022 at GAVLAK Palm Beach.

November 13, 2021November 2, 2022, by Art Spiel

Fei Li -The Unofficial History of Tomorrow at First Street Gallery

Featured Artist

The artist and her work, photo courtesy of Christine Collado

Fei Li’s large-scale paintings in her solo show at First Street Gallery are layered with paint, collaged fragments of dollar bills, magazine cutouts and jetsam of daily life. These visual cues are immersed in vivid yellows, blues, and greens, altogether representing the chaos of our moment. Drawing on a wide array of sources—Chinese calligraphy, pop culture, science fiction, myth, and current events—Li invites us to engage with her own anarchic universe.