“Women’s work” … in plates and dolls lies the basis of feminist art

“Women’s work” … in plates and dolls lies the basis of feminist art

An exhibition showcasing contemporary female artists taking inspiration from the home objects of past centuries

Sunday – 30 Ramadan 1443 AH – 01 May 2022 Number of our era Nr. [

Porcelain Soup Bowls and Decorative Coffee Cups – 2009 by Paula Hayes (The New York Times) Fabric Dolls Inspired by Fairy Tale (New York Times)

New York: Laurel Graber

Judy Chicago is no longer irritated when she recalls the first reaction of male critics to her work and that of other pioneering female artists, who later downplayed Chicago’s 1979 “The Dinner Party” sculpture, which was inspired by paintings and embroidery. Chinese, created by brilliant women. in this field.
In a recent phone call, Chicago responded in an irritated tone: “Women’s art? You are not allowed to describe it as such. Not art. It is a craft.”
But Chicago, the iconic woman with purple dyed hair, still has the final say, now that her work has become an essential part of feminist art. And now the prototypes of two of her paintings are about to become honored guests at another celebration. In this gallery you will also find a circular bottle dating back to 1893, designed by artist Elvira Curtis Hullet. There is another work of an untitled aluminum head, slightly covered in fabric by artist Louise Bourgeois in 2002, and next to it is a silk brocade pillow made from weave cuts by Dolly Madison, the former first lady.
These exhibitions are at the center of the “Women’s Work” exhibition, which highlights how the creations of contemporary women artists have been extracted from the household objects of past centuries, all made by women. From May 27 to September 26, the Lindthurst Manson Gallery, a Gothic-style home museum in Tarrytown, New York, will display more than 125 works of art, almost all American, in one place according to its time period. In this context, Howard Zar, executive director of the museum, said that in these rich spaces, which served as the interior design of the successful series “HBO”, entitled “Gilded Era”, the pieces will be like “To we have a conversation “. “You can just imagine Cindy Sherman’s 1990 hand-painted porcelain soup bowl, which features a self-portrait of the artist, Madame de Pompadour, and what it might mean for delicate, hand-painted glasses and plates. of the early 19th century, later placed on it at a dining table, the palace.
In an interview, Zar said the idea for “Women’s Work” came to him after Helen Molesworth, lead curator at the Museum of Contemporary Art in Los Angeles, was fired in 2018 because of what museum curators describe as “creative differences”. (Some in the art world have claimed she was fired because of her strong support for minority female artists.) He took further inspiration from Womanhouse, a 1972 public sculpture of feminist artists at Hollywood’s Victorian Palace. , hosted by Judy Chicago and Miriam Shapiro. who also works at the Lyndhurst Gallery.
Mr Zar added, “This new exhibition is a discussion of what these women have done, what is revolutionary about it and what is beautiful about it.” This exhibition was created not only to highlight how the work of contemporary women artists has been refined and reinterpreted traditional techniques, but also to demonstrate that these early crafts are more than just women’s work. In many cases, it was a beautiful art in itself. This job was a valuable tool to express themselves and provide them with independent financial income.
In the same way, said Nancy Carlisle, senior collection curator at Historic New England, a Massachusetts heritage organization that includes collections from the colonial era, when “women had no families to care for them, they had to find a way to survive. “. Carlisle curated Work’s Work in collaboration with Becky Hart, the retired independent contemporary art curator from the Denver Museum of Art.
Their choices help save shadowy figures, such as one of the early pop artists Adele Webber, as well as historical women like Elizabeth Adams, the self-portrait copy of French court painter Elisabeth Louise Vigée Le Brun will be hung at Lindhurst Palace . Photo Gallery. “Adams had the luxury and love of being single, so she could learn to be an artist,” Carlisle noted.
But some of the women on the show remain unidentified, such as the creator of the early 20th-century black cloth doll believed to have been made by an African-American nanny for a white baby. The doll will occupy one of the museum’s bedrooms with Brenda, a 1976 sculpture by Faith Reingold of a well-dressed black woman.
This museum bedroom will also include canvas dolls inspired by fairy tales by Kiki Smith combining 19th century folk art with her drawings. “I really appreciate the creativity of the past, but to live, you have to redecorate, revitalize or somehow give it life,” said Kiki.
Some parts, either subtly or openly, distort and perhaps overthrow their historical ancestors. In the palace library, the silhouettes in Kara Walker’s 1997 book Freedom: A Fairy Tale may seem like a work of cute Victorian ladies, but they actually contained a confession of racial oppression. Reingold features a similar surprise in “Feminist Series: Two of My Disabilities No. 10,” part of her decades-old Tibetan-style series Thangkasi. However, its vertical stitched letters do not look like Tibetan writing.
“On these painted landscapes were gilded phrases uttered by black women, from periods of slavery to the present day,” Reingold wrote in an email. This photo contains words from Shirley Chisholm, the first African-American congresswoman, saying, “Among my disabilities, I’m a woman, and that puts more obstacles in my way than being black.”
It is noteworthy that even the smallest thing in the exhibition “Women’s Work”, displays excellent comments. There is a jewelry box holding a 19th century carving, with an ethereal feminist image, along with a rough and realistic copy of Catherine Opie. Also on display will be the Pocahontas 2014 jewelry collection, rings, necklace and earrings made by local American artists such as Keri Atombe and Jimmy Okuma, who were inspired by the colonial paintings of the “Iconic Native Woman” Mrs. Atombe. Perhaps the sharpest criticism comes from the video of Yoko Ono’s 1966 exhibition, “Cut Piece,” which invited the audience to come on stage, one by one, and cut off some of her clothes while sitting and silent. Ms. Hart regards this work as a description of a “history of violence against women’s bodies,” which would resonate particularly in a vividly decorated Victorian setting. She added, “I think this Yoko Ono show cuts everything in a way that no other job on the show does.”
New York Times Service



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