When the pandemic prevented her travel, she adapted her approach. Initially, Cain had planned to paint directly on the temporary walls and enclosures on site. In this installation, Cain generates a flow of abstract moments between hard-edged shapes that traverse an atmospheric spray-painted backdrop to create a riotously colored work dynamically playing between painting and sculpture. The title of My favorite season is the fall of the patriarchy is lifted from a coffee mug. To the canvas, the artist applied sculptural elements of torn, cut, sewn, draped, and beaded sections, with additions of silver and gold leaf and paint rollers, inviting discovery and drawing from wide-ranging sources. Extending onto the nearby protective sculpture enclosures and well covers, Cain’s painted elements surround and complement the canvas to create a dynamic installation that encourages movement and close looking. Sarah Cain’s energetic installation jumps the bounds of a 45-foot-long painted canvas to integrate a variety of surfaces in the East Building’s Atrium. With these archaic indicators of femininity stripped away, the surreal and expressionist imagery allows her to break out, expanding beyond the body. While disrupting traditional portraiture of the Western Canon and confronting stereotypical representations of women, the figures portrayed transcend these societal constraints. The exhibition pulls viewers into an unexpected world filled with surrealist characters such as an elephant girl, a pink “C-section” vessel equipped with breasts, and a woman riding a reptile. Taking inspiration from Alice in Wonderland, the title Beyond the Looking Glass is a twist on Through the Looking Glass, moving beyond a world where women are being seen as purely ornamental. “And within that playful and provocative framework, the show aims to explore contemporary femininity and representation.”īeyond the Looking Glass presents a new lens for representation through surreal and uncanny artworks that address sexuality, race, and identity- radically defying solely ornamental representation. “While organizing this exhibition, I enjoyed poking holes in traditional standards of beauty in art and pop culture,” said exhibition curator and UTA Artist Space director Zuzanna Ciolek. Lewis, Jesse Mockrin, GaHee Park, Hiba Schahbaz, Kiki Smith, and Jessica Stoller. The ambitious exhibition fills all three gallery spaces with bold works by a cross-generational group of fourteen women-identifying artists: Firelei Báez, Tawny Chatmon, Charlotte Colbert, Kim Dacres, Florine Démosthène, Genevieve Gaignard, Sanam Khatibi, Klara Kristalova, Shannon T. Beyond the Looking Glass is curated by gallery director Zuzanna Ciolek, one of the first members of the UTA Fine Arts team when it was established in 2015. UTA Artist Space is pleased to present Beyond the Looking Glass, a group exhibition of surrealist takes by women about women.
#Math illustrations silent install archive
Working with Louise was an absolute honor her distinguished career, her feminism, her activism, and her oeuvre of dynamic paintings are a combined act of fortitude and grace.Ī retrospective of works on paper, A Question of Emphasis: Louise Fishman Drawing will be on view August 2021 - February 25, 2022, at the Krannert Art Museum, the University of Illinois at Urbana-Champaign. Curated by Amy Powell, A Question of Emphasis: Louise Fishman Drawing will be the first career-spanning exhibition and publication of Fishman’s works on paper, including more than 100 works from the artist’s archive that have rarely been exhibited alongside significant institutional and private loans. Our heartfelt condolences go out to her partner, Ingrid Nyeboe, her family, and her close community of friends, artists, poets, musicians, and spiritual practitioners.īorn in Philadelphia in 1939, Louise Fishman forged a unique and prolific career - five decades of consistently manifesting the energy and vision required to create a more aesthetically generous world. In lineage with such painters as Franz Kline, Willem de Kooning, and Joan Mitchell as well as finding influence through friendships with artists Agnes Martin and Eva Hesse, Fishman developed an articulate and athletic approach to painterly abstraction merging the hard-edge objectivity of the grid and the gestural subjectivity of expressionism, all the while developing a language for art-making rooted in her identities as Jewish, feminist, and lesbian. It is with great sadness that we announce the passing away of artist and friend, Louise Fishman, at the age of 82.