Boffin explained in a 1991 radio interview that she was trying to put lesbians back on the political agenda, but her risqué performances frequently drew criticism from inside the LGBTQ community.
Schor’s extraordinary paintings and drawings, produced during her time at CalArts in the 1970s, redefine female “wildness.”
I was excited to see Lesbian Matters — as we truly are in desperate need of exhibitions dealing with lesbian visual culture — but I was saddened by its lack of complexity.
“Visual poetry” is a phrase that gets thrown around quite a lot these days. Poetry has its own complexities, as captured by Monique Mouton’s subtle work.
The founders of Assembly Room are invested in representing the female curatorial vision — and this vision may include artists from anywhere on the gender spectrum.
Marlene McCarty’s Murder Girls series does not give us the satisfaction of a neatly wrapped moral or a happy ending, nor does the artist attempt to rationalize the girls’ actions or to vilify them.
It was with a certain incredibility that I discovered the museum was hosting a major Picasso exhibition titled Love, Fame, Tragedy. Nevertheless, I wanted to see the show for myself.
A new mural by Macon Reed invites us to consider subjects that are “other,” and to whom we don’t have full access with our gaze.