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.