The emphasis in Semmel’s retrospective Skin in the Game is on the various points of view she has taken on herself — and, briefly, on others too.
“How could I make work that was sexual from a woman’s point of view, that would not turn a woman off, as so much of pornography did?”
In the Cut is a seductive and enigmatic mental play in which it becomes possible, inescapable in fact, to glimpse the world through a feminine lens.
Joan Semmel has created a distinctive body of work largely centered on painted images of her own body.
I have known about Joan Semmel for a long time. But recently I began thinking about the parallel concerns between my own practice and the work of this artist 20 or so years my senior.
With recent statistics showing that only 31% of the solo exhibitions at NYC galleries are devoted to women, it comes as a pleasant surprise that over a two-month period this spring there are several exhibitions simultaneously showcasing the work of second-generation feminist artists.