SHE: Picturing women at the turn of the 21st century
David Winton Bell Gallery, Brawn University, North Carolina, Providence, 10/25/2014 - 12/21/2014
ABOUT
Spanning a period of twenty-four years—from 1989 to 2013—the paintings, sculptures, and videos in SHE present a broad-ranging selection of contemporary images of women. Drawn from a private collection, the exhibition includes work by artists, such as Jenny Saville and Cindy Sherman, for whom the position of women in society is a primary concern, along with others who depict women more incidentally. Candice Breitz focuses on the portrayal of women in films, while the sometimes-controversial Lisa Yuskavage and John Currin reproduce images from popular magazines and soft-porn. The comic imagery of R. Crumb is channeled in Rebecca Warren’s crudely rendered female figures. Reworking historic painting styles, Glenn Brown and George Condo create outrageous and gloriously painted women. The idiosyncratic work of Yayoi Kusama is represented by an unusual painted self-portrait, while Chris Ofili's Orgena depicts an iconic African beauty (The title is a reversal of “a negro”). Finally, for artists Urs Fischer and Jeff Koons images of women are purely incidental—part and parcel of their Pop renderings. Reflecting the taste of the anonymous collector, the works in SHE combine to present a select overview of art and its approaches to women at the turn of the century.
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Spanning a period of twenty-four years—from 1989 to 2013—the paintings, sculptures, and videos in SHE present a broad-ranging selection of contemporary images of women. Drawn from a private collection, the exhibition includes work by artists, such as Jenny Saville and Cindy Sherman, for whom the position of women in society is a primary concern, along with others who depict women more incidentally. Candice Breitz focuses on the portrayal of women in films, while the sometimes-controversial Lisa Yuskavage and John Currin reproduce images from popular magazines and soft-porn. The comic imagery of R. Crumb is channeled in Rebecca Warren’s crudely rendered female figures. Reworking historic painting styles, Glenn Brown and George Condo create outrageous and gloriously painted women. The idiosyncratic work of Yayoi Kusama is represented by an unusual painted self-portrait, while Chris Ofili's Orgena depicts an iconic African beauty (The title is a reversal of “a negro”). Finally, for artists Urs Fischer and Jeff Koons images of women are purely incidental—part and parcel of their Pop renderings. Reflecting the taste of the anonymous collector, the works in SHE combine to present a select overview of art and its approaches to women at the turn of the century.
For More Information