IDENTITY iden˙ti˙ty / ī-ˈden - tə - tē
IDENTITY International Juried Exhibition Presented by the Women’s Caucus for Art Karen Gutfreund, Exhibition Director Jurors Anne Swartz and Maria Elena Buszek at
May 31 — June 22, 2014 In a world dominated by pop culture, society and the media – how is identity defined?
24 Spring Street, New York, New York 10012 212.965.9995 info@gallerynine5.com www.gallerynine5.com
Shonagh Adelman Long Island City, New York www.shonaghadelman.com
Yellow Grrrls Colored 4mm glass and acrylic crystals on canvas with embedded film loops/tablets, 46 x 38 inches, 2013 The Loopies series uses 4mm colored glass crystals on canvas to give familiar gender tropes a new (and different) ‘life’. As feminist authors have occasionally re-written the stories of female characters from the annals of “great literature”: “Wide Sargasso Sea” by Rhys, “Gertrude Talks Back” by Atwood etc., the loopies are parodic reincarnations of their progenitors. Injecting the images with realism via film loops, moving body parts (lips, eyes, head etc.) breathe life into their stylized, static host bodies. The composure of still/ted figures is jarred by moving clichés of seduction (pursing, blinking, winking). Undermining and highlighting fetishistic femininity, the film loops transform those proverbial tropes into figures whose would-be self-determination turns on harnessing (by fulfilling the hypothetical expectations of the viewer) and defying, through hyperbole, those same expectations.
Shonagh Adelman Long Island City, New York www.shonaghadelman.com
The Conversation Colored 4mm glass and acrylic crystals on canvas with embedded film loops, 68 x 54 inches, 2013 The Conversation, from the Loopies series, uses embedded film loops within a colorful crystal surface to subvert proverbial gender tropes. Bubbling mud and rolling eyeballs suggest that an alternative interpretation can be uncovered under the crystals, behind the curtain and inside the brain/s.
Sally Edelstein South Huntington, New York www.sallyedelsteincollage.com
How Old is Old? Collage, 48 x 36 inches, 2010 Like most women I have consumed an abundance of contradictory pop culture about what it means to be a woman in America. Our identities, expectations and sense of beauty are formed, distorted and influenced by these stifling stereotypes. Fragments of these images remain in many of us. These collages of media made women are a visual smorgasbord of stereotypes from the Cold War culture of happy housewives, Mad men and mad as hell women offered by a mass media consumed with charades, clichĂŠs and fictions that flourished in the 50s-70s.
Claire Joyce Philadelphia, Pennsylvania www.clairejoyce.com
Conquest and Civilization Glitter and Elmer’s glue on panel, 4 x 6 feet, 2010 The contemporary female must contend with culturally shifting ideas of femininity. Whether domestic roles are embraced as empowering or rejected out of hand, shifting ideas of power and submission force the female to divide herself. My glitter self portraits reference art historical imagery. I split myself into the roles I fill and insert myself into the history of female imagery. By re-imagining myself in these images I am reclaiming and accepting my feminine role(s)—both culturally expected and selfinflicted.
Lauren Kalman Providence, Rhode Island www.laurenkalman.com
Hood (2) Inkjet print (using hood with 11,000 hand beaded Swarovski pearls), 20 x 28 inches, 2014
Hoods was inspired by the architect Adolf Loos’ 1910 lecture Ornament and Crime, where he proposes that is that ornament is regressive and primitive, and that in (his) contemporary society only degenerates and criminals are decorated (this includes women). The “crime� in my work points to the decorated, and also to female sexuality. Hoods or masks that reflect sculptural ornamentation and adornment are combined with the body. These juxtapositions will point to historical, political, and social contexts relating to sex, power, pleasure, and beauty.
Beth Lakamp Fenton, Missouri www.bettsvando.com
Old Girls Love Short Dresses too Oil on canvas, 18 x 24 inches, 2014 Colorful characters, women dressing to feel sexy in fashions they enjoy.
Megan Mantia & Leone Anne Reeves Kansas City, Missouri www.blanketundercover.com
GIRL WORLD OUR WORLD OUR BRAINS WE LIVE HERE AND WE LOVE IT: An Erotic Memoir Performance and handwritten, hardbound copies of memoir (Edition of 2), 6,651 Words, 6.25in x 9.25in x 1in , 2014 This memoir is a spew of whatever came to our minds, things we know women don’t talk about in public/online/in school/ in movies/ at home. What prevents us from putting our thoughts out there honestly, who is the judge that we tip toe around most gingerly? We concluded that our mothers are our most highly regarded figures. We fear any shame or discomfort that our behavior might bring to them, implicating the way they raised us.
Jessica Lichtenstein New York, New York www.jessicalichtenstein.com
LUST Inkjet print on acrylic, 38 x 88.25 x 4 inches, 2011 LUST is one piece in a series of works that appropriates images from pornographic Japanese-inspired comic books. I like taking images that exist in various cultures—of female representation, fetishism and objectification—and putting them into a different context, allowing the viewer to engage with and question their own reactions to these hyper-sexualized images—whether it be feelings of shock, disgust, power, vulnerability, shame or lust. I think it makes people question what they are comfortable with, and why?
Jessica Maria Manley Mount Arlington, New Jersey www.jessicamariamanley.com
The Castle Digital C-Print, 30 x 40 inches, 2013 I was seeing the effects of the ever-present pressures on children, especially young girls, to grow up fast. Although I was photographing my sister at a very young age there was a mature gaze that was ever present and a sense that she was wise beyond her years—the thief of innocence being a venomous combination of media, marketing and peer pressure. These changes in modern culture are increasingly making our young people old before their time.
Jessica Maria Manley Mount Arlington, New Jersey www.jessicamariamanley.com
The Living Room Digital C-Print, 30 x 40 inches, 2013 In a world dominated by pop culture and the media I create photographs with the intent to provoke internal questioning regarding our own identity. Adults have ascertained a set of values and a moral code of conduct in an effort to neatly blend into the world around them. It is only when images disturb our own values and norms individuals are made to feel ill at ease. What is viewed as odd or disturbing and can be linked to the disruption of the moral code ingrained both in the observer and the observed.
Chan & Mann Los Angeles, California http://audreychan.net http://elanamann.com
Chan & Mann’s New Fantasy (The Video) HD video, 16:29 min., 2013 Chan & Mann’s New Fantasy (The Video) opens upon a painted allegorical scene depicting a not-so-ordinary day in the studio with Chan & Mann. They wrestle with issues of feminist and ethnic identity with a cast of characters, such as Dorah the Menorah, Michelle Obama, fortune cookies, and a feminist megaphone. Live action and animated scenes continue the narrative into everyday and imaginary spaces, including Hollywood’s famed Grauman’s (now TCL) Chinese Theater.
Sarah Maple Crawley, UK www.sarahmaple.com
Fighting Fire with Fire No.2 C-Type print, 16 X 12 inches, 2007 In Fighting Fire with Fire No.2 I am looking at my identity as being raised as a Muslim in a western society. I have mixed parentage and this duality has played a huge role in my upbringing. In an ever-multicultural world, I am asking if it is possible for us to live side by side. As with much of my work is dealing with difficult topics, I use the humour and satire as a tool to express these idea.
Sarah Maple Crawley, UK www.sarahmaple.com
Untitled with Skirt Up Oil on board, 40.5 x 51 cm, 2011 Untitled with Skirts up is inspired by how there is never a perfect age to be a woman. When they are children there is a need by the media to sexualise them or for them to grow up before their time. Then when women get to adulthood the need is for us to remain young, be that through ‘sexy school girl outfits’, ‘turn back time’ ageing cream or by the obsession with us removing all of our body hair. This is not only physically but I believe society enforces this further in a subconscious way. We are encouraged to diet to stay small and childlike, never to mature, never to take up too much space in the world, never to be strong and powerful. I see this as a subconscious way of keeping us in our place.
Ellen Deitell Newman New York, New York www.ellendeitellnewman.com
Dining with JFK C Print on Archival Paper, 24 x 20 inches, 2004; 2014 IDENTITY: ‘Who am I’?, ‘What is possible in my life’? I experience opposing forces within—a modern feminist dilemma. The conflict between my need to be powerful with full control over my body, my person, my life, versus a yearning for acceptance, security, value, importance, recognition, love. Shall we Live fearlessly? Or just sit tight—and NOT rock the boat? Through sheer fantasy and fun, I shoot for the heights and act on a desire to break life’s boundaries. I propel myself out of the confines of the predictable and into scenarios out of the realm of possibility. What better way than to participate in events where I literally rub shoulders with celebrity—and when I do, does celebrity rub off on me? Shall I then become royalty, too?
Samantha Persons Champaign, Illinois www.samanthapersons.com
Little Savages Illustrations printed on recycled paper, 5 x 7 inches, stack of 100, 2013 Little Savages is part of a larger project called ‘Outpost’ which currently focuses on three queer female bodied individuals trying to survive alone in the wilderness. With this larger project I am creating a place for queer identity in a male heteronormativelydominated Science Fiction Trope. When there is no one left what does it mean to be queer. Why are post-apocalyptic narratives focused on procreation and species survival, where are the queer bodies?
Mei Xian QIu Los Angeles, California www.meixianqiu.com
Let a Thousand Flowers Bloom; The Temptation of Eve Photograph on plexiglass substrate, 27 x 33 inches, 2012 The Let a Thousand Flowers Bloom series explores notions of gender against a backdrop of a post feminist, subversive mock invasion of the United States. The work ultimately is about the latent power of the feminine, and the relationship of such power to our farcical adherence to the belief of the immutable self. Never forgetful of the past, Qiu looks squarely to the future and the constant shifts of identity and the need for self invention in the age of globalism.
Jennifer Reeder Hammond, Indiana www.thejenniferreeder.com
Girls Love Horses HD video, 13 minutes, 2013 A professional woman, traveling alone, recalls and reenacts an incident from her adolescence after injuring herself off-camera. This experimental narrative unravels patiently and points to melodrama as a potential form of plot structure. An adult female and the girl ghost from her past emerge and retreat within realtime exchanges and previously recorded footage. The linearity is disrupted by magical b-roll and a constant shift between the actual and imagined. This is a fractured little story about a business trip, a bloodstain and being okay.
Phyllis Rosser New York, New York www.phyllisrosser.com
Insensible Rock Wood, 45 x 40 x 12 inches, 2011 As a young girl I used bare branches for bows and arrows to play “Indian Brave,” pretending I was a male. I thought trees protected me during a difficult childhood. In my 20s I collaged driftwood I found on beaches into large sculptures that expressed my feelings abstractly: anger, solitude, silence, dancing. Now, branches washed smooth by the Connecticut River connect me to my inner life. Constructing the work feels masculine. I am strong, aggressive, in charge of what I’m doing when I’m in my studio.
Sonal Shah New York, New York www.flickr.com/photos/85269033@N08/
Today I Am A Mother Digital archive print, 20 x 16 inches, 2011 A woman’s role, identity or idea of self can change significantly throughout her life. Accordingly I started to see myself torn even during a random day between my different selfs. At times I realized I am insignificant and at other times I am the key in the situation. The two self-portraits are an attempt to capture the extreme of some of these moments. The choice of colour versus black and white is deliberate to reflect the turmoil or tranquility.
Sonal Shah New York, New York www.flickr.com/photos/85269033@N08/
Alone But Together Digital archive print, 20 x 16 inches, 2013
Erin Sparler Marysville, Pennsylvania www.ErinSparler.com
The Art of the Selfie All digital phone photography and compositing, 12 x 18 inches, 2014
My work explores the use of modern and traditional multiple exposure technology to create shifting perceptions and meaning through the combination and layering of imagery. I use incamera double and triple exposures with shifts and rotations of the focal point to reference historical art icons. I also exploit sexy pin-up girl poses in conjunction with memes and all in app compositing to push the boundaries of what can be done.
Joanne Ungar Brooklyn, New York www.joanneungar.com
Compact Compact with foundation and sandpapers, 4 x 4 x 4 inches, 2012 These collages are inspired by the beauty industry. The jumping off point for me was the lengths the cosmetics companies go to in order to sell their product—specifically, the retouching of women to make them appear to be flawless, super-human specimens. Examining and living in this reality ( I support myself by working as a re-toucher of cosmetics commercials) led me to examine cosmetic products and how they are sold, as a portal to a deeper psychological level of packaging—the packaging of femininity.
Cristina Velazquez Palo Alto, California www.cristinavelazquez.com
Women Must be Good Lovers Dress and black thread, 28 x 51.25 inches, 2008 Women Must be Good Lovers, is a piece that addresses body and sex issues for women. This piece is part of the series Every Dress I Must Wear (a series of dresses) which presents reconsidered thoughts and inherited ideas—for example, younger generations are clothed with old, limited views. In my mind, if we are unable to create a distinct vision for ourselves, the same inherited way of life stands, folded in with the new. This too is a matter of molding and reshaping what the female body should be for self and for others.
Cristina Velazquez Palo Alto, California www.cristinavelazquez.com
Women Must be Saints Dress and objects, 28 x 51.25 inches, 2008 A place for prayer and devotion appears in Women Must Be Saints. A strong affinity for religious objects to keep women in good moral standing is fulfilled by the bible, a crucifix, images of saints, rosaries, medals, holy water, and scapulars.
Meghan Willis Brooklyn, New York www.tsurubride.com
Justin & Rope, Hailey & Hitachi, and Megan & Vibrator Embroidery, leather on linen, 14 x 14 inches, 2013 Accoutrements: Portraits of People and their Sex Toys, aims to showcase taking ownership of one’s own sexuality, stripped bare. Participants stand proudly holding their own sexual accessories that they feel empowers them and their sexuality, displaying different shapes and body hair choices. Each piece is lovingly hand embroidered, while the accoutrements are leather appliques painted in acrylics—mixing hard with soft, and reclaiming a feminine medium with power and strength.