Who’s Afraid of Feminism

Feminism

International Juried Exhibition, presented with Women’s Caucus for Art at A.I.R. Gallery in NYC from September 10 – October 11, 2015 with Catherine Morris, Curator, Elizabeth Sackler Center, as juror for the exhibition. Catherine selected 36 works for the A.I.R. Gallery and an additional 83 for the online gallery and exhibition catalog.  Who’s Afraid of Feminism is a feminist exhibition presenting art from cross-generational, self-identified women artists that addresses feminism with a contemporary spin. These works incite the viewer to question the current social and political landscape, and the continuing need for gender equality. The exhibiting artists, using a variety of media, elucidate where feminism has been and where it is going, and explore feminism’s political, personal and formal contexts.

WCA and A.I.R. Gallery present art from cross-generational, self-identified women artists that addresses feminism with a contemporary spin. These works incite the viewer to question the current social and political landscape, and the continuing need for gender equality. The exhibiting artists, using a variety of media, elucidate where feminism has been and where it is going, and explore feminism’s political, personal and formal contexts. With a surge of interest about the place of women in the art market and art world, with a record number of discussions throughout social media channels, WHO’S AFRAID OF FEMINISM highlights what still needs to be done to influence cultural attitudes and transform stereotypes about women in the arts. 

The artists in the exhibition at A.I.R. are: ShonaghAdelman, Tara Booth, Amy Cannestra, Katherine Cooksey, Julie Sinclair Eakin, Sally Edelstein, Christine Giancola, Lucy Julia Hale, Coco Hall, Maiza Hixson, Kristina Lenzi, Sinan Leong Revell, J. J. L’Heureux, Sarah Maple, Sandra Matthews, Brittany Prater, Carly Ries, Trix Rosen, Cecilia Rossey, Lisa Seidenberg, Gwen Shockey, Meg Stein, Rhonda M. Thomas, Nikki Thompson, Marie Tomanova, Margi Weir, and Ellen Wetmore. 

Catherine Morris states: The exhibition “Who’s Afraid of Feminism?” celebrates the resilience of feminism. Sometimes it seems that the death, or at least the irrelevancy, of feminism is trumpeted through some form of media on a weekly basis.  Even in the face of a profound shift in our understanding of gender identity, feminism endures as a vital social, political and economic necessity. In the art world, one tenacious model of feminism’s endurance is the group show devoted exclusively to women artists.  The strategy of the (self-identified) women only show hasn’t really changed in more than forty-five years – they are a direct response, a straightforward method of correction to the overwhelmingly male metrics of representation in the mainstream art world. The relevancy of the model is routinely questioned and yet, like feminism, they endure, understood by the artists who participate in them as offering personal opportunities to present work as well productive occasions for community building. “Who’s Afraid of Feminism?” acknowledges the complicated ways we position ourselves, while also simply acknowledging artists’ pragmatic desire to share their work with the world within the context of support systems such as the Women’s Caucus for Art and A.I.R. Gallery, which continue to provide significant and necessary opportunities for women artists.

View exhibition catalog here.

About the Gallery:  A.I.R. Gallery is a permanent exhibition space that supports an open exchange of ideas and risk–taking by women artists in order to provide support and visibility. As an artist-run organization, A.I.R. fosters involvement through multiple tiers of representation: New York, National, Adjunct, and Alumnae Artists. A self-directed governing body, the organization is alternative to mainstream institutions and thrives on the network of active participants. Collaborations and partnerships with outside organizations and individuals ensure a platform informed by a diverse community and representative of broad views.  A.I.R. maintains a gallery space in Brooklyn, NY and exhibits the work of hundreds of women artists each year. In addition to public open calls: Generations, the Biennial, Currents, and the Postcard Show, A.I.R. hosts many events, lectures and symposia on feminism, art and much more. Our programs engage an audience across a broad spectrum of experiences while creating a lively discourse among artists. A.I.R.’s Fellowship Program For Emerging and Underrepresented Women Artists provides a year-long career development intensive for six artists each year as well as life-long support and collaboration. Since 1972, when a group of visionary women artists opened the first gallery space at 97 Wooster Street in Soho, A.I.R. Gallery has been leading the way in championing women artists, increasing their visibility and the viability of their endeavors. http://airgallery.org

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#CuratorLove, Bonnie Kamhi and “HerStory” 2019

Bonnie Kamhi “Devoured in Nature”

The “HerStory” 2019 continues a decades-long dedication by Renée Phillips in creating and presenting an annual exhibition devoted to art by women on the Manhattan Arts International website. This call was open to all women artists around the world and all themes, subjects, styles and mediums were welcome. The show ran run through September 20, 2019. (I give my sincere apologies to the artist and to Renée for the lateness in my write-up, I was sidelined for a while due to personal issues and my writing got put on the back burner for some time).

I was so pleased to be asked to be a special recognition art award panelist again for “HerStory” 2019 that was juried by Renée Phillips, Director of Manhattan Arts International. She is an amazing mentor and career advisor for art professionals and it is a privilege to work with her in support of women in the arts. Renée stated “We will continue to present annual “HerStory” exhibitions until there is a fair and equal balance of women artists represented by art museums, galleries, art book publishers, major private and public collections, auction houses, and the media.” I could not agree more—and I will continue my focus on exhibition opportunities for women artists, particularly on feminist themes until we see equality not only in the art world but in society also.

For this exhibition I chose the work of Bonnie Kamhi. She is a sculptor, photographer and natural story-teller who expresses contemporary and timeless messages about women. My usual focus is activist/feminist art and while Bonnie’s work does not fall within this genre, to spoke to me of the strength and resilience of women.

Bonnie’s work is visually arresting—it stopped me in my tracks to delve in and explore further. The work is gorgeous and lush, but now knowing her process I am even more intrigued and mesmerized. She is truly unique in her practice. The work has so many layers and nuances and while the exhibition had many fabulous pieces, I kept coming back to Bonnie’s work over and over. It sparked something in my mind and heart that could not be ignored.

A master of form, Bonnie first creates beautiful sculptures, with porcelain clay, of women with exquisite details. How she can capture such realistic form in pieces quite small is a mystery to me. As a feminist, I appreciate that the female form is not through the lens of the male gaze of objectified female—the arched back, unnatural pose with jutting buttocks or hips, waiting passively for male attention. Her figures are strong, self-assured and comfortable in their own al-natural skin, in a meditative state.

She then creates a still life with flowers to place her figures. The figure appears as the original Eve, before man cast and blamed her for sin and subjugated to patriarchy and deemed inferior and weak. The figure is in paradise, reveling in her solitude.

Lastly Bonnie photographs the still life and prints the image as her final art. The lighting and tonality in her prints is superb. My favorite of her works is “Devoured in Nature”, Archival print on Entrada Rag Natural paper, 23 x 29 inches, 2017.

From Bonnie’s statement: “I tell stories through a three-part process that involves first creating sculptures, then photographing and transforming them into digital images.  The focus of my work involves marrying various aspects of the female form with the grace, beauty and lushness of leaves, flowers, and nature.  In this way, I am able to evoke and express emotions within me that I need to share. The special hands-on relationship I have with physically forming each sculpture gives me the freedom to materialize in three dimensions whatever I visualize in my mind.  The fact that I actually touch and feel the softness and flow evolve as I manipulate the clay. It allows me to nuance my work with an intimacy and closeness that I cannot achieve in any other way.”

Bonnie’s artwork is in numerous private collections which include many commissions. All of her work is printed on archival paper “Entrada Rag Natural.”  High quality archival inks are used in the workmanship of the production. The buyer of her art receives a signed Certificate of Authenticity. More of her work can be viewed here: https://bonniekamhi.com/

The hand that rocks the cradle also rocks the world. Women are coming together in empowerment and to create positive change. Women build things, they are the glue for society in creating and maintaining families and building the foundations for their children and their future children to be successful. Women are also coming together to address issues to fight for our shared values and humanity and demand what we need from those in power. Bonnie’s work celebrates women’s beauty and strength.

I’m very empowered by the number of high-quality exhibitions being put together to promote women in the arts. 2020 is going to be a banner year, with exhibitions, the celebration of the 100th year of women voting in the US and hopefully with many more women being elected into politics too!

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