The Art and Culture Center is pleased to present two group installations that explore individual and collective discussions about the role of soft materials and placemaking in contemporary art.
As an annual installation dedicated to Pleasurable, Lush, Utilitarian, Subjects of Humanity, PLUSH is a tactile mindscape. In its second year, Center Curator, Laura Marsh drafted an open call. Artists who submitted incorporate overlooked materials and objects that symbolize gender roles and domesticity.
Textiles are inherently connected to the domestic environment. In the U.S., fiber art has often been mislabeled as craft or “women’s work,” however, in many countries, textile production is considered men’s labor. Some included works will explore traditional sewing and hand techniques, while others will navigate non-conventional sculptural methods. The artists included in the previous conversation explored anthropomorphism, body politics, class, morphing landscapes, multigenerational lineage, and popular culture.
Nicole Czapinski, Gianna DiBartolomeo, Virginia Fifield, Patricia Schnall-Gutierrez, Alette Simmons Jimenez, Nick Mahshie, Susy Navon Safirsztein, Kerry Phillips, Karen Rifas, and Denise Treizman Goren
Habitat is a multi-disciplinary village of artist environments that examine the cosmos, domesticity, and women’s roles in intimate spaces. Curated by Laura Marsh, visitors are immersed in a series of installations made by individual artists and collaboratives.
Inspired by an article written by Anne-Marie Slaughter, Why Women Still Can’t Have It All, RPM Project stands for artist collaborative of Rhonda Mitrani, Patricia Schnall Gutierrez, and Marina Font. RPM explores the ongoing conversation between women and what they contend with when they juggle their personal and professional lives. They render a dining table as blobby chairs and talking heads. Referencing artists like Carrie Mae Weems, who utilizes the kitchen table as a performative space, RPM focuses on the division of labor and pressure to pull off perfection in a fractured world.
Artist duo Annie Blazejack + Geddes Levenson provide a participatory tent with bleached fabric, referencing the book Herland, by Charlotte Perkins Gilman, the author of The Yellow Wallpaper.
Eurydice, fiber artist and writer, covers the Immersive Gallery walls with embroidered contours of women who overlap and stare back at the viewer, averting the traditional male gaze in art history. Eurydice critiques how women’s bodies are used to represent passion, redemption, the spoils of war, and conquest to justify major events in history. In light of the #metoo movement, the artist challenges the societal imposition that women are taught to think of themselves as fractured objects.
Sri Prahba connects the cosmic with a meditative experience, encouraging the viewer to reflect on one’s own sense of space and self. His research across ecology, geology, spirituality, and science spans a range of mediums.
Pip Brant, Eurydice Kamvyselli, Marina Font, Patricia Schnall-Gutierrez, Nick Mahshie, Rhonda Mitrani Buchman, Annie Blazejack + Geddes Levenson, Sri Prabha, Karen Rifas, RPM Projects
Through May 20, 2018
Free for members
$10 Nonmembers at the opening reception
$7 T-Fri 10am-5pm