Archives for category: Art

The Betsy Hotel in South Beach, Miami is a bookish place. They have a library. Each room holds unique stacks. Bookshelves line the hallways.

On my way to the pool, a paperback, the color of a sand dune, caught my eye: O’Keeffe: The Life of an American Legend by Jeffrey Hogrefe. On the cover of this 1993 edition, Georgia O’Keeffe appears as ancient as the desert. She’s nearly blind, I’d learn.

Flipping, I discovered O’Keeffe made pottery. Late in life, when her eyesight failed and she could no longer paint, she worked in clay.

OK PotteryAt age 71, O’Keeffe learned to throw pottery from her assistant and companion, Juan Hamilton.

“O’Keeffe loved holding wet clay in her hands and then running her fingers over the walls of the finished products” the biographer wrote.

Ever the perfectionist, O’Keeffe was disappointed that her work was not as “fine as Hamilton’s smooth-walled vessels.”

Hamilton could make the clay “speak” O’Keeffe said and called him “one of our great talents,” Hogrefe shared.

I was taken with the story of these two artists. She followed his hands in clay; he created ceramics and sculpture inspired by shapes from her paintings.

dan-budnik-georgia-okeeffe-at-the-ghost-ranch-with-pots-by-juan-hamilton

Georgia O’Keeffe with pots by Juan Hamilton by Dan Budnik

While I’m prone to picking up books in hotels, I rarely finished them. But this one was different. I needed to read the full story of art being passed along. I offered to buy the book — the hotel has a partnership with the local, independently-owned Books & Books — but the concierge gifted it to me.

“We believe in supporting writing,” he said and mentioned their residency program.

The Betsy Hotel hosts a dedicated Writer’s Room for authors to come and write for a few days. Applications were opening soon.

“Did you know the owner’s father was writer?” he continued. His desk is in the Writing Room.

“Take a look at our website,” he encouraged. “Apply.”

My art crush is showing in Bust: Artist Ghada Amer Makes a Feminist Statement with Ceramics and Embroidery.

For over 20 years, contemporary artist, Ghada Amer, has challenged the oppression of female agency through sexually explicit paintings. With a global perspective, whether resisting oppression in the East’s Muslim-majority countries, where she was born, or in the West’s Christian-majority countries, where she has since made her home, Amer’s oeuvre has continually expanded into bodies of work committed to the message of freeing women — an idea that often takes the form of parted legs, open lips, loose threads, and dripping strands of unveiled hair.

We met in the atrium of Cheim & Read Gallery to discuss her exhibition. Most of the artwork was created around the 2016 U.S. presidential election. I was curious to see how the political context might have influenced Amer.

Portrait of the Revolutionary Woman (2017) greeted me in the entryway by way of an answer and inspired our conversation to interweave the tertiary threads of art technique, cultural critique, and pleasure.

Ghada Amer, Red, Black, and Gold Sculpture (2017); Women in White (2016) at Cheim & Read Gallery

Amer’s embroidered paintings and ceramic plates covered the walls, while the floor held a handful of podiums showcasing ceramic sculptures, Amer called her boxes.   

“Paintings are flat,” Amer said, “but on ceramic boxes you can see them in space. This for me is the pleasure. Making the painting into a sculpture.”

In front of Women in White (2016), she said, “I am always very critical about painting and about the history of art,” and gestured toward the painting embroidered with figures of women in poses appropriated from pornography. “Who writes the history?” Amer remarked. “What do you show?”

“We are fed this history of art with no women painters,” Amer continued. “We are fed that if abstract art is in the Muslim world, it is decoration, but if it belongs to the Western world, it is Abstraction. This is very problematic.”

 

Ghada Amer, Glimpse into a New Painting, 2018

We concluded our conversation before Glimpse into a New Painting (2018). From afar the colors swirl into abstract blocks of purple, indigo, black, and red, conjuring Cy Twombly. Yet to compare her work to the canon master felt similar to drawing connections to pornography. Both ends of the visual high-low spectrum prioritized the predominantly male gaze of approval.

Upon closer inspection, the figure of a woman—just beginning to disrobe—came into shape. She appeared intent on something yet undone. 

“All the time I am thinking,” Amer said, “how can I make a painting with my technique?”

 

Ghada Amer’s exhibition of paintings and ceramic sculptures is now showing at Cheim & Read Gallery through May 12, 2018. The complete exhibition catalog is viewable online.

 

 

 …if you’re female, or female-presenting, or if you’re queer, or a person of color, we have made a lot of inroads in a lot of different fields, businesses, but we are in no way where we should be—where we deserve to be.”

-Lola Flash

 

Lola Flash’s retrospective at Pen + Brush, 1986 to Present, honors creative activism at its finest.

As a queer black woman, Flash, at age 59, has used the medium of photography and photographic processes to confront the dual injustice of invisibility and stereotypical portrayals of gender, sexuality, race, and age for over three decades. Her portraits, many of which were taken with a 4×5 camera, serve to capture those in her communities who are often overlooked. Beginning in 1986, Flash documented her involvement with the AIDS Coalition to Unleash Power (ACT UP) demonstrations and also employed cross-color film processing to reverse the printed photograph’s colors—further illuminating how one person’s blue-sky can be another’s fire-red horizon.

Now on view, Flash’s “Cross-Color” series presents a new world to behold, where black is white and what’s usually identifiable is obscured, exhibited alongside five portrait series, in which Flash invites viewers to see her world, her communities of individuals, in all their unique specificity. The “[sur]passing” series explores the spectrum of race; “surmise” captures fluid presentations of gender; SALT challenges ageism; LEGENDS spotlights leaders of the LGBTQ+ movement; and Incarceration, a singular self-portrait, is the inaugural piece in a series about the mass imprisonment of people of color. Together, this historic retrospective of seventy-one photographs spans a life of advocacy that Flash explains can be united by a simple message: “Look at us,” she implores, “How can you not love us?”

“A lifetime of creative activism needs honoring,” author Juno Roche, writes in the catalog accompanying the photography exhibition, and “needs acknowledgement and celebration.” Pen + Brush, the expansive gallery and organization that has been dedicated to championing women in the arts for over a century, is doing just this by kicking off 2018, another year of resistance, with the Lola Flash Retrospective, now on view through March 17, 2018.

Read our conversation at The Rail.

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