vaginabilia*
*thanks to gregory povey for that wonderful term.
a few days ago, i had another accidentally-themed art day. this time it was pretty much all about vaginas.
firstly i went to see the judy chicago show at riflemaker, featuring early works of hers. i really liked the car hoods and especially the diagrams for them, but not much of the others.
then i went and saw the sarah lucas project space, situation, which wasn't all that vagina-heavy, but there was floor-to-ceiling meat genetalia wallpaper in your face as you walked in the door, including the image of two massive decorated vulva. it was quite spectacular.
actually, that show was a welcome relief, as i had popped into the ultra-white gallery downstairs and it was overwhelmingly austere. it was nice to walk into a space that, aside from the shock of a pair of massive cunts, was an interesting space: personal, less homogenous and almost revealed the works more, in their cluttered/more homely space.
there were works in the 'kitchen', on a sink, sitting on tables, hanging from the ceiling and projected onto the wall.
i actually sighed in relief when i walked in, because it was my kind of space. and, thankfully, collectors also respond well to works in a space like that. not every work has to be shrouded in whiteness in order to give it the right space to be.
later that evening i went to see judy chicago speak at whitechapel gallery and she was amazing. i'm not going to speak too much about the whole talk - but the fact is that she was inspiring.
really - she talked about the first 10 years of her practice being ignored, that she hates injustice, that she's a moral artist, that she just raised funds to do her work and that if you don't have the money to make the work, don't make it - she wasn't interested in selling her work - it was more important for the work to be seen. not to mention her continued desire to change art pedagogy and increase women's appearance in our museums. she's another one who has been more interested in longevity than a flash-in-the-pan fame and it was exactly the kind of thing i needed to hear.
there was a medium amount of focus on The Dinner Party, her most famous work, but nonetheless, anna somers cocks spoke beautifully about the actual plates - renditions of the vulva. which pretty much rounded off the evening of vaginabilia for me.
a few days ago, i had another accidentally-themed art day. this time it was pretty much all about vaginas.
firstly i went to see the judy chicago show at riflemaker, featuring early works of hers. i really liked the car hoods and especially the diagrams for them, but not much of the others.
then i went and saw the sarah lucas project space, situation, which wasn't all that vagina-heavy, but there was floor-to-ceiling meat genetalia wallpaper in your face as you walked in the door, including the image of two massive decorated vulva. it was quite spectacular.
actually, that show was a welcome relief, as i had popped into the ultra-white gallery downstairs and it was overwhelmingly austere. it was nice to walk into a space that, aside from the shock of a pair of massive cunts, was an interesting space: personal, less homogenous and almost revealed the works more, in their cluttered/more homely space.
there were works in the 'kitchen', on a sink, sitting on tables, hanging from the ceiling and projected onto the wall.
i actually sighed in relief when i walked in, because it was my kind of space. and, thankfully, collectors also respond well to works in a space like that. not every work has to be shrouded in whiteness in order to give it the right space to be.
later that evening i went to see judy chicago speak at whitechapel gallery and she was amazing. i'm not going to speak too much about the whole talk - but the fact is that she was inspiring.
really - she talked about the first 10 years of her practice being ignored, that she hates injustice, that she's a moral artist, that she just raised funds to do her work and that if you don't have the money to make the work, don't make it - she wasn't interested in selling her work - it was more important for the work to be seen. not to mention her continued desire to change art pedagogy and increase women's appearance in our museums. she's another one who has been more interested in longevity than a flash-in-the-pan fame and it was exactly the kind of thing i needed to hear.
there was a medium amount of focus on The Dinner Party, her most famous work, but nonetheless, anna somers cocks spoke beautifully about the actual plates - renditions of the vulva. which pretty much rounded off the evening of vaginabilia for me.
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