Working across video, sculpture, and performance, Virginia Lee Montgomery interrogates the relationship between physical and psychic structures and the uncanny materiality of lived experience.
Martha Rosler is considered one of the strongest and most resolute artistic voices of her generation. She skillfully employs diverse materials to address pressing matters of her time, including war, gender roles, gentrification, inequality, and labor. From her feminist photomontages of the 1960s and 1970s to her large-scale installations, Rosler’s vital work reflects an enduring and passionate vision. Martha Rosler: Irrespective showcases both well-known and rarely seen selections from more than five decades of work. Installations, photographic series, sculpture, and video represent a practice continually evolving and reacting to the shifting contours of political life. Throughout, Rosler’s work has been characterized by intellectual rigor and sharp wit, along with a sense of urgency directed at social and political issues that remain as relevant and immediate as when they first emerged.
The New York sculptor Eva LeWitt’s primarily abstract work often manifests as site-specific installation. She addresses the sculptural concerns of weight and volume and plays with the tension between industrial and hand fabrication. Using soft and pliable, semitransparent and semiabsorptive materials—including acetate, latex, and sponge—LeWitt subtly renders variations in tone. Alongside these formal investigations, she explores the expressive properties of light, both in the works themselves and in the spaces they inhabit.
When Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world. It was years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others would take similar strides to rid their own artwork of representational content. Yet while many of her better-known contemporaries published manifestos and exhibited widely, af Klint kept her groundbreaking paintings largely private. She rarely exhibited them and, convinced the world was not yet ready to understand her work, stipulated that it not be shown for twenty years following her death. Ultimately, her work was all but unseen until 1986, and only over the subsequent three decades have her paintings and works on paper begun to receive serious attention. Af Klint was born in Stockholm in 1862 and went on to study at the city’s Royal Academy of Fine Arts, graduating with honors in 1887. She soon established herself as a respected painter in Stockholm, exhibiting deftly rendered figurative paintings and serving briefly as secretary of the Association of Swedish Women Artists. During these years she also became deeply involved in spiritualism and Theosophy. These modes of spiritual engagement were […]
“MOTHA and Chris E. Vargas: Consciousness Razing—The Stonewall Re-Memorialization Project” will be the exhibition and residency presented through the Department of Education and Public Engagement’s Fall 2018 R&D Season: Generation.