RISE: Empower, Change, Action!
Gallery
Whitney Modern Gallery, Los Gatos, California, July 18 – September 9, 2018
SPECIAL RECOGNITION AWARDS
Click on image to enlarge
Click on image to enlarge
Chosen by Jessica Porter
Executive Director of NY Artists Equity Association and Owner, Porter Advisory, New York City
"I Think It's Going to Rain Today is an intense portrait that captures the vulnerability of the subject. The round wooden base for the portrait reflects tondo works from the Renaissance and miniature portraits of the 18th century. The visible wood grains under the perfectly executed painting add another textured layer. The message is unapologetic and clear bringing to the surface the burden of balancing race and identity and gender leaving an immense vulnerability that isn't normally apparent. Ultimately the piece is raw and direct and hits on a direct issue compelling the viewer to want to understand. "
Executive Director of NY Artists Equity Association and Owner, Porter Advisory, New York City
"I Think It's Going to Rain Today is an intense portrait that captures the vulnerability of the subject. The round wooden base for the portrait reflects tondo works from the Renaissance and miniature portraits of the 18th century. The visible wood grains under the perfectly executed painting add another textured layer. The message is unapologetic and clear bringing to the surface the burden of balancing race and identity and gender leaving an immense vulnerability that isn't normally apparent. Ultimately the piece is raw and direct and hits on a direct issue compelling the viewer to want to understand. "
This biographical piece is about trying to hide emotional pain. I want to be viewed as strong, but my face betrays me. As a black woman, I am constantly bombarded, through the media, with such cliches as "Black Girl Magic" and "Strong Black Woman", but what's left out of those messages is that fact that I am human too.
Chosen by David Weinberg
Executive Director, Weinberg/Newton Gallery, Chicago
"Family trees are remarkably apolitical, asexual and lack cultural texture. They are basically an accounting of how relatives are related. I was moved by the thought that at the heart of a family there is a woman who made a tough decision. The tree grows from that decision and balances on the shoulders of a strong woman. Kelsey McDonnell shows her own courage in fearlessly being literal in her depiction. Society tends to honor women who have gained public office, run large corporation or achieved fame in their trade. We don’t give enough credit to women who take on the awesome task of family-making."
Executive Director, Weinberg/Newton Gallery, Chicago
"Family trees are remarkably apolitical, asexual and lack cultural texture. They are basically an accounting of how relatives are related. I was moved by the thought that at the heart of a family there is a woman who made a tough decision. The tree grows from that decision and balances on the shoulders of a strong woman. Kelsey McDonnell shows her own courage in fearlessly being literal in her depiction. Society tends to honor women who have gained public office, run large corporation or achieved fame in their trade. We don’t give enough credit to women who take on the awesome task of family-making."
No Turning Back
Kelsey McDonnell
30 x 24 inches
Acrylic on canvas
2011
Kelsey McDonnell
30 x 24 inches
Acrylic on canvas
2011
Sometimes you leave your 'roots' and what you do, where you go, who you marry or befriend make it impossible to return. No turning back is a stepping into one's self.
Chosen by Joan McLoughlin
Owner, McLoughlin Gallery, San Francisco
"I appreciated the simplistic beauty and symbolism of the piece. It is elegant and female yet emits strength and determination. As a conceptual piece it encourages the viewer to reflect on the contemporary issues of racial and sexual inequality. Is femininity as we know it changing? Is our physical dress the primary presentation of femininity?"
Owner, McLoughlin Gallery, San Francisco
"I appreciated the simplistic beauty and symbolism of the piece. It is elegant and female yet emits strength and determination. As a conceptual piece it encourages the viewer to reflect on the contemporary issues of racial and sexual inequality. Is femininity as we know it changing? Is our physical dress the primary presentation of femininity?"
Witness is from a new series called Bloodless Coup. This piece explores the fabric of society. Compared to the human system, the organs become a metaphor for the stream of society held together by sewing pins. Ready to sew and mend if given the opportunity. The forms chosen are dresses because I feel that women can be the menders of society's ripped fabric. Similar to mending an article of clothing or making a quilt. Small pieces are put together to make a whole.
IN THE GALLERY
Sepia Dahlia
Roberta Ahrens 40 x 40 x 1.5 inches Plaster embedded fiber, acrylics, on box frame 2016 Working in a large format, I focus on structure and balance in nature, channeling the spirit and power of the botanical world and of the divine feminine. The flowers burst forth with energy and strength, mirroring the internal strength of women, capturing the full glory to inspire and empower the feminine spirit in the viewer. Seeking universal themes of beauty, nature, and peace, the works, on handmade cracked linen canvases, speak to us to encourage the viewer’s spirit to blossom and the true self to emerge.
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So the Darkness Shall Be The Light And The Stillness The Dancing
Paula Bullwinkel 48 x 36 x 2 inches Oil on canvas 2018 The girls are fighting back, floating, strong and beautiful: the power of sisterhood. Threatening little uglies cannot succeed. I will the girls to not only survive, but to complete their journey. The image is about the hardest part of the trip; the intersection between potential and conflict. I have painted women and girls facing conflict elegantly and fiercely for about 13 years.
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Todas Trabajamos, Hasta Las Ninas
Mague Calanche 40 x 48 x 1.5 inches Acrylic, oil and wax on wood 2018 The plight of survival: undervalued, mothers are never genuinely appreciated while they sacrifice their well-being, needs, and dreams. They deal with much that appears hopeless. With their quiet dignity, optimism, care, strategies, and perseverance, they are strong women who are not victims of their circumstances but instead they are champions of survival doing the very best they can. And for the children that assist in the family survival, they too must make sacrifices, be strong and put aside their want to play.
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Womanhood
Blond Jenny 17 x 11 inches C Print 2018 Our death will be a beautiful sleep. We join a universe or heaven where we can communicate with others in any language without fear or limitations. In Womanhood I express my intimate relationship with flowers and color to embrace this potential. I became a part of nature so I could be free from my physical body and part of Mother Nature.
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(what) do YOU think?
Irene Carvajal 31 x 29 x 22 inches Wood and steel 2018 Assimilation of information, messaging and learning happen organically in many venues outside of official channels. School desks, bathroom stalls, subway walls become places where important information is shared and debated. Along side the “I love …”, “f*#k you”, etc. exist relevant, thought provoking ideas that need an uncensored, accessible space to be critiqued and explored. In “(what) do YOU think?” I eliminate the text book and the teacher and explore the idea of the value of education outside the mainstream.
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Future Gains: the dollar is rising
Irene Carvajal 36 x 12 x 16 inches Screen print on paper, fan and plexiglass tank 2018 Equality benefits everyone. If value could be blind to race, gender, religion and sexual orientation our whole society would benefit. I created a new dollar bill, one that celebrates the future of our nation. A future in the hands of young people who reject old labels and are full of passion, strength and desire to make this a world where we are all valued equally. The bills are installed inside a plexiglass container with a constant fan. The dollar rises when we all work together, so does the (e)quality of life.
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Equal Means Equal
Indira Cesarine 16 x 12 x 3 inches Glass, neon, mounted on clear plexiglass with wall mounts electrical transformer 2018 Empowering feminist themes are often a point of departure for my multi-sensory series, which challenge the status quo and shed light on oppressive narratives. This is a crucial time in history to stand up against discrimination, sexism and abuse of power. We must fight for our future. My neon light sculpture, “EQUAL MEANS EQUAL”, created in 2018, emphasizes the importance of equal rights for all humans, regardless of gender, which should be guaranteed in our constitution. Enough is enough. It is time for discrimination and the abuse of power to end. I see this work and symbol it displays as a powerful beacon of hope, lighting a path for the future of equality.
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#latina:Reclaimingthelatinatag
Nayda Cuevas 5 x 3 inches each Oil on panel 2016 #Latina:Reclaiming the Latina tag - allows exploration to discuss Western society’s view of the myth of the Latin@ woman and to contemplate on stereotypes. Reclaiming the Latina Tag blog exists on social media Tumblr and the creators encourage Latina woman to join them in taking back (change and take action) the hashtag. In other words, to post selfies of a non-hypersexualized image of what it truly means to be or look like a Latina.
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Makumegawiktoogwaal (Towards The Earth) #1
Carolyn Doucette 117.75 x23 x 1.5 inches Glass seed beads and thread on landscape photographs, archival inkjet print on cotton rag 2018 "Makumegawiktoogwaal," is Mi'kmaw meaning, "Towards the Earth.” These works are part of a series exploring issues of history, race and culture. Inspired by traditional Mi'kmaq|Métis quillwork and beadwork designs, I use the process of beading on my landscape photographs as a meditation on the complicated history of colonial settlement in North America and as a connection to my ancestors and the Earth. We have a saying in Mi’kmaw, “Msit No’kmaq,” which means, “All My Relations.” Everything is connected and has a spirit, even the plants, rocks and water; therefore, everything of the Earth is a part of us. In the face of contemporary ecological destruction, I find my traditional teachings empowering and I have created these works as a source of healing for myself, my community and the Earth and as a celebration of indigenous wisdom and heritage.
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Makumegawiktoogwaal (Towards The Earth) #2
Carolyn Doucette 217.75 x 23 x 1.5 inches Glass seed beads and thread on landscape photographs, archival inkjet print on cotton rag 2018 "Makumegawiktoogwaal," is Mi'kmaw meaning, "Towards the Earth.” These works are part of a series exploring issues of history, race and culture. I was inspired by traditional Mi'kmaq|Métis quillwork and beadwork designs, customarily done by women, which carry encoded sacred knowledge within the patterns and colors in order to pass down cultural beliefs and identity. Native American women have used beadwork as a form of cultural resilience and empowerment, especially during times of pressure to assimilate into Euro-American culture. I use the process of beading on my landscape photographs as a meditation on the complicated history of colonial settlement in North America and as a connection to my ancestors and the Earth. We have a saying in Mi’kmaw, “Msit No’kmaq,” which means, “All My Relations.” Everything is connected and has a spirit, even the plants, rocks and water; therefore, everything of the Earth is a part of us. In the face of contemporary ecological destruction, I find my traditional teachings empowering and I have created these works as a source of healing for myself, my community and the Earth and as a celebration of indigenous women’s wisdom and heritage.
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Women's Lib-A Storms Approaching
Sally Edelstein 24 x 28 inches Collage of appropriated vintage images 2010 This collage takes a look at the early 1970s a pivotal time when women became conscious not only of the gender inequality but how our identities had become fragmented by a media dictating ever changing standards.This piece a pastiche of mid century American imagery a time when conflicting and confining images of media stereotypes of women littered the pop culture landscape that was erupting in a women's liberation movement. It is worth remembering the 2nd wave feminists struggle against their own stereotypes.
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#MeToo, Minerva
Looking Vanessa Filley 30 x 20 inches Archival pigment print on cotton rag paper 2018 These images are from a twenty image project chronicling the history of women's experience of sexual violence. The collective impact of so many women depicted who have a #MeToo experience is meant to bring awareness to the shameful history of unrepentant perpetration that we should no longer be willing to quietly endure. By portraying women of today in a dress code of the past it is my intention to demonstrate the sense of time that women have been subject to sexual abuse in hopes that we can create a cultural shift so that the experience is not perpetuated in future generations.
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#MeToo, Assata
Toward Vanessa Filley 30 x 20 inches Archival pigment print on cotton rag paper 2018 These images are from a twenty image project chronicling the history of women's experience of sexual violence. The collective impact of so many women depicted who have a #MeToo experience is meant to bring awareness to the shameful history of unrepentant perpetration that we should no longer be willing to quietly endure. By portraying women of today in a dress code of the past it is my intention to demonstrate the sense of time that women have been subject to sexual abuse in hopes that we can create a cultural shift so that the experience is not perpetuated in future generations.
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#MeToo, Gabriela
The Future Vanessa Filley 30 x 20 inches Archival pigment print on cotton rag paper 2018 These images are from a twenty image project chronicling the history of women's experience of sexual violence. The collective impact of so many women depicted who have a #MeToo experience is meant to bring awareness to the shameful history of unrepentant perpetration that we should no longer be willing to quietly endure. By portraying women of today in a dress code of the past it is my intention to demonstrate the sense of time that women have been subject to sexual abuse in hopes that we can create a cultural shift so that the experience is not perpetuated in future generations.
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Struggle to Rise
Shelly Floyd 21.s5 x 24.15 inches Acrylic on paper 2018 The hand in this painting symbolizes the struggles of what women have gone through, are going through and will go through in the future. We reach for the top, then sometimes, we get pulled back down. We keep rising again and again, struggling to stay up, till eventually, we do. We have the power. We have the strength.
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Points Of Agreement I
Rinat Goren 36 x 36 inches Beeswax, pigment and paper on wood panel 2016 'Finding Points of Agreements' celebrates our ability as humans to think, reason, and make choices. As such- even in the face of a disagreement- we can always find basic points of agreements from where we can then depart in discussion and debate using inquiry and curiosity. This piece is a call for finding those points of agreements and continue the path of discovering each other's point of view with respect and interest.
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Finding Points Of Agreement II
Rinat Goren 36 x 36 inches Beeswax, pigment and paper on wood panel 2016 'Finding Points of Agreements' celebrates our ability as humans to think, reason, and make choices. As such- even in the face of a disagreement- we can always find basic points of agreements from where we can then depart in discussion and debate using inquiry and curiosity. This piece is a call for finding those points of agreements and continue the path of discovering each other's point of view with respect and interest.
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Ambient Thoughts
Karuna Gutowski 24 x 24 x 1.5 inches Acrylic, mixed media, image transfer on wood panel with cold wax finish 2017 Our thoughts create an environment from which we then act in the world. Is it possible to live in the world as an awakened being, inspiring healing and harmony, universal compassion and love?
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she told them so
Beth Lakamp 16 x 20 inches Watercolor on clayboard panel 2018 The women in my paintings have something to say and the timing is just right. There is a rare incredible confluence of audience and spirit. Egos fall silent as spirits rise in unanimity. She leads in this moment, fittingly. Progress unfolds as great ideas are given life. Listen or else.
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that's the idea
Beth Lakamp 16 x 12 inches Watercolor ink pastel on clay board panel 2018 The women in my paintings have something to say and the timing is just right. There is a rare incredible confluence of audience and spirit. Egos fall silent as spirits rise in unanimity. She leads in this moment, fittingly. Progress unfolds as great ideas are given life. Listen or else.
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Learning to be a Phenomenal Woman, #6 Balancing Time and Energy
Kelsey McDonnell 30 x 24 inches Acrylic on canvas 2011 After reading Maya Angelou's poem 'Phenomenal Woman' I realized I didn't feel that way about myself. This series was an exploration of that, specifically #6 address was my reflection on women balancing energy and time.
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Emma Sulkowicz #3
Rosemary Meza-DesPlas 14 x 11 inches Hand-sewn Human Hair with thread & watercolor accent 2017 This artwork is part of a series focusing on gender-based violence. It specifically references Emma Sulkowicz and her artwork Mattress Performance (Carry That Weight). Sulkowicz's durational performance, carrying a mattress on campus, was a direct response to her rape. This act of resistance underscored survival and endurance. Sulkowicz's story and image became a visually striking daily reminder of gender-based violence on college campuses.
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Something Worth Waiting For
Amy Pleasant 30 x 24 inches Acrylic on canvas A reflection: #younger self, hopeful self, #to older self, wiser self, #Having no idea, #what a wonder she would become.
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Burning Woman
Dana Richardson 40 x 30 x 1.75 inches Oil on canvas 2018 Burning Woman was inspired by my personal pursuit of social and economic equality in the contemporary business world. As a full time artist and female business owner, this art piece expresses a personal and collective story of the modern woman. She faces exhaustion, manipulation and ultimately perseverance in statistically male dominated careers. The women are connected in a confiding gesture. This painting is an oath to persevere in pursuit of positive social changes and female empowerment no matter what obstacles women may face.
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I, Me, Myself, You
Sarupa Sidaarth 20 x 20 x 1.5 inches each 40 x 40 x 1.5 inches as Quadriptych Acrylic on canvas 2015 Perception of color begins with RGB sensitivity in the retina of the human eye. In the Trichromatic color vision theory, eye color receptor cells have maximum sensitivities in the red, green and blue regions of the spectrum. Portraits of a friend titled I, me, myself, and you employ the spiritual idea of the One to evoke solidarity and empowerment. It explores the idea of viewing the other as oneself and vice versa to encourage women to support each other and to empower themselves.
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wanting more
Kim Wilson 12 x 18 inches Acrylic, pencil, and paper 2017 The pieces that I have submitted for this art call speak to my personal experience on many levels including how I identify and imagine myself as a Woman of Color, as a feminist, as an artist, as a mother, as a sexual being, as a teacher, as a daughter, as part of a community, and as a human being in this society. In addition, these pieces speak to the themes of the show directly including, how we can imagine creating a positive change through art. |
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DISPLAYED ON A MONITOR IN THE GALLERY
Click on image to pause
Click on image to pause
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In order to accommodate as many viewpoints as possible and expand the conversation beyond the physical limitations of the gallery, additional works were selected to be shown in a looped slideshow by these artists:
Roberta Ahrens, Florence Alfano McEwin, Chloe Allred, Jenny E. Balisle, Michele Benzamin-Miki, Marie Bergstedt, Ceciley Blanchard, Marie Cameron, Eleanor Epstein, Leslie Getz, Christine Giancola, Gina Herrera, Janet Hiller, Tara Malone, Julie Meridian, Karis Painter, Cherie Redlinger, Jenny Reinhardt, Dana Richardson, Edward L. Rubin, Hilary Saner, Kathy Taylor, Lauren Thomas, Kathy Weaver
Roberta Ahrens, Florence Alfano McEwin, Chloe Allred, Jenny E. Balisle, Michele Benzamin-Miki, Marie Bergstedt, Ceciley Blanchard, Marie Cameron, Eleanor Epstein, Leslie Getz, Christine Giancola, Gina Herrera, Janet Hiller, Tara Malone, Julie Meridian, Karis Painter, Cherie Redlinger, Jenny Reinhardt, Dana Richardson, Edward L. Rubin, Hilary Saner, Kathy Taylor, Lauren Thomas, Kathy Weaver