Jessica Palomo, Paradisaeidae Series, 2021, graphite and yupo paper on panel. Like Ellsworth’s larger body of work, the piece prompts consideration of the mystical qualities of female identity and relationships. The piece takes the form of bloomers and speaks to female intimacy as power. (indeterminate radiance) (Emma) with 50,930 pearl corsage pins as well as colored dress pins, fabric, and steel. Several of the exhibition’s most powerful works center around identity, suggesting ways it shifts amid endless intersections of internal and external worlds.Īrtist Angela Ellsworth created Pantaloncini: Work No. Placed at the center of a gallery space, the piece, much like Parker’s Mass, elevates fragmentations of both physical form and identity. Breaking Up includes the artist’s Ponder, a 1981 horse sculpture created with found objects of wood, wire, and steel. In Deborah Butterfield’s body of work, life-size horses often stand in for human bodies, including her own. Here, fire seems to dance.įor Hazor I, Beth Ames Swartz used fire, earth, sunlight, and mixed media on layered paper to create a form that suggests at once a landmass and the female body, prompting reflection on the relationship between humanity and the earth. In Drawing with Fire, a twelve-panel piece filled with abstract lines imbued with movement, artist Geny Dignac conveys the playful properties of fire and light. Kristin Bauer, Working Title 07, detail, 2020-21, synthetic polymer pigment on canvas. That diversity is particularly evident when considering artworks created with fire, an exercise that amplifies not only variations in the ways these artists approach the same material but also significant differences in the conceptual and emotional frameworks each brings to their creative practices. The show, curated by assistant curator Rachel Sadvary Zebro, is designed to highlight the diverse ways contemporary artists are exploring various types of fragmentation or “breaking up,” and includes photography, drawing, video, sculpture, and more. They’re all women, and they include some big names, from Uta Barth to Cindy Sherman. Parker is one of more than twenty artists featured in this exhibition, which spans the past fifty years. It also signals the ways natural forces like fire and water can alter geological and existential topographies, often acting simultaneously as agents of creation and destruction. Parker’s piece, one of the first works viewers encounter, serves as a poignant physical and conceptual anchor for this group exhibition, prompting reflection on fragmentations of time and space that mark personal and collective histories. London-based artist Cornelia Parker gathered the embers during a residency at Artpace in San Antonio, Texas, using them to create her 1997 installation Mass (Colder Darker Matter). Breaking Upīurnt embers from a church destroyed by lightning hang suspended inside a gallery space at Phoenix Art Museum, where Breaking Up serves as a meditation on the modern world and its myriad fragmentations. each right: Cornelia Parker, Mass (Colder Darker Matter), 1997, burnt wood, wire, and string. Left: Geny Dignac, Drawing with Fire (Dibujar con fuego), 1972, 30 x 30 in.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |