Furies
Kristin Walsh, Susan Classen-Sullivan, Vanessa Gully Santiago, Marka Kiley, Hayley Martell, Catalina Ouyang, Victoria Roth, Michelle Segre, Miriam Simun, Vanessa Thill
Nine Bridled Nights
Powder pigments, fabric dye, shellac flakes, cayenne powder, black iron oxide, synthetic iron oxide, spray paint, detergent, hair dye, fake blood, jellow powder, coffee, soda, lavender fabuloso fluid, india ink, gravel, glue, paper, resin, and paracord rope
2018
Untitled
Charcoal and pastel on paper
46 × 76 inches
2017
Collapsed Corpse 3
Ceramic
2016
New Pet
Aquarian tank, pebbles, acrylic polymer, bread, mold
2018
Clock #6
Aluminum, bronze, dental prosthetics, acrylic
17 × 17 inches
2018
Clock #6
2018
Fighter
Rescued school desk, wire, cotton clothes line, cotton twine, clay, magnets, glass ladle, seed pod, polyester thread, vellum, graphite, plexiglass rod, brick
2018
Making Human Cheese
Single channel video with audio
4 minutes and 10 seconds
2011
10/31/18 7:45AM at my desk
Graphite text on wall
2018
Terrarium II
Red sand, imagined lotus feet of the artist's great-grandmother carved out of alabaster, soapstone and wonderstone
2018
Mutual
Acrylic on linen
16 × 20 inches
2018
15 Nov–22 Dec 2018
Furies
Kristin Walsh, Susan Classen-Sullivan, Vanessa Gully Santiago, Marka Kiley, Hayley Martell, Catalina Ouyang, Victoria Roth, Michelle Segre, Miriam Simun, Vanessa Thill
Helena Anrather presents FURIES.
If this is the “Year of the Woman,” it has been a confounding one. Fresh waves of female outrage have been lately lauded as a force of change; but this rage itself is fed by a sense of eternal return. Witness the uncanny parallels to the last so-called Year of the Woman: in 1992, a perpetrator of sexual assault walked roughshod over his victim’s accusations on his way to grabbing power over the bodies of millions of women as a member of the highest court in the land. And today the perpetrator has our molester-in-chief cheering him on. The problem seems intractable, and the conversation is continuously stalled. But even when they are—like so many today—speechless with rage, artists can initiate other kinds of dialogue, opening up space for new expressions, responses, and exchanges. This show presents a visceral encounter with the volatile substance of fury, exploring the ways in which it is both specific and acutely contemporary—grounded in the lived experiences of inhabiting a female body today—and in some ways universal, activating the body itself as a contested site of control and resistance in ways that span division and defy monolithic categorization. As 2018 closes with an unprecedented number of women elected to power, the gallery dedicates its last show of the year to them.