Creep Lez continues Allyson Mitchell’s
investigations of queer theory as sculptural material, activist emotions and
academic tangles. In her first solo exhibition with Mulherin Contemporary Art Projects,
Mitchell pops the top right off the popper by initiating five new artistic
trajectories. The work uses text, textile and technology to cut to the quick of
wordy theorists with tangled tongues.
“Central Core
Imagrah” corks feminist art histories and inherited legacies in felt, macramé
and photography. “Sorry Butt This Venis
Is a Pagina” gives real estate to gender incoherence using day glow plastic
canvas and a floor to ceiling stance. Inspired by comments made about the
artist on ratemyprofessor.com the piece “I’m With Problematic” asks: “How do we
both resist and reconcile our participation in oppressive systems?” Continuing
in this acknowledgement of the dilemmas of feminist and queer cultural
participation, “Fifty Shades”,
a framed textile original and limited edition photo print, visualizes the “the
body” as sign vs. symbol. The exhibition
is rounded out with a series of paintings titled “Sheila Pepe’s Moutache”
inspired by dyke iconography, verve and virility.
Enraged
alongside homicidal lesbian terrorist Hot Head Paisan and soothed by tie die
west coast fashion flow, craft forward feminist Mitchell decentralizes the
canon and ups the ante on the promise
and possibility of “pussy” art in her new exhibition Creep Lez.
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