Bridal Staircase

Kathy Huberland

When I was young I had a belief that the White Knight would come and carry me off to eternal protected bliss.  I lived with this fantasy and did not think too far beyond a dreamy white wedding day.  My piece deals with the not so dreamy reality that, for most women, lies beyond that wedding day.  The bride is portrayed as an offering—encased in gaiety, in lace, in flowers, in dreamy sky blue.  As the bride descends the stairs the blue slowly changes to gray and the bride’s failure to look clearly at where she is going leaves her up against the wall.

– Kathy Huberland

“Vicky Hodgett, Susan Frazier and Robin Weltsch’s Nurturant Kitchen featured “Eggs to Breasts”, a pink kitchen with walls covered in breasts, evokes woman as a feeder in the heart of the house. Woman feeds with her kitchen, feeds children with her breasts and feeds man with her body. Culturally propagated stereotypes of womanhood are obsessively repeated in the kitchen – the colour pink and breasts.
Rather than celebrating these feminine attributes, a claustrophobic and surrealist cavern is created, reminiscent of Bourgeois’s grotesque, anthropomorphic body parts, and Yayoi Kusama’s repetitive dot works, which symbolised her decent into madness. The approximation of eggs and breasts also suggest a woman’s reproductive capabilities and thus her primary function, as well as a shortened evolutionary path – from egg (a foetus) to breast (a mother).”

Images courtesy of Maccarone, New York

Press Release:

Maccarone Gallery, with Pati Hertling and Julie Tolentino, restage the landmark feminist exhibition COMING TO POWER: 25 Years Of Sexually X­Plicit Art By Women, curated by Ellen Cantor in 1993 at David Zwirner Gallery.

Instigated by Cantor’s vision, COMING TO POWER reflected the bold voices and urgency of iconic female artists’ work from the 60­70’s, pop, and porn of the 80’s, and collided with early 90’s sex positive, queer, BDSM, and sex radicals of performance and video art culture.

In the 1993 press release, Cantor states: “In contrast to the previous generation’s more politicized work, the intended impact of the younger artists’ work is to elicit sexual excitement as well as express autonomous pleasure, passion and pain. Together both generations engage in a dialogue previously dominated by men and disallowed to women by the taboos in society.”

Returning to and experiencing this work is a confrontation. It forces us all to face the impact of both the potency of this righteous canon as well as experience its absences, losses, hits, and misses. We look towards this exhibition ­ its shadow, as well as its future ­ as a language constructed from both past and future bodies ― bodies of work re­rendered, and bodies simultaneously recognized. We hope to underscore that a “survey of women” is a rigorous transit into the archives’ crevices, spatial discourse, sordid gossip, and recollections.

In this iteration of COMING TO POWER, Hertling and Tolentino draw these important works back together to harness the momentum of intersectional feminism, sexual politics, and queer practice through a performance program that highlights diverse, queer, trans, and genderqueer artists to embolden the discourse of the provocative, sexual self: FlucT, luciana achugar, Kia Labeija, Lion with B L K W Y N T E R, Xandra Ibarra/La Chica Boom, Zackary Drucker & Orlando Tirado, Jim Fletcher, Narcissister, Niv Acosta, and Jen Rosenblit.

Jana Sterbak: The Body Electric [MARCH 1, 1989] BY MARNI JACKSON