ALMA LOPEZ, OUR LADY, 1999
Our Lady, the piece which some members of the Santa Fe Catholic community found offensive, is a digital photograph representing the Virgin of Guadalupe…
SHIGEKO KUBOTA, VAGINA PAINTING, 1965
Kubota’s most infamous (and somewhat anomalous) work was Vagina Painting (1965), which she presented as part of the Perpetual Fluxfest, at Cinematheque in New York on July 4, 1965…
COURTNEY COLES, MOMMA
The very foundation of my practice is rooted in my fascination with the multiple ways I consider people, places, and memories “home” and my desire to preserve it. I am enthralled by making photographs that are soft and sincere because the world has been anything but to Black queer women like me...
FARAH AL QASIMI, MORE GOOD NEWS, 2017
Al Qasimi examines the use of photography for the purposes of shaping perception and delineating identity, with a focus on men in her respective communities in the United Arab Emirates and the United States…
![WIDLINE CADET, SEREMONI DISPARISYON (RITUAL [DIS]APPEARANCE), 2017-ONGOING](https://images.squarespace-cdn.com/content/v1/658c59334bdfe52833434021/1747696144397-2ADSTC0P24NKKVHYCM9Q/image-asset+%289%29.jpeg)
WIDLINE CADET, SEREMONI DISPARISYON (RITUAL [DIS]APPEARANCE), 2017-ONGOING
In Seremoni Disparisyon (Ritual [Dis]Appearance) (2017–ongoing), she turns the camera on herself, exploring notions of visibility and Black feminine interiority. Throughout both series, Cadet unpicks ideas of belonging, multiplicity and the fragility of memory…
GUADALUPE ROSALES, EL ROCÍO SOBRE LAS MADRUGADAS SIN FIN, 2020
This project is dedicated to the marginalized. It's about unlearning. Learning differently about this other reality of Mexican-American culture in East Los Angeles, California, primarily during the 1990s. Guadalupe Rosales' world was a world among many worlds. Her archival projects Veteranas & Rucas and Map Pointz contain modes of self-representation and visibility: the dichotomy between the good and the bad/ugly…
HÉLÈNE AMOUZOU, SELF-PORTRAITS 1/2
Amouzou thus began photographing herself in the attic with a 35 mm canon camera -and later a Rolleicord - as her lone witness. Not long after, however, she realized that extended exposure times and low-sensitivity films would allow her to move and portray herself without being recognized. Amouzou’s figure appears in motion, traveling through the frame as a fleeting figure…
MARTHA WILSON, I MAKE UP THE IMAGE OF MY PERFECTION/I MAKE UP THE IMAGE OF MY DEFORMITY, 1974/2008
Martha Wilson "I Make Up the Image of My Perfection/I Make Up The Image of My Deformity". A real pioneer in using performance as an artistic medium in itself, Martha Wilson stages her body, and as an actress would do, grinds and transforms herself, creating multiple self-portraits becoming subversive characters…
HE CHENGYAO, TESTIMONY, 2001–2002
The photograph presented in the exhibition is one of three works from the series "Testimony", presenting portraits of the artist, her mother and son. Large-format photographs, maintained in a similar style, bring to mind classical Baroque painting: brightly lit figures shown against a uniformly dark background…
ANNA GAJEWSZKY, IN THE SEARCH FOR VENUS, 2021
The series In the search for Venus depicts an intimate examination of my femininity, my body and its comparison to ancient portrayals of Venus. I was 18 years old when I was told by several doctors I had fertility issues, and that becoming pregnant would be difficult for me…
DONNA GOTTSCHALK, IMAGES FROM “BRAVE, BEAUTIFUL OUTLAWS”
Donna Gottschalk, a photographer active in the early period of radical lesbian organizing in New York and California during the 1970s. Gottschalk came out as a lesbian right at the formation of the radical lesbians and Furies collectives on the east coast, where she met lesbian artists JEB (Joan E. Biren), Flavia Rando, and others, and later moved to California to join lesbian-separatist communities…
SHELLY SILVER, WHAT I'M LOOKING FOR, 2004,
A woman sets out to photograph moments of intimacy. On an Internet dating site she writes: 'I'm looking for people who would like to be photographed in public revealing something of themselves...
OLIVIA ARTHUR, MURMURINGS OF THE SKIN
For the past few years I have been making work about the relationship that we have to our bodies as humans. The work grew out of a fascination I developed after being pregnant and feeling my body as a machine performing an incredible task. I went on to explore intimacy, touch, physical connection, stability and the ways we use technology to enhance all those things…
METTE INGVARTSEN, 21 PORNOGRAPHIES, 2017
Writing a novel about libertinage from his prison cell in 1785, Marquis de Sade declared that the nature of human passions authorizes crime. This moment in Western modernity marks the moral ambivalence in the bind between sexual liberation and power…
LINDER, SELECT COLLAGES, 1976-1979
Linder has worked with the pornographic image for four decades, often montaging the images from pornographic magazines with those that she finds in interior design and fashion publications, the common denominator in all three being the depiction of the female body…
JOE SPENCE AND ROSY MARTIN, LIBIDO UPRISING PART I AND PART II, 1989
In their collaborative series Libido Uprising, Spence and Martin examine the relationship between mother and daughter. The work focuses on Jo’s vision of a 1950s working class, domesticated housewife, seen from the eyes of a young woman in the 1980s who is exploring her sexual freedom…
SPANDITA MALIK, JĀḶĪ—MESHES OF RESISTANCE
The artist expands upon her photographic series Nā́rī, a project that she began as a graduate student at Parsons School of Design in 2019. For Nā́rī, she traveled to small communities in India known for their distinct embroidery styles and places where women learn handicraft to gain financial independence…
SHIRIN NESHAT, THE FURY
The Fury, comprising a double-channel video installation and a series of black and white photographs. Shot in June 2022, The Fury seeks to capture the Zeitgeist: a sense of foreboding and dread sparked by the resurgence of fascism that we are witnessing…
NONA FAUSTINE, MY COUNTRY
In “My Country,” Faustine confronts and interrogates iconic American monuments, such as the Lincoln Memorial and the Statue of Liberty, using her camera to reframe conventional, colonialist perspectives, and reinserting some of the truth and trauma behind these memorialized spaces…
MICHÈLE PEARSON CLARKE, SUCK TEETH COMPOSITIONS, 2018
This three-channel video and sound installation presents a choral symphony structured around the everyday Caribbean oral gesture of sucking teeth. Referred to variously as kiss teeth, steups, chups, and stchoops, to suck teeth is to produce a sound by sucking in air through the teeth, while pressing the tongue against the upper or lower teeth, with the lips pursed or slightly flattened…