The New York-based Denny Dimin Gallery attributes much of this resurgence to the promotion of women artists through the movement and its interest; although it also likely rings with contemporary practitioners thanks to its place on the outskirts of the art world at the time; it has never been current and has indeed upset the spirit of the times through references to fabric design, quilting, stained glass, manuscripts, textiles, pottery, mosaics, embroidery and – above all – to most non-Western arts.
Denny Dimin is now hosting a group show called Fringe, which runs through August 20, featuring works by Natalie Baxter, Cynthia Carlson, Max Colby, Pamela Council, Amir H. Fallah, Valerie Jaudon, Future Retrieval, Justine Hill, Judy Ledgerwood, Ree Morton, Josie Love Roebuck and Amanda Valdez.
“Fifty years later, the challenge that P&D has posed to institutional art history and the market for non-white, non-male artists continues to be a struggle for contemporary artists,” says Anna Katz in her introductory essay of the exhibition. “Only 14% of all exhibits at 26 leading US museums over the past decade were by female artists. Analysis of data from 18 major US art museums revealed that their collections are made up of 87% male and 85% white The deployment of materials and approaches that are coded as female or are by artists from diverse backgrounds continues to be a way to challenge this status quo.
“P&D has disrupted and disrupted the academic, discipline of art history, museum and market coding of the wide range of arts historically associated with traditional women’s activities in the home and cultures. non-Western as decorative and therefore secondary, or worse. “
Many Fringe artists explore ideas around gender stereotypes through the reappropriation of traditionally “female craft” techniques, while many use the idea of camp as a conceptual framework.
Florida-born Max Colby, for example, reframe traditional notions of domesticity, power and gender from a trans, not binary perspective through the political tactics of the camp. New York-born Pamela Council also uses a camp aesthetic, but rooted in “Afro Americana” which she dubbed “BLAXIDERMY”.
Meanwhile, the work of Chicago-based abstract painter Judy Ledgerwood considers the decorative work created in the country by women of all cultures, using circles, quatrefoils, and seed-like shapes arranged in triangles and chevrons that she “perceives as a feminine figure symbolic of feminine power”. according to the gallery.
Addressing themes of craftsmanship and trauma, Tennessee-born Josie Love Roebuck combines embroidery and painting to create intimate portraits of rape survivors. “Her paintings recreate the emotional tales of the victims she portrays and challenge the viewer to consider the difficult reality of overcoming and healing from trauma,” the gallery explains. “His process addresses the contemporary complexity of identification as biracial by symbolizing pain and triumph, exclusion and acceptance.”