May 30 – June 25, 2021
Karen Asher, Rah Eleh, Jeremy Laing, Robert Anthony O'Halloran, Jonah Strub, Sarah May Taylor, Shellie Zhang
Curated by Laura Carusi
Adorned is a group exhibition that explores the messy ways women, queer and trans people paint, poke and primp themselves. It traces the tensions and contradictions of luxuriating in what we know to be the seduction techniques of a capitalist system. It respects and considers the materiality of gendered consumer objects, and their power.
The aesthetics of glamour and excess have long been employed as a means of transgressing norms of moderation and measure, with the potential to function as both a resource for subversion and a source of oppression. These experiential contradictions overwhelm subjects. Feelings of perplexity mark the tension between overlapping, opposing and asymmetric forces of power.
What does it mean to derive pleasure from the always-complicated performance of gender and sexuality? To sometimes revel in the artifice of glamour, beauty and excess?
Seven artists present themes of class, race, queerness, gender exploration, beauty and stereotype. Straddling the lines between tenderness and danger, vulnerability and revolt. Glamour, intimacy and stigma are explored through the lens of portraiture, both photographic and sculptural.
Bathed in the glow of the ring light, we are made-up and undone and mended. Frilled and floral, hairy and beautiful, sometimes staring blankly at the ceiling.
Photo documentation courtesy of Toni Hafkenscheid
Jonah Strub, Sharpie, 2021, oil on canvas, 20” x 16"
Sarah May Taylor, My Mother's Garden, 2021, diptych, inkjet prints, AP, 20” x 30” each
Jonah Strub, Hairy Fairy II: 2 Hairy 2 Fairy, 2020, ceramic and fake eyelashes, 8” x 7” x 6”
Rah Eleh, Shaddy, 2020/2021, inkjet print, AP, 24” x 36”
Rah Eleh, Shaddy & Gabby, 2020/2021, inkjet print, AP, 24” x 36”
Robert Anthony O'Halloran, Improvised Incendiary Devices, 2021, cast & dipped IGI 1239 paraffin & local beeswax, dye, gypsophila, smoke bush, thistle, cotton, linen flax, foraged mushrooms, hand-picked dandelion, lavender, craspedia, phalaris, solidago, bunnytails, mimosa, peonies, elephant ears, seeded eucalyptus, Queen Anne’s lace, various seasonal weeds, assorted stems and found burrs.
Shellie Zhang, Her Smell, 2019, vinyl print, 25” x 20”
Shellie Zhang, Her Gaze, 2019, vinyl print, 25” x 20”
Shellie Zhang, Her Touch, 2019, vinyl print, 25” x 20”,
from I’m a Material Girl but Indifference is the Product of Social Excess, 2019
Karen Asher, Peach Pit, 2014, C-Print, AP, 24"× 24" (far left)
Karen Asher, Spring Break, 2014, C-Print, AP, 24"× 24"
Karen Asher, Queen, 2014, C-Print, AP, 24"× 24"
Karen Asher, Dye Job, 2014, C-Print, AP, 24"× 24"
Karen Asher, Pantyhose, 2014, C-Print, AP, 24"× 24"
Karen Asher, Satin Robe, 2014, C-Print, AP, 24"× 24" (far right)
Jeremy Laing,"I do not trust the mechanics of visibility" - the Artist (in a moment of self-selected mandatory exposure), 2021, ring light, x-frame stand, shower curtain, grommets, drawer, key, tape, glazed stoneware, Cuddly Chenille™ yarn, dimensions variable