Cameron Martin is known for his black-and-white landscape paintings informed by semiotics, but for the last three years the artist has been working on a new body of nonrepresentational paintings and drawings.
Although not the central theme in the exhibition, the complexity of motherhood, often eclipsed in the history of art by idealized images of maternity, is one of Bennetts most important contributions in Nuclear Family, as she illustrates the changing roles mothers play within the nuclear family since the term entered popular parlance in the last century.
The question one asks while experiencing Diana Copperwhites new paintings is: When are they happening? As the exhibition title, The Clock Struck Between Time suggests, the artwork places us in an ambiguous temporal space, drifting from the present moment into a memory still struggling to take form.
Francesca DiMattios monstrous 9-foot tall She-Wolf (2018), with a bulbous black head stretching out from grafted human and animal forms, including a porcelain human front leg and a life-sized hunting dog standing in for a rear leg, restores the wildness of this maternal wolf once immortalized in the famous Etruscan bronze (500 BCE) that the sculpture references.
In many of van Woerts works over the last decade or so, the artist has investigated the relation between our bodies and the waste we produce in our industrial, hyper-consumptive society.
Traditional history painting’s stories demonstrated the best in human endeavorsaccording to the bias of their Eurocentric patriarchal culture.