The First Art Newspaper on the Net   Established in 1996 Friday, November 27, 2020


Richard Saltoun Gallery opens second instalment of 'Maternality', a group exhibition
Aimee Gilmore, Milkscape (Column), 2016. Digital print on fabric, 450 x 335 cm © Aimee Gilmore; Courtesy of Richard Saltoun Gallery, London. Photo by Ben Westoby.



LONDON.- ‘Maternality’ is the second instalment of the two-part show on maternal politics and embodiment which focuses on reproduction and the materiality of maternal bodies.

Curated by Catherine McCormack, the exhibition finds its starting point in the etymological root of the word “mother” as synonymous of matter (mater/materia in Latin) in a group show exploring female reproductive bodies in terms of material relations, both physical and political. Works embedding physical substances of reproductive bodies – from breast-milk in Aimee Gilmore’s ethereal fabric banner Milkscapes (2016) to cervical cells in Helen Chadwick’s Viral Landscape No.3 (1988) – are featured beside fibre sculptures by Carmen Winant and Robyn Leroy-Evans who employ fabric as a reflection on the relation between self and other when one body reproduces to form another. Never exhibited before, the works draw on images as diverse as a Renaissance altarpiece by Piero della Francesca to twentieth-century photos of birth.

Annegret Soltau’s stitched images of pregnant bodies situate pregnancy as a splitting and restitching of the fabric of the body and individual identity, while the stitched tapestry as a metaphor for both women’s creative labour and material embodiment defines Judy Chicago’s The Crowning (1982) from her series The Birth Project. Feminist avant-garde artist Kirsten Justesen’s Torso series (1973) considers the performance of maternal bodies as art objects and the relationship between procreation and artistic production – an established obstacle for the affirmation of women artists.

‘Maternality’ does not only think of woman as nature and primordial fabric of the universe. Helen Benigson questions the technologisation of female reproductive bodies with the video PUMP (2017). The material relations of domestic labour and childcare within capitalism is taken up as a theme in works from Who’s Holding the Baby (1978) by The Hackney Flashers to Shirley CAMERON’s Washing the Twins (1977). Another highlight is Eleanor Antin’s work Who are we? Where are we going? (2004), from the Roman Allegories series.

‘Maternality’ concludes Richard Saltoun Gallery’s 12-month programme dedicated to supporting the work of female artists. Titled 100% Women, the programme aims to remedy the gender inequality that persists in the artworld and encourage wider industry action through debate, dialogue and collaborations. The gallery will continue to pursue this mission through a combination of exhibitions, art fair presentations, artist talks, film and lecture series, external collaborations and digital exhibitions hosted on the gallery's new online platform.










Today's News

January 9, 2020

Exhibition offers a dedicated and comprehensive study of Max Sulzbachner's work

Robert Caro's papers headed to New-York Historical Society

Extremely rare gold coins of the Mughal Emperor to be offered at Spink USA

René Magritte, À la rencontre du plaisir (Towards Pleasure) highlights The Art of the Surreal Evening Sale

John Baldessari: An artist in a class by himself

Galerie Templon opens an exhibition of works by Jan Fabre

The Snite Museum of Art acquires major work by sculptor Clement Meadmore

Exhibitions explore historical and contemporary artistic perspectives on women and mental health

Two vibrant contemporary & post-war art collections to be offered in Edinburgh

Bob Wade, sculptor of the outlandishly large, dies at 76

Richard Saltoun Gallery opens second instalment of 'Maternality', a group exhibition

Chairman of H&H Classics sells his personal collection of Matchbox cars for over £300,000

The Cornell Fine Arts Museum acquires works by Puerto Rican artists

Ugly Betty' creator dies aged 45

Jack Garfein, Director from Actors Studio's heyday, dies at 89

The Collection: Where Art Meets Fashion unveils immersive installation by artist Anila Quayyum Agha

US surfing book wins top French graphic novel prize

Asya Geisberg Gallery opens an exhibition of paintings and drawings by Katarina Riesing

Exhibition at albertz benda features a new body of work by Tsibi Geva

Jane Lombard Gallery opens Michael Rakowitz fifth solo show with the gallery

The Archivio Conz will showcase a selection of 24 "prepared pianos" by major avant-garde artists

The UK's biggest new museum The Box announces two public art commissions

An Insight Into the Layout of a Casino

Human-centered Design And How It Creates Addiction

Logo Designs of Popular Online Gaming Sites

How to Help your Loved Ones after Rehab

Can Furniture Really Benefit You?

Effective Ways for Storing Precious Moments





Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful