Kendra Jayne Patrick opens an exhibition of works by Qualeasha Wood
The First Art Newspaper on the Net    Established in 1996 Wednesday, November 13, 2024


Kendra Jayne Patrick opens an exhibition of works by Qualeasha Wood
For women of color, long harried by the pressure to meet those standards, Wood proposes this leading to a new kind of dysmorphia.



NEW YORK, NY.- Qualeasha Wood’s latest investigations into digital Black womanhood lead her to the relationship between artificial intelligence and perceptions of the black femme self. AI engineered face and body filters encoded into Instagram, Snapchat, TikTok, et al are far more intensely transformative than their predecessors. Lead by a myth of neutrality - a myth the tech bros cum overlords tell themselves over and over about the character of the systems they develop - the digital tools that alter bodies on social media surreptitiously and instantaneously impose Eurocentric beauty ideals upon us in overbearing ways.

For women of color, long harried by the pressure to meet those standards, Wood proposes this leading to a new kind of dysmorphia. One wherein Eurocentric beauty standards don’t simply haunt one from the magazine cover or the movie theater or even the trashy celebrity TikTok account. Instead, these standards sit directly on your visage, showing you exactly how green eyes, a dainty nose, a higher cheek as applied to the specifics of your face make ideal beauty *just* within reach. These digital interventions symbolize a complex interaction of technology, identity, and sexual expectations.

She posits that the allure of these filters isn’t merely about beautification, but about finding belonging in a society that regards Black femme culture as a commodity. These instant image alterations can translate to feelings of inadequacy, triggering both depersonalization (a disconnection from one’s own identity) and body dysmorphia (a distorted view of one’s own appearance). Exacerbated by the racial biases of AI filters, these conditions carry deep psychological weight. Wood is thinking heavily about Afro-pessimism and the reduction of self to a casualty of white supremacy.

The broader effects of these systems are also prominent. Among women Qualeasha’s generation and younger, plastic surgery is out in the open, run of the mill, whereas women older than her whisper about it, hoping any work they’ve had done goes unnoticed. “Snapchat dysmorphia” is a term coined by plastic surgeons who have within the last few years noticed an uptick of patients who, instead of bringing in photos of their favorite celebrity whom they want to resemble, now present AI-filtered and AI-edited versions of themselves as aspirational imperatives.

Qualeasha Wood (b.1996, Long Branch, NJ) lives and works in Philadelphia, PA. She received her BA in 2019 from the Rhode Island School of Design, Providence, RI and her MA in 2021 from Cranbrook Academy of Fine Art, Bloomfield Hills, MI. Wood has been included in It’s Time For Me To Go at MoMA PS1, an exhibition of works made during her residency at the Studio Museum in Harlem over the past year. She is highlighted in the 2022 Artsy Vanguard as one of the most promising artists working today. In May 2021, her work was featured on the front cover of Art in America. Recent exhibitions include The Metropolitan Museum of Art, NY (2022); Hauser & Wirth, NY (2022); Pippy Houldsworth Gallery, London (2021); CANADA, NY (2021); Gaa Gallery, Provincetown, MA (2021); Trout Museumof Art, Appleton, WI (2021), and Kendra Jayne Patrick for Metro Pictures, NY (2020). Her work has recently been acquired by The Metropolitan Museum of Art, NY and The Museum of Fine Arts, Houston,TX.

In her textile practice, Wood brings together traditional craft techniques and contemporary technology.Her own image acts as a point of departure for works that explore racial, sexual and gender identity as they relate to the Black femme body. As a digital native, Wood deftly navigates an internet environment that is at once a space of celebration and recognition for Black femme figures, as well as a politically loaded site for the ongoing marginalisation and exploitation of their selfhood and culture. Woods’ tapestries combine cybernetic and analogue processes; in her work, a pixel is equivalent to a stitch, each stitch an analogy for the past, present and future of Black femmehood, both on- and off-line, pre- and post-internet.

While Wood’s tapestries blend images from social media with religious, specifically Catholic,iconography, her ‘tuftings’ represent cartoon-like figures that recall the racist caricatures widespread in popular family programmes of the early-mid-20th century and beyond. As well as marking a technical shift from the artist’s tapestry pieces, the tuftings have a distinctly different visual style. In them, Wood adopts a naïve aesthetic that calls on the nostalgia of cartoon animations and their association with racial stereotyping to unpack notions of Black girlhood. Despite their formal simplicity, the tuftings reveal a lurking tension drawn from the artist’s own experiences of consuming media rife with anti-Black prejudice throughout her life. Where the tapestries are absorbed in consumption and cyber culture, the tuftings speak to inherited trauma and necessarily implicate accountability in the viewer.










Today's News

November 27, 2023

The new Museum at the University of Notre Dame opens to the public December 1-3

Perrotin opens a solo exhibition by Shim Moon-Seup

National Gallery of Art acquires Liza Lou's 'Closet'

Independence fortifies a survivor

Christian Haake is showing new abstract works at the Drawing Room in Hamburg

Gladstone Gallery in Brussels opens an exhibition of works by Salvo

Phillips' December Design Sale to showcase works by 20th century French masters and contemporary designers

MacDougall's announces 'École de Paris and Other Masters Auction'

Miller & Miller announces highlights included in Toys, Motorcycles & Automobilia Auction

Exhibiton at GAK features a new video work and a set of new sculptures by Jala Wahid

The envy office: Can instagrammable design lure young workers back?

A pop star filmed a music video in a church. The priest was punished.

Exhibition investigates the production of Piero Gilardi during the 1960s

MACRO Museum of Contemporary Art of Rome opens an exhibition dedicated to graphic design studio Experimental Jetset

Galerie Templon opens an exhibition of works by Belgian artist Antoine Roegiers

Pina Bausch's 'Rite of Spring' takes root in Africa

For new music, there's no quartet like JACK

Catherine Christer Hennix, spiritual drone musician, dies at 75

Artist to the stars - original artwork by designer of Hollywood blockbuster film posters for sale at Ewbank's

"Botticelli to Van Gogh: Masterpieces from the National Gallery, London" opens at Hong Kong Palace Museum

Kang Contemporary opens 'Serendipity: Art (mostly) on Paper'

Kendra Jayne Patrick opens an exhibition of works by Qualeasha Wood

Exhibition of new paintings by Mario Ayala on view at David Kordansky Gallery

Discover the Best of 광주오피 - A Detailed Guide

The Gambler's Guide: Responsible Gaming in the Online Slot World




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
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Holistic Dentist
Abogado de accidentes
สล็อต
สล็อตเว็บตรง

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. 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 Parroquia Natividad del Señor
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