The Most Inquired-About Women Artists on Artspace
Chromogenic C-print printed on Fuji Crystal Archive Glossy paper, mounted on 3mm Dibond (brushed aluminum) with a UV lamination
15.00 x 19.90 in
38.1 x 50.5 cm
Signed and numbered Certificate of authenticity
ABOUT SYLVIE FLEURY
Sylvie Fleury considers parallels between art and commerce with paintings, sculptures, and installations that critique intrinsic value rather than brand name affiliation of luxury goods. By using common advertising strategies including slogans and flashy presentation, the artist manipulates the optics of the modern economy. Her critique of superficial beauty has been compared to Pop art—she has painted sweaters stretched seductively over the female body, added furry sections to Mondrian-esque compositions, composed small arrangements of luxury shopping bags, and gilded shopping carts and shoes. She deems fashion and glamour fetishes in contemporary society, susceptible to high degrees of longing, seeped in wishful thinking and hunger for the next best thing.
Woman Listening to the Radio, 1978
Black and White photograph.
7.50 x 8.80 in
19.1 x 22.4 cm
Signed and numbered by the artist.
ABOUT THE WORK
Laurie Simmons’s photographs make use of dummies and dolls to create dreamlike, albeit realistically captured scenes. In Woman Listening to the Radio, a small, doll-like figure has been placed in a tiny replica of a midcentury living room with an old fashioned radio, the irony of course being that the inanimate subject cannot actually hear, and the radio is just a prop.
ABOUT LAURIE SIMMONS
Using dolls, dollhouses, dummies, and figures cut from magazines, Laurie Simmons constructs and photographs voyeuristic scenes of dreamlike distortions that challenge sensory perceptions. Working as a filmmaker, she made The Music of Regret, a mini-musical in three acts in 2006. It premiered at MoMA and featured musicians, professional puppeteers, Alvin Ailey dancers, and actress Meryl Streep. More recently, Simmons played a fictional mother in her daughter Lena Dunham’s film Tiny Furniture. She has received numerous awards, including the Roy Lichtenstein Residency in Visual Arts at the American Academy in Rome, John Simon Guggenheim Memorial Foundation Fellowship, and the National Endowment for the Arts.
Do Women Have to be Naked Mug Set (2)
Set of two Bone China mugs
10 x 8 cm diameter
Dishwasher and microwave safe
ABOUT THE WORK
The Guerrilla Girls are a group of anonymous artists who wear gorilla masks in public and use facts, humor and outrageous visuals to expose discrimination and corruption in art, film, politics, and pop culture. Third Drawer Down Studio in collaboration with the collective created this set of fine bone china mugs, inspired by the iconic Guerrilla Girls work, Do Women Have to be Naked to Get into the Met Museum?
ABOUT GUERRILLA GIRLS
In the 1980’s the Guerrilla Girls brought a rebellious spirit to the Feminist art movement, taking the fight against sexism and discrimination in the art world to a new level. Cloaked by pseudonym and rubber gorilla masks, the highly political activist group plastered their agenda throughout the streets of major cities—using clear imagery and concise text to convey their messages, such as “Do women have to be naked to get into the Met Museum?” Over the last thirty years the revolving members of the group has produced posters, street projects, actions, books, and billboards, as well as activist campaigns and workshops.
C-print on Kodak matte paper
11.00 x 14.00 in
27.9 x 35.6 cm
This work is signed and numbered verso
ABOUT CINDY SHERMAN
Known for posed photographs that explore and question representations of women from Renaissance portraiture to contemporary mass media, Cindy Sherman is one of the most important artists working today. Serving as her own model in the majority of her work, Sherman’s self-portraits came to prominence in the late 1970s through a series of black-and-white photographs called Untitled Film Stills. In these works, produced between 1977 and 1980 and evocative of glossy 8×10-inch publicity shots, Sherman used different costumes, backdrops, wigs, facial expressions, make-up, and poses to transform herself into a range of female archetypes from debutante to starlet, from housewife to lush.
A remarkable performer, Sherman reconfigures her face and body for the camera — either through subtle distortions or grotesque prosthetics — to render herself all but unrecognizable to the audience. Each image is overloaded with detail, every nuance caught by the artist’s eye. While Sherman is usually disguised in her pictures, she leaves details slightly askew so that the constructed scene, and its related artifice, is revealed.
Since the early 1980s, most of Sherman’s work has been of larger scale and in color, but her principal concern—to confront how media influences our perception of identity— has remained constant. All of the photographs are untitled and Sherman’s characters (with the exception of several sequential shots in the Untitled Film Still series) have never appeared twice, leaving the viewer to consider the works without any narrative help from the artist.