With so many exhibitions and galleries having to close their doors during Covid-19 shutdowns, I'm pleased to announce that my Coin Cunts are included in a virtual group exhibition curated by Joy Pepe via Digital Grace. Wonder Working: Contemporary Connections To Witchery’s Past is inspired by what links some of these representations with historical depictions of females and some males with magical or divine abilities – magnificent, sublime, sometimes terrible – as they connect with issues of gender, nature, and spirituality. The exhibition is available to view online thru May 31st, 2020.
“The beauty of female anatomy and sexuality becomes literal in Suzanna Scott’s Coin Cunts, a circular arrangement of the silky insides of coin purses shaped like vaginas. The allure of the female sexual organ resides in the soft, smooth fabric and varied vaginal shapes, while the commerce of ‘sex sells’ is literalized with the purses and the ‘shop ‘till you drop’ stereotype of women, so associated with Barbara Kruger’s declamatory photograph of the early 1980s, is conjoined. Now that stereotype is shattered in the sexualized purses that, represent women’s economic independence and decision making power within Western capitalism.”
—Joy M. Pepe, curator
Two interconnected spring art exhibitions, Extra Human & Witchy, open at the Ely Center of Contemporary Art in New Haven, Connecticut this Sunday. A variety of related programs will occur over the next six weeks, with a closing event featuring Annie Sailer Dance Company on April 19th.
Extra Human presents new, site-specific works by Austin Furtak-Cole, Jacquelyn Gleisner, Molly Gambardella, Scott Lawrence, Martha Lewis, and Suzanna Scott challenging questions of modernity, technology, ritual, and human agency. A portion of these programs are made possible by a CT Office of the Arts project grant, facilitating The Collision Room, a node that mirrors the center’s long history and current role in the arts community.
Witchy is an unjuried exhibition about magic, power, spirituality, and feminism. While both exhibits confront themes of power, agency, the human body, and modernity, Witchy pays particular homage to Grace Taylor Ely, the philanthropist who transformed her home (today, ECOCA) into a space for local artists to gather and show their work. Each year during Women’s History Month, ECOCA hosts an exhibit under the series In Grace We Trust to address ideas of tradition and change, a nod to the past as we confront current societal challenges, and rise together to create our future narratives. For Witchy, we ask if magic can be understood as a different type of power, a way to combat political power that threatens many of our communities.
During the reception on March 1st, local artist, activist, and musician Briana Williams will present her piece “Ain’t I A Woman,” a multi-disciplinary performance, time-traveling back to the 1851 Women’s Convention, seeking to channel the feminist icon Sojourner Truth.
Short Summer by Austin Furtak-Cole
Extra Human & Witchy
March 1 - April 19, 2020
Opening Reception /Sunday, March 1, 1 - 3 pm
Closing Reception / Sunday April 19, 1 - 3 pm
Paradigm Gallery + Studio is pleased to present TEN, a comprehensive, group exhibition curated in celebration of the gallery’s tenth anniversary. TEN features the work of over 120 artists, who have presented at Paradigm over the last 10 years. The work included in the exhibition spans across mediums, featuring painting, drawing, sculpture, fibers, craft, mixed media and everything in between. To mark this exciting milestone, a majority of the artists have created new work specifically for this exhibition. Leading up to the exhibition, 36 of the artists will contribute to an exquisite corpse, a collaborative group work, which will be unveiled at the public opening reception on February 28th.
Suzanna Scott, Coin Cunts, vintage coin purses and thread, 2020
Over the last decade, the award-winning Paradigm Gallery has become internationally known as a Philadelphia mainstay. Locals and visitors alike have come to cherish the vision of powerhouse duo, Jason Chen and Sara McCorriston. Not only known for curating exciting and unique group exhibitions, the Paradigm team has helped emerging artists in their roster grow to international prominence. They have placed works in significant public and private collections like Villa Schöningen in Berlin and The Asian Cultural Council Taiwan Foundation in Taipei. Nationally, they have placed over 90 public murals, in part through their HAHAxParadigm collaborative programming, working with local communities in helping build a stronger U.S. public arts program. Their strong presence in Queen Village has significantly impacted the neighborhood. With new galleries popping up next door every day, the area has become a must-see art destination in Philadelphia.
Rosa Leff, Close Enough, Hand Cut Paper Towel, 2019
Lauren Rinaldi, Constant Convalescence, oil on panel, 2020
Exhibition Dates / February 28 - March 21, 2020
Tuesdays, Thursdays, and Saturdays • 12:00 pm – 6:00 pm
And 7 days a week by appointment: email@example.com / (267)266-0073
Paradigm Gallery + Studio / 746 S. 4th Street, 1st Floor / Philadelphia, PA 19147
Radial Gallery and the Department of Art and Design at the University of Dayton are pleased to present, Material | Fiber. This exhibition will celebrate the intersections of fiber as material, process, and metaphor. Featuring works from national and local artists, Mayumi Amada, Diane Bush, Susan Graham, Stacy Isenbarger, Heather Jones, Colleen Kelsey, Carole Loeffler, George Lorio, Taylor Orr, Patrick Ronan, Casey Schachner, Suzanna Scott, Amanda Smith, Brooks Stevens, Sarah Nance, and Andrea Vail. These artists explore ideas in material culture relating to contemporary social problems and issues, as they juxtapose material and fiber processes around the words “material” and “fiber” – including all the various interpretations of those words.
Suzanna Scott, Out Of Reach (2017), vintage gloves, thread, polyfil, aluminum grate, wood
Material | Fiber will coincide with the Visiting Artist Scholar Lecture for 2019/20. Dr. Joni Boyd Acuff, Associate Professor and Graduate Coordinator in Arts Administration, Education, and Policy at Ohio State University, will speak. Dr. Acuff, a practicing artist, and educator has a rich research agenda examining critical multicultural art education, critical race theory, and culturally responsive teaching and curriculum development. Her work extends beyond the traditional classroom to include working with diverse populations of learners, including students with special needs (cognitive and physical), students who identify as LGBTQ+ and students from varying racial backgrounds and socioeconomic levels. Dr. Acuff will be presenting a lecture before the exhibition reception at Sears Recital Hall on UD’s main campus.
Colleen Kelsey, Wife and Husband Two Headed Idol Figure (2015), fabric, embroidery thread, graphite, charcoal, conte
Join us on February 27th, 4-5 pm at the Sears Recital Hall for a lecture from Dr. Acuff, and then from 5:00-7:00 pm for an artist reception, located in Radial Gallery on the second floor of Fitz Hall, on the campus of the University of Dayton.
Material | Fiber
Radial Gallery, Department of Art and Design, University of Dayton
Curated by R. Darden Bradshaw, MFA, PhD
February 20th-March 25th 2020
Gallery hours are:
Monday-Thursday, 9 am – 5 pm
Friday, 9 am – 2 pm
Sunday 2pm - 4pm
On February 27th starting at 4:45 pm, visitors may obtain a parking pass from a Department of Art and Design Greeter in the main Lobby of Fitz hall. Outside of the opening reception; visitors may obtain a parking pass from the parking attendant located at the parking office located inside the main entrance of Fitz Hall. For additional information contact University of Dayton Galleries Coordinator, Nicholaus Arnold at 937-229-3204 or firstname.lastname@example.org.
I’m excited to participate in the first edition of The Tiny Art Fair in Madrid, Spain opening this month. A collaboration of the gallery Échale Guindas and the artist Mari Quiñonero, TTAF is not a traditional exhibition nor just another group show. The art will be out of the usual spaces and decontextualized, far from gallery lights or a conventional naked booth. The art is fully integrated within an empty apartment—the kitchen, the bathroom, the storage, and the bedroom. It is a conversation between the rooms and the artists.
De formación arquitecta, BEA AIGUABELLA presenta su Oda a la repetición jugando con los conceptos de lo colectivo y lo individual.
A CHRISTINA ZIMPEL, ex directora de arte de la edición australiana y americana de VOGUE, lo que más le interesa es la destilación de imágenes hasta su mínima expresión.
Cierra el cuarteto, la joyera y artista visual NICOLETTE BÉNARD que investiga la posición de la muñeca como icono de belleza.
It is possible to be completely silly and serious at the same time, and I constantly seek to walk that fence in my work. Since creating these subversive objects last year, I've been pondering the best way to share them. After taking several self-portraits, it dawned on me that other artists might join me in documenting the collective angst that the current American president has spawned around the world. I shared the idea for the 'Traveling Trumped Nuts Artist Selfie Project' via Instagram, and dare I say, the response was YUGE.
This past week I shipped out 16 pairs of nuts to the first of 100+ artists who have signed up to take a selfie with a pair of these golden gonads. There are currently 19 countries and 26 states represented in this number. If you are interested in joining the project, please contact me for details. Also, I'm accepting donations to fund the project and keep these 'Trumped Nuts' circulating until the world has been freed from this American nightmare. Thank you to everyone who has joined me in this visual resistance!
"The Trumped Nuts serve as wearable objects calling out the exhaustive buffoonery of American politics today and the negative influence it is breeding around the world. Two disparate groups voted the current president into office and continue to support him no matter the cost. They are represented in this pairing of low-brow truck nuts with old-school bow ties. The object is now a symbol of false bravado and self-serving hubris. I’m asking artists to clip on a pair of Trumped Nuts and take a self-portrait. This personal action/documentation by individual artists worldwide will serve as a collection of visual resistance to a threat that is consuming us all."
Suzanna Scott, 2020
This new Coin Cunt collection has traveled to Vladimir, Russia to be included in OUT, an exhibition organized by Vavilova Anastasia and sponsored by the Moscow Museum of Modern Art from July 11 - 31. OUT is a special event for connoisseurs of contemporary art combining painting, photography, installation, video, underground cinema and performance of artists from both Russia and the United States.
The goal of the exhibition is to portray the intimate lives of others without filters, sometimes without clothes, exposing loneliness or sexual fantasies. At the exhibition, you can find that the bodies of other people are imperfect and this is quite normal. Everyone can try peeping or become an object of peeping. Perhaps you can better understand yourself, your loved ones, become sincere and frank, review your shortcomings and see that you are not alone in your complexes or fantasies.
A couple of months ago the original group of flesh colored Coin Cunts was acquired by a collector in Germany. I’m so honored to have this piece exhibited alongside an incredible lineup of female artists in Potsdam, Germany. NUDE: Female Bodies by Female Artists is an exhibition of works from the private collection of Mathais Döpfner at the Villa Schöningen from May 4th through October 1, 2019.
From May 4, 2019, a group exhibition will be shown at the Villa Schöningen in Potsdam: Nude - Female Bodies By Female Artists. More than forty works by 31 international artists show different nudes, from the Renaissance to the present, including works by Paula Modersohn-Becker, Cindy Sherman, Marina Abramovic, and Rosemarie Trockel. For this extensive show, two floors of the Italian tower villa are being used for the first time.
In der Villa Schöningen in Potsdam wird ab dem 4. Mai 2019 eine Gruppenausstellung gezeigt: Nude – Female Bodies By Female Artists. Über vierzig Arbeiten von 31 internationalen Künstlerinnen zeigen unterschiedliche Aktdarstellungen, von der Renaissance bis zur Gegenwart, darunter Werke von Paula Modersohn-Becker, Cindy Sherman, Marina Abramovic und Rosemarie Trockel. Für diese umfangreiche Schau werden zu ersten Mal beiden Etagen der italienischen Turmvilla bespielt.
Exhibition view of “Nude" at Villa Schöningen in Potsdam, with works by Carolee Schneemann (back left), Suzanna Scott (center) and Diana de Rosa. Image courtesy Villa Schöningen, Photographer: Noshe, 2019.
Feminine bodies from the perspective of artists from five centuries show the Villa Schöningen in their current exhibition. In addition to landscapes, portraits, and religious themes, female nudes are among the most frequently portrayed motifs in art history. From the Venus of Willendorf 25,000 years ago to performances and video installations of the present, the naked body has fascinated artists over the centuries. Again and again, dealing with nudity and eros was also an exploration of taboos and a fascinating indicator of the sense of time. Like a sensor of the constitution of freedom of a society or epoch, acts have shaped art history: restrained, shy, idealizing, sexualizing, politicizing, violent, tender, ugly or disturbing. Whether the "Maja" by Goya, the "Olympia" by Manet or "L'Origine du Monde" by Courbet and "Les Demoiselles d Avignon" by Picasso were always acts that provoked art scandals and explored uncharted territory.
Weibliche Körper aus dem Blickwinkel von Künstlerinnen aus fünf Jahrhunderten zeigt die Villa Schöningen in ihrer aktuellen Ausstellung. Der weibliche Akt gehört neben Landschaften, Portraits und religiösen Themen zu den meist dargestellten Motiven der Kunstgeschichte. Von der Venus von Willendorf vor 25 000 Jahren bis zu Performances und Video-Installationen der Gegenwart hat der nackte Körper Künstler und Künstlerinnen über die Jahrhunderte hinweg fasziniert. Immer wieder war der Umgang mit Nacktheit und Eros auch eine Erkundung von Tabus und ein faszinierender Indikator des Zeitgefühls. Wie ein Sensor der Freiheits-Verfassung einer Gesellschaft oder Epoche haben Akte die Kunstgeschichte geprägt: Zurückhaltend, verschämt, idealisierend, sexualisierend, politisierend, gewaltsam, zärtlich, hässlich oder verstörend. Ob die “Maja” von Goya, die “Olympia” von Manet oder “L´Origine du Monde” von Courbet und “Les Demoiselles d Avignon” von Picasso immer wieder waren es Akte, die Kunst-Skandale provozierten und stilistisches Neuland erkundeten.
Exhibition view "Nude" in the Villa Schöningen, Potsdam, with the AR station of the painter Marion Fink. Image courtesy of Villa Schöningen, Photo: Noshe, 2019.
From May 4 to October 1, 2019, under the title Nude - Female Bodies By Female Artists, the female body will be shown exclusively in representations by female artists at the Potsdamer Villa Schöningen. Almost all forms of sculpture, drawing, painting, photography, and video are represented. In the foreground is the question of whether there is something like a specifically feminine view of the naked body. Or whether such stereotyping in the feminist context shape patterns that can not withstand a non-judgmental view beyond the gender stereotypes.
Unter dem Titel Nude - Female Bodies By Female Artists wird von 4. Mai bis zum 1. Oktober 2019 in der Potsdamer Villa Schöningen der weibliche Körper ausschließlich in Darstellungen von Künstlerinnen gezeigt. Dabei sind fast alle Formen von Skulptur, Zeichnung, Gemälde, Fotografie und Video vertreten. Im Vordergrund steht die Frage, ob es so etwas wie einen spezifisch weiblichen Blick auf den nackten Körper gibt. Oder ob solche Stereotypisierungen im feministischen Kontext Sehmuster prägen, die einer vorurteilsfreien Betrachtung jenseits der Geschlechter-Klischees nicht standhalten.
Exhibition view "Nude", Villa Schöningen with works by Anne Imhof (left) and Ambera Wellmann. Image courtesy of Villa Schöningen, Photographer: Noshe, 2019.
The exhibition includes work by Marina Abramovic, Vanessa Beecroft, Huma Bhabha Juno Calypso, Diana de Rosa, Marion Fink, Maria Gimenez, Natalia Gontcharova, Barbara Hammer, Dorothy Iannone, Anne Imhof, Marie-Jo Lafontaine, Madeleine-Jeanne Lemaire, Dorothea Maetzel-Johannsen, Jeanne Mammen, Ana Mendieta, Paula Modersohn-Becker, Signe Pierce, Anita Rée, Ashley Hans Scheirl, Carolee Schneemann, Lara Schnitger, Suzanna Scott, Deborah Sengl, Cindy Sherman, Elisabetta Sirani, Elaine Sturtevant, Anna-Stina Treumund, Mickalene Thomas, Rosemarie Trockel, Anna Uddenberg, Ambera Wellmann, Hannah Wilke, Sue Williams, Martha Wilson and Allison Zuckerman.
Obligations by Suzanna Scott, 2019. Images courtesy of Mel DeWees, Gray Contemporary.
Maryland Institute College of Art’s (MICA) Exhibition Development Seminar (EDS) presents historically hysterical, a show featuring artists who reject the coercive hierarchy of gender roles in order to smash the patriarchy. Created by a class of twelve women curators, the exhibition uses installation, performance, photography, and mixed media fiber works—all created by contemporary women artists—to transform three floors of Baltimore’s historic Peale Center. The show opens with a public reception on Thursday, April 11 from 6:00 pm to 9:00 pm, including a performance by Baltimore feminist hardcore punk band War on Women.
historically hysterical features women artists from diverse backgrounds who reference some of the materials and methods of seminal feminist art from the 1970s but draw their content from the present moment. This link between past and present mirrors current political realities: As a record-breaking 102 women joined the U.S. House of Representatives in the wake of #MeToo and the Brett Kavanaugh hearings, some journalists dubbed 2018 the “Year of the Woman”—a title previously used to describe 1992, the year Anita Hill testified against Clarence Thomas during his Supreme Court confirmation battle. The struggle for the acknowledgment of women’s experiences, contributions, and imaginative labor in a male-dominated system seems to echo across decades, forever unresolved.
The answer, the EDS curators suggest, is anarcha-feminism, an ideology that rejects traditional power relationships and demands equity, horizontality, and free association. The spirit of anarcha-feminism might seem antithetical to the past life of the Peale, which, as the first purpose-built museum in the U.S., once reflected nineteenth-century hierarchical approaches to knowledge and culture. But by inviting women artists to occupy the Peale and excavate, transform, and repurpose its spaces, EDS asks viewers to feel the power of the future, be inspired, and be liberated.
historically hysterical includes:
New York artist Katie Bell creates installations of deconstructed and found objects, often working directly on walls and surfaces with materials scavenged on-site.
In her mixed-media fiber works, Brooklyn, New York artist Tamar Stone embellishes corsets, dolls’ beds, and other vintage items associated with women using elaborately embroidered text and images.
California-born, Baltimore-based artist Nakeya Brown uses found images and objects in staged narrative photographs that explore the complexities of race, beauty politics, and gender.
Baltimore-born MICA photography and design graduate Amy Helminiak uses multimedia to meditate on the ambiguity of language and the transformation of culture in the digital age.
Louisiana-based sculptor Suzanna Scott creates fiber-based sculptures and installation works rooted in feminist themes and visual metaphors for the body.
Originally from Spain, Chicago-based artist Verónica Casado Hernandez uses performance and installation to lacerate history, identity, and politics.
East Baltimore born and based photographer, educator, and freedom fighter Shan Wallace uses themes of history, politics, and oppression to challenge existing narratives of black communities.
War on Women is a Baltimore-based co-ed feminist hardcore punk band led by singer and activist Shawna Potter, who uses her lyrics to address issues like street harassment, reproductive rights, and rape culture.
In addition to works and performances by these artists, the exhibition also features interactive elements, including a communal “hysteria room” in which visitors are encouraged to let loose, embrace the spirit of anarcha-feminism, and respond creatively—or viscerally. The Peale’s permanent historical exhibition on the ground floor will be supplemented with an exhibit resource area, including a library of anarcha-feminist texts selected by Baltimore’s anarchist bookstore, Red Emma’s.
April 11 - 28, 2019
The Peale Center
225 Holliday St, Baltimore, MD
Reception: April 11, 6-9 pm
About the Exhibition Development Seminar
Exhibition Development Seminar (EDS) is a year-long MICA course in which students experience the curatorial process by working collaboratively with the assistance of professional mentors to research, plan, and produce a major exhibition. MICA’s undergraduate Concentration in Curatorial Studies is currently administered by faculty member Jeffry Cudlin.
The Peale Center
The Peale Center for Baltimore History and Architecture, a 501(c)3 non-profit organization, is restoring the oldest museum building in the United States in partnership with the City of Baltimore. Through its programs, the Peale Center aims to illuminate authentic stories of Baltimore’s people and places, while reinventing the urban museum in the creative and innovative spirit of its founder, artist Rembrandt Peale.
About Red Emma’s
Named after the influential early 20th-century anarchist and advocate for women’s rights, Emma Goldman, Red Emma’s was founded in 2004 as a coffeehouse, restaurant, and bookstore. Started on a horizontal structure, all workers can become co-owners, thus having a vote. Their board takes every decision under consideration, with extensive research to responsibly source sustainable, animal-friendly products.
MICA (Maryland Institute College of Art) is home to top-ranked fine arts, design, electronic media, art education, liberal arts, and professional studies degree and non-credit programs. The College’s alumni and programming reach around the globe, even as MICA remains a cultural cornerstone in the Baltimore/Washington region, hosting hundreds of exhibitions and events annually by students, faculty, and other established artists.
historically hysterical is made possible in part by support from Friends of EDS.
Sow Sow by Michael Radyk
Textile Center, in collaboration with the National Council on Education for the Ceramic Arts, brings together a complement of textile and ceramic artists in Structured, an exhibition focusing on textile processes as a starting point for conceptual departure. Structured is a gathering of forces who employ hand-making practices, challenging both maker and viewer in terms of how work is discussed, defined, considered, and categorized in contemporary art.
Artemis, Trishula, and Swan Song by Suzanna Scott, 2018.
The exhibition will feature 7 ceramic artists, along with 10 textile artists who work sculpturally, using textile constructions processes and sensibilities. The exhibition, which runs March 18 – May 11, 2019, will bring together a stellar collection of innovative work that reflects the processes of textile and fiber-based studio art practice. Content and inspiration are broad but specific to each artist. The invited artists grapple with everything from the historic to the contemporary, covering a range of content from politics, culture, gender, and identity to commentary on craft practice and the decorative.
Equivocator by Gina Telcocci
I'm honored to be included among these artists in a group exhibition opening Saturday night at Gray Contemporary in Houston, Texas. Jamey Hart: Pistachio will be featured as a solo exhibition in the main gallery. I've long admired Jamey's work via Instagram after coming across his feed a couple of years ago. Just as intriguing as his work are his words as streams of consciousness on life, work, and all else in-between. Jamey's paintings can be understood as careful and slow meditations on form, completeness, and the link between looking and feeling. In the second gallery works by Steve Riedell, Suzanna Scott, Molly Thomson and Derrick Velasquez will be on exhibit.
3508 Lake St. Houston, TX
February 23 - March 23, 2019
Opening reception: Saturday, Feb 23, 6-8 pm
Familiar Friends is an examination of the power of relationships in creative work; the otherwordly and whimsical nature of the pieces in this exhibit express notions of friendly mythical creatures like an imaginary friend or perhaps a helpful demon. The artists in this exhibit use color and abstraction to present familiar forms in new ways. As this curatorial teams second project to date, Familiar Friends seeks to explore new themes in our similar interests.
All exhibition images courtesy of Stephanie Sherwood, 2018.
I’m excited to participate in 50 Nuances de Rose / 50 Shades of Pink, an exhibition bringing artists together around the color pink in the heart of Paris. This diverse collection of work aims to highlight the semiological richness of the color pink, thus bypassing its apparent superficiality.
A nod to the popular work of Erika L. James, with which the color pink shares her evocation to sexuality and femininity, the exhibition addresses the color in all its colors in a variety of expressions: plastic, technical, political, historical, sociological, anthropological, psychological, psychoanalytical, physical, chemical, biological, esoteric, semantic, symbolic, poetic, illustrative or anecdotal explorations. Aesthetic choices or claimed militancy, the pink that runs through the exhibition comes in an infinity of hues, ranging from white to red, shading yellow or beige, and sometimes graying to black or purple. Epidermal, carnal or organic, it can be gentle and soothing as much as it suggests energy, strength, even violence. Deeply superficial, it also knows how to take itself seriously in powerful and political works that embody a form of resistance in the power relations that bind us. Resolutely feminist and unquestionably queer, the stigmatic color pink here becomes the flag of margins, that of minorities of gender, sexuality, class, and knows how to go beyond the cliché while (playing) stereotypes. —Kevin Bideaux, curator
The 'Fiber Fetishes' explore the intricate web in/of our reproductive bodies and throughout the natural world. A tangle of coital life, I observe the animate and inanimate—ovaries, stamens, fertility fetishes, sex toys and contraceptive devices. I endeavor to meld the endless labyrinth of time and sensual memory through repetitive wrapping and stitching.
Suzanna Scott / Fiber Fetishes
Morrison Gallery / Humanities Fine Arts Building
UNM Campus, Morris, Minnesota
September 6 - October 6, 2018
Opening reception: Sept 6th 4:30-6 pm
CHAOS promises to be a vibrant, expansive exhibition of intimately scaled artworks from a wide variety of artists. While most of the exhibiting artists hail from the North Texas region, the show will also feature a few prominent artists from around the U.S. and Europe. As in previous years, the artists represented by the gallery are joined by invited guest artists, creating a dynamic unique to Ro2 Art's CHAOSexhibition.
Ro2 Art / 1501 S. Ervay Street, Dallas TX
August 4 to September 8, 2018
Reception, Sat August 4, from 7-10 pm
Coin Cunts, vintage coin purses and thread by Suzanna Scott
Still Standing (detail), oil on canvas by Lauren Rinaldi
Playgirls, embroidery thread on fabric by Danielle Clough
Cascade, thread on canvas by Andrea Farina
a solo exhibition by Lauren Rinaldi
Still Talking About It:
a group exhibition by Danielle Clough, Suzanna Scott, and Andrea Farina
July 27 – September 15, 2018
Friday, July 27, 2018 5:30 – 10pm
Friday, August 24th • 5:30pm - 10:00pm
Tuesdays, Thursdays, and Saturdays • 12:00pm – 6:00pm
And 7 days a week by appointment: email@example.com / (267)266-0073
Paradigm Gallery + Studio / 746 S. 4th Street, 1st Floor / Philadelphia, PA 19147
I’m pleased to have my wall installation, Thumbs Down, included in the 55th Annual Juried Competition at the Masur Museum of Art in Monroe, Louisiana. The museum’s annual event showcases contemporary artists throughout the United States of America working in a variety of mediums. This year’s curator is Joel Parsons, an artist and teacher based in Memphis, where he is the Director of Clough-Hanson Gallery at Rhodes College and Assistant Professor in the department of Art and Art History. His curatorial practice is often collaborative and driven by a desire to bring institutional resources to bear on conversations of equity and marginality.
Participating Artists include John S. E. Alleyne (LA), David Andree (AR), Elizabeth Arden (PA), Ariel Baldwin (IL), LeeLee Brazeal (TX), Amelia Briggs (TN), Kristen Brown (CA), Jesse Butcher (TN), Susan Chambers (AR), Dean Dablow (LA), Douglas Degges (IL), Michael DeLuca (PA), William Dooley (AL), Leah Drake (SC), Ann Marie Fitzsimmons (NJ), Mark Gordon (NC), Robert Gordon (AR), Gao Hang (TX), William Hays (VT), Joseph Holsapple (LA), Gerard Huber (TX), Jennifer Hunt (SC), Manami Ishimura (TX), Perry Johnson (TN), Kevin Jones (LA), Hannah Kozlowski (WV), Neema Lal (NY), Francine LeClercq (NY), George Lorio (MD), Stacy Medaries (LA), PJ Mills (FL), Charles Mintz (OH), Lacy Mitcham (TN), Daniel Moore (LA), Joshua Newth (MO), Stefan Nodarse (IN), Alan Pocaro (IL), Pam Schmidt (CO), Robert Schwieger (IL), Suzanna Scott (LA), Courtney Sennish (CA), Parker Seward (AL), Ricky Sikes (LA), Juvana Soliven (HI), Corrie Steckelberg (MN), Melissa Wilkinson (AR), Liz Zanca (LA).
The 55th Annual Juried Competition
Masur Museum of Art
1400 South Grand Street, Monroe, LA
July 12th — October 13th, 2018
Reception: Friday, Aug 24th, 5:30 - 7:30 pm
It’s an honor to have an installation of my Fiber Fetishes on display at the Yeiser Art Center in Paducah, Kentucky as part Fantastic Fibers 2018. Opening this Friday, the show is an international juried exhibition that seeks to showcase a wide range of outstanding works related to the fiber medium. One of Yeiser Art Center’s most engaging, innovative & colorful international exhibits, Fantastic Fibers is an inspirational “must see” for fine artists, quilters and textile art enthusiasts across the globe.
This year’s juror, Arturo Alonzo Sandoval, is a fiber artist whose experimental techniques and expressive interpretations have earned him an international reputation. Arturo is one of Kentucky’s most original, influential and significant artists. Because he creates an extensive collection of work his artwork is everywhere. His work is in the collections of the New York City Museum of Modern Art’s Architecture and Design Collection, as well as galleries and private collections throughout the United States and the world.
The show began in 1987 as a wearable art show but has evolved over the years to include a compelling mix of traditional and non-traditional works created from natural or synthetic fibers, and work that addresses the subject or medium of fiber. The Fantastic Fibers exhibit is an American Quilter’s Society sanctioned event and selected works will be seen by thousands of viewers. Paducah becomes a Mecca for quilters and quilt enthusiasts each April as more than 30,000 visitors from across the globe attend AQS QuiltWeek. This year’s AQS QuiltWeek dates are April 18 – 21, 2018.
Yeiser Art Center
200 Broadway St, Paducah, KY
April 14 - June 9, 2018
Opening Reception: Apr 14th, 5-7 pm
While all ages are welcome, please know this exhibition might make you laugh, make you uncomfortable or even straight up make you angry. Not all work may be appropriate for young or sensitive viewers.
‘Thumbs Down’ is a not-so-subtle statement on our pussy-grabbing commander-in-chief who loves himself some good ratings and flashes a thumbs up wherever he goes. I cut the thumbs off of a variety of women’s leather gloves. By using gloves of various hues the thumbs represent the range of people who disapprove of the resentful, sexist, bigoted and hateful rhetoric by the president’s campaign and administration. Each ‘thumb’ has been placed on the wall with a T-pin, like a prized specimen of impotency. Stepping back we gaze on a diamond-shaped array of flaccid phalli. This visual display of bad ratings becomes a portal of united hope or at least it makes us chuckle and feel a little bit better for the moment.
The Bitters 2: “We’re Fucked”
Whitdel Arts / 1111 Bellevue St., Suite 110, Detroit, MI
Exhibition dates: February 23rd - April 14th, 2018
Reception: February 23rd, 7-10pm
Festooned, 2016 by Suzanna Scott
Solace by Amber Cobb / silicone and blanket
Catherine G. Murphy Gallery
2004 Randolph Avenue St. Paul, MN
February 3 – March 16, 2018
Opening Reception: Saturday, February 3, 6 – 8 p.m.
Paradigm Gallery and HAHA MAG (High on Art, Heavy on Antics), collaborate to bring you Deemed a Canvas, a group exhibition on view January 26 – February 17, 2018.
Deemed A Canvas channels storytelling through a range of artistic mediums. This curation of creators takes a light-hearted look at what happens when artists break away from the starkness of white ground to explore surface with unexpected materials and unconventional methods.
Traditional mediums tossed aside; their work becomes a creatively visual opportunity to converse, to find new and inventive ways of handling space, structure, and content-transforming the material so that it becomes something else than the novelty of the article itself.
Artists Kaplan Bunce, Danielle Clough, Ellen Greene, My Dog Sighs, Bunnie Reiss, Brooks Salzwedel, Suzanna Scott, Ruby Silvious, and Jasjyot Singh Hans use their skills and love of art to develop unique narratives.
The show's collision of perspectives offers the viewer an immersive experience into creative redevelopment that pays reverence to the foundation of concept and innovation.
Deemed A Canvas
January 26 – February 17, 2018
Paradigm Gallery / 746 S 4th Street, 1st Floor, Philadelphia, PA
Opening Reception: Friday, January 26th • 5:30pm - 10:00pm
Gallery Hours: Tuesdays, Thursdays, and Saturdays • 12:00pm – 6:00pm
Sharing this impactful 28 Too Many ad campaign aimed to raise awareness of the real price of FGM (female genital mutilation). Paul Gregson and Jono Flannery, a creative duo, designed this powerful ad campaign using my Coin Cunt images.
FGM is a harmful traditional practice involving the cutting or removal of the external female genitalia. It has existed for more than 2,000 years and is performed on girls from birth, up to just before marriage, and sometimes beyond.
It is estimated that more than 200 million girls and women alive today have undergone female genital mutilation in the countries where the practice is concentrated. Furthermore, there are an estimated 3 million girls at risk of undergoing female genital mutilation every year. The majority of girls are cut before they turn 15 years old. FGM has been documented in at least 30 countries, mainly in Africa, as well as in the Middle East and Asia. It is also prevalent in diaspora communities around the world, even in the United States.
For traditional cutters, FGM is their livelihood. It is often seen as a lucrative job. But for girls and women it can lead to psychological problems, higher risk of infections & HIV, pain during sex, complications & even death in pregnancy or childbirth. While some are making money out of FGM, it's quite clear who pays the real price.
The British based organization 28 Too Many is dedicated to ending female genital mutilation everywhere. Their work focuses on the 28 African countries where it is practiced and in many other countries where it continues, often in spite of laws against it. Please visit 28 Too Many to find out how you can help end this horrific practice and save the futures of so many young girls.
Whitney Bell's I Didn't Ask For This: A Lifetime Of Dick Pics is back, this time in her hometown of Los Angeles, California. She is hosting the weekend event with the goal of exposing the normalization of misogyny and confronting the issue of sexual harassment in the digital age. In addition to a Friday night Penis Party, featuring a plethora of unsolicited dick pics staged in the comfort of her own home, Whitney has invited a kickass line-up of feminists to join discussion panels on Saturday. The topics include 'Feminism 101 For Men', 'Harassment In The Digital Era' and 'The Intersection of Feminism & Pornography'. Shirley Manson, the front woman of Garbage, is one of the panelists.
Dunedin Fine Art Center
1143 Michigan Blvd., Dunedin FL
September 22 - December 24, 2017
Opening Reception: Friday, Sept 22nd 6-9pm
"Eroticism is dependent not just upon an individual's
sexual morality, but also the culture and time
in which an individual resides.”
- Honore’ de Balzac
This exhibition brings together twenty-two artists, both local and International, with over sixty works of art ranging from painting and drawing to photography and sculpture. The show explores the ideas of sexuality, sensualism, romance, humor, innuendo and eroticism.
L'Origine Du Monde
Scarlet Seven Fine Art Gallery
137 4th Street, Troy, NY
August 25th - September 24, 2017
Reception: Friday, August 25th from 6-9pm
Along with the installation featuring the collection of unsolicited dick pics 'I Didn't Ask For This' will feature the work of a diverse mix of artists who span the spectrums of gender, race, and sexuality to give an intersectional perspective to sexual harassment in the digital age.
Fabric and thread are inextricably bound to our everyday lives. Flora, Fauna, and Entrails brings together artists using fibers in their practice to explore the beauty and fragility of the nature around them. Flora, Fauna, and Entrails is Antenna’s fourth exhibition exploring the work of artists that expand on the potential of fiber in contemporary art practices while still being steeped in craft traditions.
Thought I'd share a few images of my Bound Scissors out in the wild. Playing with scissors is a safe activity as long as they're bound and stitched up tight! I'm pleased that this interactive piece has now been exhibited in three venues, a year ago in Touch: Interactive Craft, this past January in Material As Medium, and this weekend as part of Play, an all media exhibition at the SAA Collective in Springfield, Illinois.
The exhibition Play was juried by by Bob Sill, a curator of art at Illinois State Museum. Play is the spontaneous, unstructured time found to foster creativity and problem-solving skills. As we grow up we tend to trivialize play and relegate it to childhood, but it’s an important element of life at any age. The exhibit features work not only about play in the traditional sense, but also the idea of being in the moment, of inspiring wonder, of invoking your natural curiosity. The viewers are encouraged to interact and play with many of the pieces on exhibit.
PLAY: All Media Exhibition
SAA Collective / H.D. Smith Gallery / Springfield, IL
March 10 - 31, 2017
Opening reception March 11 / 5:30 - 7:30 pm
Duality of Feminine and Feminist
Gallery 66 NY / Cold Spring, NY
March 3rd – April 2nd
Opening reception, March 3rd 6-9 pm
As we gathered on the sidewalk of the courthouse to march we met friendly folks of all generations. Many approached Lizzie to tell her they came today to march for her and for her generation. They told her they were proud of her for marching for what she believes in. They told her she was beautiful. I thank these kind strangers for empowering her.
Last month I finished stitching over 100 'Coin Cunts' and shipped them off to Albuquerque, New Mexico. They will be included, along with work by four other artists, in an exciting counter-culture fashion exhibition opening Friday at Central Features Contemporary Art. This will be the largest installation of the 'Coin Cunts' thus far.
Missouri-based artist Suzanna Scott challenges visual and societal perceptions with Coin Cunts, a collection of coin purses. By turning each purse inside out to reveal and reform the different interior linings, Scott teases the imagination and sparks conversation about the ties amongst sexuality, gender, money, and fashion.
Embrace rational dress! @rational_dress_society JUMPSUIT-making workshop held as part of the exhibition.
All exhibition images courtesy of Nancy Zastudil, 2016.
Innovation commingles with tradition in a quilt deliberately severed into quadrants or sweetly stitched flowers paired with a expertly embroidered dead cockroach. Several artists reinvent conventional notions of fiber art by including unexpected materials. Typewriter ribbon and VHS cassette tape replace wool and linen in woven constructions. Fiber is no longer precious with roofing nails driven into silk and sticks set afire dangerously near hand-painted ropes. Technological advances provide artists with the ability to print on fabrics and digitize embroidery, opening up new options in the world of fiber.
Beyond the tangible, emotion and character can be observed in the stab of the needle, throw of the weaving shuttle, submersion of fabric into dye, and sometimes, sorrow and devastation literally spill forth onto the floor. Steadfast resolve surfaces in a hyper-realistic embroidered black eye while vulnerability lingers in a threadbare cloth. Clothing carries deep-rooted symbolism—a hooded sweatshirt, a bridal veil, a Hijab—and immediately conjure a range of emotions and viewpoints.
Fiber speaks to us in so many ways. It can be intricately detailed or all encompassing, traditionally constructed or surprisingly innovative, intimately displayed or globally outspoken. The options in fiber are endless.
Susanna Fields-Kuehl, juror
Big Flower by Lisa Marie Barber
The 'Coin Cunt' project began innocently last summer when I was playing around with an old coin purse. I flipped it inside out, and saw a vaginal form emerge from my playful pinching and tucking. Using a needle and thread I stitched it into place. As I thought about it, I found so much association between the little pocket-like forms and the inferred suggestions that these new objects brought to mind.
I began sharing the 'Coin Cunts' on social media and am amazed at the feedback it has provided. With a simple alteration these ubiquitous objects became evocative and their appeal provocative when I dubbed them 'Coin Cunts'. Aside from the chuckles, I've found that others can see in this project our assumed cultural associations of money and women, prostitution, female genital mutilation, suppression of women, gender equality, body image ideals, equal pay and the list continues to grow.
Josh Stone, SV#3B, 2015, HD Video
The exhibit has been organized by the Massachusetts College of Art and Design’s Graduate Seminar in Curatorial Practice class taught by Dina Deitsch.
Feminism is nothing new-it has been around for more than a century-so why is it still so important to this day? As society progresses and the older waves of feminism accomplish much of what they set out to do, problems that were always there but never dealt with have begun to rise to the surface. "The Female Complex" will present the multiplicity of the emerging wave of feminism through contemporary art. Each of the 12 artists presented uses personal experiences to inform their work, which allows the work to be honest. The wide variety of mediums and subject matter in this exhibition will form a dialogue that reflects the diversity of issues placed under the umbrella of this developing feminist movement.
My rope sculpture, Raw Guts, will be included in the 23rd annual Women in the Arts show highlighting the work of sixteen talented women artists. In conjunction with Women’s History Month at the University of Missouri, the Craft Studio presents this exhibit as a tribute to women, past, present, and future whose artistic creations are often overlooked and forgotten.
Hannah Reeves, Juror
There are 1,865 tally marks embroidered on this light blue cotton square. I'm mailing it off today to join with others in speaking out for the reproductive rights of women. It will be one of many squares in a collaborative quilt being created to raise awareness for Whole Woman's Health v. Hellerstedt and the 5.4 million women of reproductive age in TX. Read more about the ambitious project that artist Chi Nguyen has envisioned to make a physical tally of women whose right to safe and legal abortion is currently at risk. With each stitched line representing an individual woman, the 5.4 Million and Counting project is only finished when all 5.4 million lines are embroidered. Many more quilt squares are needed! Details of how to participate here.
Touch: Interactive Craft
January 16 – March 11, 2016
Opening reception: Friday January 22, 5:00 – 8:00pm, Juror Talk at 7:00pm
My book collage, Pearl, was selected to be part of Small Works 2015 at Main Street Arts in Clifton Springs, New York. The exhibit will feature 260 works of art in a variety of media by 148 artists from across the country. If you live in Upstate New York it's a beautiful gallery to visit and this show is certain to be chock-ful of unique, affordable art.
Small Works 2015
November 7–December 29, 2015
Opening Reception: Saturday Nov. 7, 4-7 pm
Gallery Hours: Tues–Thurs, 11 am –6 pm & Fri/Sat, 11 am –7 pm
A collection of objects on my studio wall.