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The Future is Female Opening Reception & 5 Year Anniversary Bash, November 18th

VENUE: 21c Museum Hotel CincinnatiinOhio, USA
Event Date Nov 18th
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Join 21c Cincinnati for a reception, artist lecture, music and more.

DATE: 11-18-17
TIME: 5-10pm
FEE: Free

In celebration of 5 years in Cincinnati, we give you art and delight. You’re invited to an opening reception and celebration for our upcoming exhibition, The Future is Female, on 11-18-17. It’s our way of saying thanks to the Queen City community for five years of support and love.

Join us at 5pm for a reception, artist lecture, music and more. The artist talk by visiting artist Zoë Buckman, with an introduction by Chief Curator Alice Gray Stites, will begin at 6pm. After the lecture, dance the night away with Planet Venus spinning in the main ballroom. Metropole will be joining the party with light bites and a specialty cocktail. Free and open to the public. Cash bar available for 21+.


Gleaming acrylic fingernails glued into reptilian forms that emerge from the wall; barnacles and ceramic teeth encrusted in life-size human figures in decay; female anatomy rendered in neon light and boxing gloves; cement seeping through lace and paint; haunting words about the present overlaid on imagery of the past: surface tension abounds in this exploration of contemporary feminist art.

The affirmation of the self as subject and the prevalence of craft-based practices such as sewing, weaving, embroidery, and applique in 21st-century art is a legacy of the feminist art of the 1970s. Artists like Judy Chicago, Mira Schor, Martha Rosler, Adrian Piper, Howardina Pindell, Faith Wilding, and others merged art and activism, elevating everyday materials, methods, and experiences to challenge conventional notions about how and why and where art is created and consumed. Today, artists like Stephanie Hirsch, Lesley Dill, and Margarita Cabrera employ decorative or domestic art to reveal intersections between the personal and the political. Cabrera’s Vocho—a life-size Volkswagen, sewn in vinyl with seams and threads exposed—examines the relationship between the US and Mexico through the lens of labor, industry, and immigration.

Female identity and experience is often the subject of Frances Goodman’s vibrant multi-media investigations, as she uses everyday materials to explore and expose female representation and consumerism. Zanele Muholi confronts both personal experience and socio-political stereotyping in her larger-than-life self-portraits, while Gaela Erwin’s pastel likeness of her mother could be a dual portrait, a potential encounter with age and mortality. Michele Pred’s mirrors combine the symbol for the female gender with captions that render the viewer “Feminist,” “Equal,” or “Powerful,” offering a passive yet potent transformation of the audience subject's self-image.

The inventive use of language, whether printed, projected, or recorded animates works by Carrie Mae Weems, Jenny Holzer, and Nina Katchadourian, introducing unexpected voices into both art and history that resonate as private and public at once. Weems and Holzer use text to interrogate power through self-expression, creating new narratives for cultural and political resistance, while Katchadourian voices the frustrations of everyday life while inserting her artistic identity into the male-dominated history of portraiture.

Expanding beyond the individual experience to a shared one, Vibha Galhotra and Alison Saar evoke Classical mythology mixed with grim reality to create culturally critical work addressing shared global concerns, connecting past and present adversities resulting from the intersection of environmental destruction and social inequality. The dual power of water to destroy and preserve is evident in Monica Cook’s dazzling Phosphene, a life-sized sculpture of a couple crashing through layers of glass. Reflecting the influence of feminist art, Cook’s work utilizes materials high and low to realize a vision of what the body knows: that beauty and decay, creation and destruction, are inextricably linked.

Long subject to patriarchal control, the female body knows pain and power. Zoe Buckman invokes this visceral knowledge in Champ, a sculpture of female reproductive organs made with neon light and white boxing gloves. Embellished with materials from bridal gowns and veils, boxing gloves are the central element in Buckman’s series, Let Her Rave, which responds to 19th-century poet John Keats’s expression of male dominance in “Ode to Melancholy.” Buckman’s combination of traditionally feminine materials with boxing gloves is both an assertion of feminist power and an invitation to join the fight.

Investigating identity, consumer culture, ecology, history, mythology, and power, the art featured in The Future is Female illuminates both the consequences and the persistence of the struggle for equality: much progress is needed before Saya Woolfalk’s fantasy of a harmonious universe created by her female Empathics reflects lived reality.

About the Host

21c Museum Hotel Cincinnati

An artistic wonderland right in the middle of the city.

A luxurious experience in downtown Cincinnati, this modish hotel is also a contemporary art museum, cultural civic center, and perfect location for any event.


  • Art Aficionado
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