These shows follow a 2008 exhibition at Mitchell Algus Gallery, Judith Bernstein: Signature and
Phallic Drawings: 1966 - 2008, which was the artist's first New York gallery solo outing since the 1980s.
Look out for punchy, raunchy Feminism on PPOW stand with Betty Tompkins and Carolee Schneemann and new aggressively
phallic drawings by Judith Bernstein from LA's The Box.
Not exact matches
I enjoyed
drawing phallic objects and sticking them to the NPCs in Tearaway on Vita.
McCarthy's provocative early performances in the late 1960s and 70s used his own body as the raw material to explore masculinity, where,
drawing on performance art and action painting, he substituted the Viennese Actionists» sacrificial use of blood with ketchup and the Abstract Expressionists» paintbrush with
phallic false limbs.
Since the 1960s, Judith Bernstein has been making aggressively
phallic, clamorously energetic paintings and
drawings that send up both male chauvinism and the military - industrial complex.
Similarly
phallic shapes inform Twombly's earlier
drawings, such as Dawn (See Naples + Die), 1960.
This
phallic imagery is much more clearly apparent in a number of other works of this time, including a ravishing charcoal and graphite
drawing, Tantric Detail (1980), which is in the RA show.
Judith Bernstein was represented by her monumental - sized «screw»
drawings, of actual, very
phallic - looking screws.
In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist
drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically
phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.
The booth features Wally Hedrick's black paintings, a series in which the artist painted over existing paintings in black paint every time the U.S. invaded another country, culminating in The War Room, an installation he made in the late 1960s; preliminary
drawings from performance artist Simone Forti's «News Animations» series, her way of understanding and dealing with world news (one
drawing reads «Reason, fear, hatred, compassion, survival»
drawn on a figure); and Judith Bernstein's
phallic sculptures and 2D works, including a modified American flag topped with
phallic balloons contained in glass - covered frames.
In her newest multimedia works; ranging from charcoal and chalk
drawings of sinks historical fertility statues to large - scale
phallic sculptural works; MacGreevy reflects on her feelings of detachment from the parameters and signifiers of gender norms, (she identified as a boy for the first ten years of her life and now identifies as a woman).
A similar transformation occurs in Dee's graphite
drawings of exploded jacketed hollow point bullets: a
phallic projectile transforms into an orifice upon impact; force becomes a flower formation.
Along with vintage concert posters, it presents original
drawings, collages and surrealistic comic strips from 1967 to 1982, including several studies for one of Mr. Moscoso's most famous images: the
phallic, tap - dancing, hat - tipping Mr. Peanut, which graced the cover of Zap No. 4.