Women As/In Art – Details, episodes & analysis

Artist, model, and curator Maxine Hoover shares her recent projects, discusses the power of women self-representing on Instagram, and explores the dynamics of her various roles.

Maxine Hoover is an artist and curator, best known for her semi weekly curated shows at Landmark Art Space in Chelsea, many focused heavily on elevating female emerging and established artists. Maxine’s work as a curator has been recognized by AM New York, The Village Sun and Strauss News. She was recently honored by Schneps Media as a Power Woman of Manhattan. A lifelong artist, Maxine's paintings explore the concept of self and the relationship between the physical and spiritual world, primarily executed with acrylic, oil paint and mixed materials, inspired by out-of-body experiences, meditative visions and dreams.

Instagram:www.instagram.com/maxinehooverart

Mentioned Shows: Nouveau Surrealism: https://www.instagram.com/p/C4ZdVG8sxIw/.

Emerald Gruin and Leah Interview Alexandra Goldman, managing director of Barro New York.

Alexandra Goldman is a writer, curator, and art dealer living in New York. She is Founder of the art publishing platform Artifactoid, and Managing Director of Barro New York, a contemporary art gallery with locations in New York and Buenos Aires. Goldman writes for Artifactoid, Whitehot Magazine, Cultbytes, ArteFuse, Vice-Versa, and Revista Jennifer. She received her M.A. in Art History from Hunter College and received her bachelor’s degree from NYU in Media, Culture, and Communications.

Her Instagram is @Artifactoid.

This week, the brilliant Alexandra Schwartz considers pay equity in arts institutions, craft traditions' roles in art history, the re-evaluation of feminism post-Hillary Clinton, cultural determinism in fashion, the parallels between podcasting and curation, and if a selfie can ever be considered craft art. Alexandra Schwartz, Ph.D., is Curator of Modern & Contemporary Art, Craft, & Design at the Museum of Arts and Design, New York, and Adjunct Professor in the MA Program in Art Market Studies, SUNY Fashion Institute of Technology. Her exhibitions include Garmenting: Costume as Contemporary Art at MAD (2022); 52 Artists: A Feminist Milestone at the Aldrich Contemporary Art Museum (2022–23); Ed Ruscha: OKLA at the Oklahoma Contemporary (2021); As in Nature: Helen Frankenthaler Paintings at The Clark Art Institute (2017), and Come as You Are: Art of the 1990s (Montclair Art Museum and national tour, 2015-16), all with scholarly catalogues. She is the author of and Ed Ruscha’s Los Angeles (MIT Press, 2010) and the co-editor of Modern Women: Women Artists at The Museum of Modern Art (MoMA, 2010). Schwartz previously held curatorial positions at The Museum of Modern Art and the Montclair Art Museum, and teaching positions at Columbia University, Fordham University, the University of Michigan, and the Whitney Museum of American Art, among other institutions.

Ona meets OONA, as Leah gets to know the anonymous artist's ideas on the value of female artists, applying the tenets of cryptocurrency to fine art, wallet washing, manipulating social value, faceless performance art, CCTV's complicity in the male gaze, misgendering, and the innocence (or not) of lambs being led to slaughter in the era of social media.

About OONA. OONA doesn't really exist, but she takes herself very seriously, so you should too. OONA is an anonymous conceptual artist whose practice explores the intersections of technology, finance, gender, and identity. Through moving image and performance art, OONA exposes the collision between progressive technologies and socially regressive ideas, offering a critical perspective on the contemporary cultural landscape. OONA was born on November 1st, 2021 in the Holy See. She has exhibited her works internationally at prestigious venues, including Art Basel Miami 2022, the Metropolitan Museum of New York, Proof of People London, Proof of People New York, and Avalanche Summit Barcelona. OONA's performances and exhibitions have garnered critical acclaim and attention from collectors and curators. She has been featured in numerous publications and her work is held in private and public collections. OONA is important.

Margaret Murphy breaks down hyperfemininity as rebellion, the surprisingly in-person community around NFTs, existing as both surveyor and surveyed, the capitalism inherent in face filters, narcissism versus self-observation, dressing for other women, and the algorithm that gazes right into your soul.

Margaret Murphy is a visual artist based in Los Angeles, California. Her work focuses on topics like femininity, sexuality, and identity in a post-social media culture. Murphy’s art uses bright colors, lighting, props, and aesthetic accents to create visceral responses in the viewer. Be it a negative or positive reaction to her work, Murphy hopes her art prompts dialogues around gender, the male gaze, and contemporary beauty standards. Murphy's use of photography spans over 15 years; however, she also creates image and text collages and most recently, digital art made with AI. Murphy earned her MFA from the University of Hartford’s Limited Photography Residency in 2021 and her work has been included in curated group exhibitions in Berlin, Los Angeles, New York City, and the Washington, DC, area. Murphy currently works as Head of Community for the Berlin-based gallery and online art platform, EXPANDED.ART, and she is an active member of the NFT community in Los Angeles.

We talk with the fantastically talented, warm-hearted Jeanette Hayes about commonalities for women in history, looking at stuff, where Bratz intersects with Picasso, and the fact that sometimes hard drives just die.

Jeanette Hayes (b. 1988) is a painter/multimedia artist based in New York. Originally from Chicago, Hayes moved to NYC and received a BFA from Pratt Institute. Her work addresses the traditional preservation of non-traditional technological and pop imagery through painting, video, digital manipulation, and Internet collages. Hayes’ interests include cultural phenomena and the confrontation of conventionality and subject matter. Her fascination with the imagery we each navigate through everyday and their correlations to civilization and ownership. With international solo shows in Italy, France and Belgium, Hayes has also been included in an exhibition at the Spirit Museum in Stockholm and shown at various galleries in New York and Los Angeles including: Half Gallery, M+B Gallery, Allouche Gallery, The Hole, The National Arts Club and more. In 2019, Hayes was curated by the Culture Corps to create a public art installation at the Hudson Yards in New York, which was on view for one year. Jeanette Hayes has made animated GIFs and videos for Proenza Schouler, CHANEL, Alexander Wang, Cynthia Rowley, Vogue and Opening Ceremony. She has won artist sponsorships from BlackBerry and Blick Art and was chosen by Purple magazine to create their artist book in 2016, which she titled "five". Hayes has been featured in the New York Times, Vogue Japan, i-D, Complex Magazine, Interview Magazine, Dazed, Purple Magazine, Paper Magazine, Playboy and TimeOut New York chose Hayes as one of the “5 most important new artists in New York City.” Jeanette Hayes lives and works in New York City.

Serwah Attafuah, an Indigenous Australian artist, tells us about her journey of creating digital art in the 2010s and now selling her stunning 3D work via NFT. She offers insight into the importance of conquering fear, the relative speeds of digital and traditionally painted work, small networks of women artists, Zoom's empowering of international collaboration, anti-colonial death metal, authenticity, and being a native digital artist creating images of women's empowerment and beauty.

Bio:

Serwah Attafuah is a multidisciplinary artist and musician based on Dharug land/West Sydney, Australia. She creates surreal cyber dreamscapes and heavenly wastelands, populated by Afrofuturistic abstractions of self with strong ancestral and contemporary themes.

Serwah has collaborated with and been commissioned by clients, including Mercedes Benz, Nike, GQ, Adobe, Paris Hilton and Charli XCX. Recent notable achievements include her participation in Sotheby's 'Natively Digital': A Curated NFT auction and 'Apotheosis': a live motion capture experience with Soft Centre at The Sydney Opera House.

This week on WAIA, we sit down with Ariana Page Russell and muse over the power balance between model and artist, the line between beauty and disgust, embracing imperfect birth stories, making the private public, feminism in and out of the work, the ability to exist artfully, and... kelp!

Ariana Page Russell is a visual artist with dermatographia. She creates images that explore the skin as a document of human experience, using her own hypersensitive flesh to illustrate the ways we expose, express, adorn and articulate ourselves. You can find out more about Ariana and dermatographia at Skintome.com and ArianaPageRussell.com

Russell has exhibited internationally and currently resides in Los Angeles, California. Recent exhibitions include Shrine Empire Gallery in New Dehli, India; the Royal Hibernian Academy in Dublin; Magnan Metz in New York City; Platform Gallery in Seattle; Town Hall Gallery in Australia; the Luminato Festival in Toronto; and Museo de Arte Contemporáneo in Bolivia. Her work has appeared in Art in America, the Huffington Post, Wired, The Atlantic, VISION Magazine: China, and the monograph ‘Dressing’ published by Decode Books. She was featured on ABC News 20/20 and was a recent participant in the Sexto Encuentro Mundial de Arte Corporal in Caracas, Venezuela. She received her MFA from the University of Washington, Seattle in 2005.

Elena Zavelev discusses digital art in physical spaces, finding the right collectors, reproduction vs value, opportunities for women artists in Web3, art as a trace, AR art, the ethic of sharing in the metaverse, and details on CADAF's exciting partnership with LiveArt!

Elena Zavelev is a Co-Founder & CEO at CADAF & New Art Academy. She is a Web3 expert with a focus on digital art and education. Elena has successfully built and curated projects and products for artists, curators & collectors since 2017. Elena teaches Art and Technology courses at Christie's Education and Sotheby's Institute. Her articles are published in Forbes, Observer, esp cultural magazine, Deloitte Art & Finance Report, and more. Elena is on the International Selectors Committee for The Lumen Prize and Digital Innovation in Art Award. 

Penny Slinger sits down with us to discuss multimedia as cross-fertilization, the changing fashions of art and digital collage, the danger of the addiction to "Like"s and the power in choosing our own worth, hidden artists, tantric book burnings, the expression of the feminine, and Frida Kahlo's ruthless honesty.

Penny Slinger (b. 1947, London, UK) is a Los Angeles-based artist who has been exploring feminism, eroticism and mysticism in her art for over fifty years. At the end of the 1960s, she decided to become her own muse and has embodies that concept over her long artistic career. Her early work was inspired by Surrealism, she went on to study and incorporate Tantra into her life and work. She continues to work in many mediums including collage, photography, drawing, sculpture/assemblage, performance arts and video, focusing on the liberation of the feminine. She is currently represented by Blum and Poe, LA and Richard Saltoun, UK.