Currently showing at the Painted Bride Art Center from now until April 26th is Winged Woman: Three Perspectives, the continuation of the currently installed InLiquid exhibition Winged Woman: The Art of Arlene Love and her Contemporary Parallels, marking its close today. With a strong note and a momentous body of work to show, this exhibition also marks our final partnered show with Painted Bride.

Winged Woman: The Art of Arlene Love and Her Contemporary Paralells, on view at The Painted Bride

Winged Woman: The Art of Arlene Love revolves around the artwork of Love, a pioneering feminist artist whose career spans several decades from the 1970’s until today. Having worked with a wide variety of media throughout the stages of her career (sculpture, drawing, photography, and public art), all mediums have revolved around themes of the human condition as well as the evolution of her own role as a woman in society. Curated by InLiquid’s curator Mat Tomeszko, Philadelphia artists Makeba Rainey, Lauren Rinaldi, Maria Möller, Phyllis Gorsen, and Shaina Craft—credited in the show as her contemporaries—deem Love and her work to have served as a catalyst for young artists and activists in the wave of today’s climate and current conversations. Winged Woman pairs her work with the work of a new generation of women artists, currently working within the same media and thematic range as Love,  examining the parallels of the political climate between the 1970’s and 2018.

A detail of Sutton Hays’ Bright interruptions (2015)

As the exhibition closes, Winged Woman: Three Perspectives continues the conversation. Serving as an extended examination of Love’s work and influence, multimedia drawing and painting of three artists Andrea Caldarise, Nancy Halbert, and Sutton Hays all display practices that are useful parallels to Love through expressive and powerfully raw mark making. Both the sides of Love and her contemporaries provide a social critique of hegemony ranging in themes from fashion to religious iconography, starting with an alluring pull and but left with the discomfort of a 1970’s advertisement. These images reflect a societal intention that is timeless but ages with context, remaining stagnant in its social view. Sequences in the landscape, human bodies, parallel dimensions, and decorative patterning are just a few themes displayed. The three perspectives of Caldarise, Halbert, and Hays cohesively journal their attention to what is experienced internally, buried into the subconscious, and viewed by everyone. 

Christina Massey

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