FEMINIST ART MUSEUM

ROOM 3

EM KOCH 


In a world dominated by the male gaze, Koch seeks to create worlds and universes of female freedom from objectification. This collection celebrates the female figure with bright and exciting energy, while maintaining the mystery that is woman.

GENEVA LARK HUTCHINSON


These works are meant as a protest for womxn against the conservative church, traumatic upbringings, misogyny, our president, rapists, etc. Hutchinson's subjects are all powerful survivors - posing boldly with strong body language.

CAROLE LOEFFLER 


These text-based works are a reaction to the toxic environment that has been enveloping the United States and the world. Loeffler interested in challenging the mainstream narrative by putting words of encouragement, unity and positivity. Domestic textiles are imbued with the spirit of imagined foremothers - emblazoned with positive affirmations – as if the spirit of the maker comes to life and offers solace and support. Loeffler is the caretaker of these thrifted and found objects and the messenger from which their stories flow. Our stories matter – they are what unite us. 

JANICE KOCHIK 


Through Kochik's occupation as an NP, she is inspired daily to paint what she feels: Advocacy and recognition for those who are not seen; acknowledgement for those who feel speechless; empowerment to those who don't conform to societal "norms" or expectations.

GUODA KVIETINSKAITE 


A man's expression itself is talking about the protest and protection in this stained glass panel. We are often protesting or protecting by using verbal actions, which is even screaming in this case. The shouting man symbolizes the protest while architectual frames stand for protection.

KATE GIBSON 


Gibson's recent work includes series of protective coverings assembled using techniques and methods traditionally associated with the feminine and domestic. A cloak and small quilt are made from teen magazines in the 1990’s - texts that subconsciously shaped Gibson's burgeoning conceptions of the world and her identity within it. Gibson's reuse of materials and adherence to the prescribed patterns inherent in quilt-making are mirrored in the content of these magazines: topics vary little from month to month, the same advice given year after year. While young girls perennially look to teen magazines for guidance and comfort, they instead find troubling and manipulative messages designed to control and curb behaviors in this insidious form of pop propaganda. Within this context, Gibson envisions her blankets and cloak as safe spaces of refuge for adolescent girls to create their identities within, hidden out of view. 

TATYANA OSTAPENKO


This work brings forth seldom heard voices and experiences of generations of women in the post-soviet spaces.

TALI MARGOLIN


In this series, Margolin adapts Helene Cixous notion of female’s history writing in “white ink”. Margolin created these works using milk on paper. Some drawings depict body, gestures and silhouettes, others have texts written in 3 languages. In some works glossy almost invisible lines and letters would be revealed after a close observation. Others were exposed to heat and sunlight and have yellowish areas of text and images

KENZIE NELSON 


 This work focuses on creating objects that are difficult to interact with, in an attempt to express Nelson's fears related to intimacy and vulnerability as a woman. Creating something untouchable or sharp speaks to a protective stance, visually and physically deterring the viewer from overstepping boundaries.

NAT RAUM 


Raum's work is in direct response to past sexual trauma and reclaiming the world for herself following repeated trauma. Although their work is often personal and focused on her own experiences, they take great pride in being a voice for those who feel like they cannot speak about their own trauma. Raum believes that by making this work, she can destigmatize survivorship and empower survivors.

MÄR MARTINEZ 


Martinez's work dissects themes of power dynamics, dominance and various forms of control within a culturally enforced binary system. Folie à Deux (French for “the madness of two”) depicts the animalistic drive for control and superiority. The figures are engaged within an eternal, endless power struggle, where neither has gained the upper hand. There is no peace or equality within the animal world; humans have societal rules that govern our interactions, but the constant grappling for power remains under the facade. The hand-cutting of the pieces is a crucial part of Martinez's process. The violent act of stripping figures from their context mimics how power can be given and taken away. The figures become vulnerable, naked objects in the outside world.

YASMEEN THANTREY 


Thantrey’s work has a strong collaborative element, as the issues she takes on are socio-political, and therefore, community is extremely significant for the work she produces. This makes her work fall somewhere within the art activism and performance intersection, as audience response and gaze is crucial to the narrative. She aims to play and dismantle power structures through humorous loaded work, that purposefully interrupts a white cube and institutional environment. Exploring South Asian diaspora has given her work a purpose in this era, as systemic racism and disproportional representation are being addressed globally. Her work thrives within social media spaces also, to generate discourse and open safe spaces for discussion through her community work. With this increasing presence and collaboration, her motive also tackles the Eurocentric standards of beauty that have been forcefully engrained within society and culture.

PROCEED TO ROOM 4

EM KOCH 


In a world dominated by the male gaze, Koch seeks to create worlds and universes of female freedom from objectification. This collection celebrates the female figure with bright and exciting energy, while maintaining the mystery that is woman.

GENEVA LARK HUTCHINSON


These works are meant as a protest for womxn against the conservative church, traumatic upbringings, misogyny, our president, rapists, etc. Hutchinson's subjects are all powerful survivors - posing boldly with strong body language.

CAROLE LOEFFLER 


These text-based works are a reaction to the toxic environment that has been enveloping the United States and the world. Loeffler interested in challenging the mainstream narrative by putting words of encouragement, unity and positivity. Domestic textiles are imbued with the spirit of imagined foremothers - emblazoned with positive affirmations – as if the spirit of the maker comes to life and offers solace and support. Loeffler is the caretaker of these thrifted and found objects and the messenger from which their stories flow. Our stories matter – they are what unite us. 

JANICE KOCHIK 


Through Kochik's occupation as an NP, she is inspired daily to paint what she feels: Advocacy and recognition for those who are not seen; acknowledgement for those who feel speechless; empowerment to those who don't conform to societal "norms" or expectations.

GUODA KVIETINSKAITE 


A man's expression itself is talking about the protest and protection in this stained glass panel. We are often protesting or protecting by using verbal actions, which is even screaming in this case. The shouting man symbolizes the protest while architectual frames stand for protection.

KATE GIBSON 


Gibson's recent work includes series of protective coverings assembled using techniques and methods traditionally associated with the feminine and domestic. A cloak and small quilt are made from teen magazines in the 1990’s - texts that subconsciously shaped Gibson's burgeoning conceptions of the world and her identity within it. Gibson's reuse of materials and adherence to the prescribed patterns inherent in quilt-making are mirrored in the content of these magazines: topics vary little from month to month, the same advice given year after year. While young girls perennially look to teen magazines for guidance and comfort, they instead find troubling and manipulative messages designed to control and curb behaviors in this insidious form of pop propaganda. Within this context, Gibson envisions her blankets and cloak as safe spaces of refuge for adolescent girls to create their identities within, hidden out of view. 

TATYANA OSTAPENKO


This work brings forth seldom heard voices and experiences of generations of women in the post-soviet spaces.

TALI MARGOLIN


In this series, Margolin adapts Helene Cixous notion of female’s history writing in “white ink”. Margolin created these works using milk on paper. Some drawings depict body, gestures and silhouettes, others have texts written in 3 languages. In some works glossy almost invisible lines and letters would be revealed after a close observation. Others were exposed to heat and sunlight and have yellowish areas of text and images

KENZIE NELSON 


 This work focuses on creating objects that are difficult to interact with, in an attempt to express Nelson's fears related to intimacy and vulnerability as a woman. Creating something untouchable or sharp speaks to a protective stance, visually and physically deterring the viewer from overstepping boundaries.

NAT RAUM 


Raum's work is in direct response to past sexual trauma and reclaiming the world for herself following repeated trauma. Although their work is often personal and focused on her own experiences, they take great pride in being a voice for those who feel like they cannot speak about their own trauma. Raum believes that by making this work, she can destigmatize survivorship and empower survivors.

MÄR MARTINEZ 


Martinez's work dissects themes of power dynamics, dominance and various forms of control within a culturally enforced binary system. Folie à Deux (French for “the madness of two”) depicts the animalistic drive for control and superiority. The figures are engaged within an eternal, endless power struggle, where neither has gained the upper hand. There is no peace or equality within the animal world; humans have societal rules that govern our interactions, but the constant grappling for power remains under the facade. The hand-cutting of the pieces is a crucial part of Martinez's process. The violent act of stripping figures from their context mimics how power can be given and taken away. The figures become vulnerable, naked objects in the outside world.

YASMEEN THANTREY 


Thantrey’s work has a strong collaborative element, as the issues she takes on are socio-political, and therefore, community is extremely significant for the work she produces. This makes her work fall somewhere within the art activism and performance intersection, as audience response and gaze is crucial to the narrative. She aims to play and dismantle power structures through humorous loaded work, that purposefully interrupts a white cube and institutional environment. Exploring South Asian diaspora has given her work a purpose in this era, as systemic racism and disproportional representation are being addressed globally. Her work thrives within social media spaces also, to generate discourse and open safe spaces for discussion through her community work. With this increasing presence and collaboration, her motive also tackles the Eurocentric standards of beauty that have been forcefully engrained within society and culture.

PROCEED TO ROOM 4

Using Format