'Untitled (Waterfall)', Virginia Overton, 2016. Installation view, 2016, Whitney Museum of American Art,
New York. © The artist. Courtesy of White Cube, London. Photography: Ron Amstutz
When curator and scholar Kathy Battista was researching her most recent book, New York, New Wave: The Legacy of Feminist Artists in Emerging Practices, she realised a number of contemporary practitioners were less concerned with exploring feminism through identity politics and more interested in revisiting the historically male-dominated tropes of minimalism.
Installation view of 'Escape Attempts' at Shulamit Nazarian
‘I was just finding a lot of younger women artists working with the cube, the grid, the serial nature of minimalism, the relationship to architecture, and they were projecting their own subjectivity into it through narrative or their history or gender,’ says Battista, who gathered the work of seven artists mining this territory for ‘Escape Attempts’, the inaugural show at Shulamit Nazarian’s soaring new 3,000 sq ft gallery in Hollywood.
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