For the April issue of The Brooklyn Rail, which is probably already in the racks and should go online shortly, I wrote about a show at Momenta Art called “The Mood Back Home.” The show, organized by Leslie Brack and Suzy Spence, was inspired by the 1972 feminist art project, “Womanhouse,” and featured work that addresses the stubborn nature of gender prescribed domesticity and its effect on women artists. Back in 1972, Womanhouse, organized by Judy Chicago and Miriam Shapiro, was a collaborative project by the women in their CalArts feminist grad seminar. One of the students involved was Mira Schor, whose recent paintings are currently on view at Momenta. Schor hasn’t had a one-person show in New York in over a decade, and her new paintings mark a departure from her earlier depiction of language as image, to the suggestion of its lack in a space where we expect to see it. “Suddenly,” marks the moment when personal loss or political babble creates a loss for words. “Schor has turned to the most basic form that came to mind: the empty thought balloon, where language was or will or should be. Richly surfaced, bold, witty, notational, provisional, the paintings in this show were made in quick gestures, taking five minutes to an afternoon. They function unpredictably, as existential encounters that emerge from political absurdities or epochal tragedies � experienced in the everyday.”
Don’t miss Mira Schor’s Artist Talk on Friday, April 10, at 8pm.
“Mira Schor: Suddenly,” MomentaArt, Brooklyn, NY. Through April 20.
