Carol Ockman

  • “Mirror Images: Women, Sureralism, and Self-Representation”

    How does an intergenerational legacy of women artists linked to Surrealism look, and how does it expand the way we view that movement's continuing impact? This ambitious, sometimes stunning exhibition (which is currently in Miami, and travels to San Francisco in January 1999) attempted to chart such a history, constructing lineages among twenty-three artists of three distinct “generations”: from Claude Cahun to Francesca Woodman to Cindy Sherman, from Frida Kahlo to Ana Mendieta to Paula Santiago, from Meret Oppenheim to Louise Bourgeois to Michiko Kon. Cocurated by Surrealism scholar Whitney

  • Mary Cassatt: Modern Woman

    More often than not, the Mary Cassatt that springs to mind is an abridged edition—Impressionist painter of mothers and children. This first retrospective of the artist’s work in three decades undermines such fashioning. Curated by the Art Institute’s Judith A. Barter, the exhibition opens in Chicago with ninety paintings, pastels, and prints. Together with a catalogue of scholarly essays, Barter’s show will frame Cassatt’s scenes of domestic and public life in relation to her upper-middle-class world, her Modernist style, and the issues of her day: neo-natalism, spiritualism, the Dreyfus affair,

  • “Too Jewish? Challenging Traditional Identities”

    The small room that served as the entrance to “Too Jewish?” contained: Deborah Kass’ Triple Silver Yentl (My Elvis), 1992, a sly homage to Warhol’s “Elvis” series in which Streisand packs a Talmud instead of a pistol, flanked on the right by two vintage Barbies and a Midge doll, and on the left by a female mannequin, resplendent in Jean Paul Gaultier’s faux-fur hat with synthetic pais. This immersion in popular culture was both surprising and welcome. It didn’t seem to matter that Gaultier’s 1993 Hasidic line never worked for me; that my response to Streisand posing as a young Talmudic student