new-york

May Stevens

Dintenfass Gallery

With the social and political ferment now developing in the art world, political art has acquired a new focus, and for women artists a subjective one. May Stevens, who early in her career painted political attacks on American racism and then abandoned openly political art for a while, has now turned to political satire in her “Big Daddy” series of gouaches, silkscreens, and acrylics. The result is a tough and poignant feminist critique of the patriarchal power structure as allegorized in the recurrent figure of a pompous but sad, dangerously paternalistic figure, usually shown with a porcine bulldog, the two of them in a variety of costumes and poses.

Previously, Stevens was preoccupied with mournful interiors, inhabited by alienated figures and worked out in a soft, emotional, painterly oil technique. A brief and eventless transition through hardedge oils led to her present cycle, touched

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