The problems of painting, language, and gendered power relations have long animated the work of New York–based artist and writer Mira Schor, who graduated from CalArts in 1973 and participated in its Feminist Art Program. In a preface to her 1997 book of essays titled Wet: On Painting, Feminism, and Art Culture, Schor noted that her goal has been to make political paintings in the “full sense of both terms”artworks whose political content is enhanced by their seductive medium. “Painting not as ‘eye candy,’” she wrote, “but as a synergetic honey-trap for contemporary discourse.” This statement, written a few years after Schor completed her multi-canvas work War Frieze, 1991–94, continues to resonate nearly twenty years later in her series “‘Power’ Frieze,” 2016. Both bodies of work were recently on display at CB1 Gallery.
Installed along the four walls of one large gallery
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