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Katie Stout, Shelfish, 2017, metal, wood, resin, papier-mâché, 71 x 47 x 14".

Katie Stout

Nina Johnson

Katie Stout, Shelfish, 2017, metal, wood, resin, papier-mâché, 71 x 47 x 14".

If the function of designer furniture is to abandon the utilitarian demands of everyday life in favor of sleek aesthetics, Brooklyn-based designer and artist Katie Stout’s “naive pop” objects—twenty of which were recently on view at Nina Johnson in Miami as part of the exhibition “Narcissus”—are not always cooperative. Following in the legacy of artists such as Judy Chicago, Nicola L., Miriam Schapiro, and Alina Szapocznikow, Stout’s works subvert the space of the domestic, renouncing stale notions of beauty that take the female form as a given. Buxom caricatures stand in as furniture, their eroticisms flashing like epithets to their own mislabeling. These static pantomimes thumb their noses at tradition.

In Narcissus Chandelier, 2017, ceramic bodies are connected by gray ligaments to fashion a lampshade. Extruding from the bulb at the chandelier’s center, the figures—who

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