New York

Justine Kurland, Bathroom, 1997, C-print, 11 × 14".

Justine Kurland, Bathroom, 1997, C-print, 11 × 14".

Justine Kurland

Mitchell-Innes & Nash | Chelsea

A few years after Justine Kurland started shooting her “Girl Pictures,” 1997–2002, she was dubbed a “girl photographer.” Although the label feels limiting, if not downright misogynistic, Kurland artistically came of age in the 1990s, a decade that celebrated the more renegade aspects of female adolescence. The “Riot Grrrl Manifesto,” published in a zine put out by feminist punk band Bikini Kill in 1991, plainly stated the case for reclaiming the word: “BECAUSE we are angry at a society that tells us Girl = Dumb, Girl = Bad, Girl = Weak.”

At Mitchell-Innes & Nash, Kurland’s series, exhibited for the first time in its entirety, was cinematic in spirit. The sixty-nine vintage C-prints hung in a single line around the gallery. The narrative opened with a photograph taken in the postindustrial landscape of New Haven, Connecticut, and continued across multiple road trips that Kurland took over

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