James and I visited Pam Butler‘s studio in early May during the Marie Walsh Sharpe open studios. I’m a big fan of her recent installations and paintings. She’s now exploring works related to Pablo Picasso’s Les Demoiselles d’Avignon. Here is a short statement on the current work:

I have of late been thinking a lot about what it means to be a female artist inside of not just a very male tradition but one where the depiction of the female is among the most prominent subject matters in the historical arch of the tradition. When doing a piece for a themed group show this past summer, where I used Picasso’s Les Demoiselles d’Avignon as my starting point, my research brought some of the very masculine-ness of this tradition home to me. The second figure from the left in this painting, the figure (the prostitute) pointed to by the angle of suggestive table of fruit was based on Ingres’ painting “The Source”. To further complicate this is the story of the Ingres model, the 16 year old daughter of his landlady. “What care I that the virtue of some sixteen-year-old maid was the price for Ingres’ La Source? That the model died of drink and disease in the hospital is nothing when compared with the essential that I should have La Source, that exquisite dream of innocence.” (George Moore “Confessions of a Young Man”). As I think of these artists and their subject matter it’s not the painters I identify myself with nor the innocent idealized virgin of The Source but the landlady’s daughter herself, used as needed then forgotten. And that leads me back where can I locate myself as a female painter inside of this tradition.

Here is one more image, showing an installation:

You can view more images I took during the visit on flickr.

Welcome to Week in Review, our Sunday round-up of the last 7 days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook.

We would like to take time to thank our sponsor, the Hunter College BFA Thesis Exhibition. The show takes place in New York from May 15 – June 15, 2013. You can find more information here.

This week’s featured exhibitions:

Jacques André at Catherine Bastide

William E. Jones at The Modern Institute

Stephen G. Rhodes at Overduin and Kite

Michael Dean at Herald St

Barbara Hammer at KOW

Marisa Merz at Barbara Gladstone

Nicolas Party at The Modern Institute

“Good Luck and Safe Journey” at T293

Lorenz Straßl at Christine Mayer

Tobias Kaspar at Apt. 302, Peter Kilchmann, and BAR Project

Llyn Foulkes at Hammer Museum

Lucie Stahl, Tom Humphreys at What Pipeline

Tom Burr, Linder at Modern Art

“Love in a Cold Climate” at S1 Artspace

Have an excellent week.

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

Artists: Anna Barham, Scott King, Liam Gillick, Jamie Reid, Mandla Reuter, Hannah Rickards, Edward Wadsworth

Venue: S1 Artspace, Sheffield

Exhibition Title: Love in a Cold Climate

Date: March 9 – May 4, 2013

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of S1 Artspace, Sheffield

Press Release:

With coal seams beneath it and water running through, Sheffield has a surfeit of energy. Historically this energy has produced stainless steel and electro pop. Love in a Cold Climate reflects the latent energies within the city – both industrial and social.

Works include post-Vorticist lithographs from 1919 by Edward Wadsworth depicting slag waste in the West Midlands and agit-prop designs by Jamie Reid produced during the 1973 Miner’s Strike and for the 1987 General Election. Reid’s posters were produced, respectively, to encourage people to support the miners by wasting rather than conserving electricity and on behalf of the Labour Party associated Red Wedge campaign.

Liam Gillick’s Discussion Island Preparation Zone is a residue left from mopping the gallery floor with a cocktail of vodka and glitter. The work might appear as a trace of David Bowie’s Ziggy Stardust concert tour that is documented with a wall drawing by  Scott King. The tour took Bowie to 43 venues across Britain in the summer of 1973 including Sheffield’s City Hall.

The exhibition is illuminated with works by Anna Barham and Mandla Reuter that both methodically work through different lighting configurations in abstract exercises.

Hannah Rickards’, Some people say they think it sounds like aluminium foil but aluminium foil to me is not the sound’ 2007, is an installation that follows a series of interviews with people who have perceived the Northern Lights as being accompanied by a sound.

The title of the exhibition Love in a Cold Climate is taken from George Orwell’s ‘Keep the Aspidistra Flying’, 1936. The phrase was later adopted as the title of Nancy Mitford’s novel of 1949.

Link: “Love in a Cold Climate” at S1 Artspace

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

Sally-Ann Rowland at the Fremantle Arts Centre, Australia. Ubiquitous cliches regain a minor usefulness through printing on tea towels and pencils, whilst hybridized cliches emblazon mugs and posters. The latter proclaim the potential for creative new forms, through art. Works from the series are folded back into the everyday through artist multiples, >available here<.

The following article was originally published on April 1, 2009 by Seth Curcio.