Woman's access to abortion) are incorporated into the paintings, Supreme Court to determine the lawfulness of state restrictions on a Referring to weapons of war and to the legal standard used by the Language fragments taken from the news media (such as terms Undue burden commingle on sometimes thinly scumbled, other times thicklyīuilt-up grounds of fleshy-pink, bloodred, jizzy-white, and turd-brown Toilet bowls, and politically charged phrases such as area of denial and Suggestive corporeal forms, as well as words in cursive script connectedīy a thin, sinuous line that stretches across the entire suite.ĭisembodied breasts and penises (some with ears), vagina-like slits, Topical issue), the paintings in War Frieze feature body parts and Of the First Gulf War, and informed by gender-related controversies suchĪs the Anita Hill hearings and abortion litigation (which remains a
Is more than two hundred feet long and has never been viewed in itsĮntirety by the public or by the artist herself.) Begun in the aftermath Was the most comprehensive presentation of the work to date. Comprising eighty-two twelve-by-sixteen-inch painted linenĬanvases placed side by side slightly above eye level, this installation Half of Schor's War Frieze, made between the fall of 1992 and that Installed along the four walls of one large gallery was the second Both bodies of work were recently on display at CBI Resonate nearly twenty years later in her series "'Power'įrieze," 2016. Wrote, "but as a synergetic honey-trap for contemporaryĭiscourse." This statement, written a few years after SchorĬompleted her multi-canvas work War Frieze, 1991-94, continues to
Terms"-artworks whose political content is enhanced by their Has been to make political paintings in the "full sense of both
Wet: On Painting, Feminism, and Art Culture, Schor noted that her goal In a preface to her 1997 book of essays titled Schor, who graduated from CalArts in 1973 and participated in itsįeminist Art Program. Have long animated the work of New York-based artist and writer Mira The problems of painting, language, and gendered power relations Mira Schor: CBI Gallery." Retrieved from 2016 Artforum International Magazine, Inc. MLA style: "Mira Schor: CBI Gallery." The Free Library.
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