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Anat Ebgi
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Fifty years after monumental environmental art installation Womanhouse opened in LA, the feminist art exhibition gets a redux courtesy of curator Anat Ebgi Gallery (along with Stefano di Paolo and Los Angeles Nomadic Division). WOMANHOUSE, currently on view on Fountain Ave., features artworks by key figures in the original exhibition (Mira Shor, Faith Wilding, Karen LeCocq, Judy Chicago, Nancy Youdelman), but also intentionally includes artworks from before and after the 1972 installation, allowing for more context around each individual artist’s oeuvre. 

Yonic imagery abounds, specifically in a sculptural work by Karen LeCocq called Feather Cunt (1971), a delicate pillow featuring a velvet vaginal form surrounded by pink feathers, or in the organic graphite drawings by Faith Wilding in which the natural world collides with female anatomy. Irreverent jabs at domestic life, just as Youdelman’s Button Dress (1972), a house dress bedazzled with buttons, or Youdelman and Dori Atlantis’ Housewife Series, which picture domestic female labor, are repeated throughout the exhibition, while Judy Chicago’s flare photographs picture nude women in colorful body paint setting off colored flares in the desert with abandon.

Several performances and readings by younger artists and writers complement the robust exhibition, including a reinterpretation of Faith Wilding’s iconic performance Waiting by Holly Harrell, which took place at the 1972 exhibition opening.

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Photo: Judy Chicago, Smoke Bodies (detail) (1972). Image courtesy of the artist and Anat Ebgi, Los Angeles.