REVIEW: "Hermerica" at the Kleinert/James Center for the Arts | Visual Art | Hudson Valley | Chronogram Magazine
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REVIEW: "Hermerica" at the Kleinert/James Center for the Arts 

Last Updated: 04/06/2021 4:50 pm

click to enlarge Left to right: "Words Untie Knots, (Pussy Bow Blouse Redux)," Kate Hamilton, 2016/2021. "Letter to the World," Yura Adams, 2021. Late 18th-early 19th century staple repaired porcelain. "Bodies of Plenty: Harvest, Spoils, Sprout and Root," Corinne Spencer, 2013. "Tiaras," Katherine Umsted, 2013. - JOHN KLEINHANS
  • John Kleinhans
  • Left to right: "Words Untie Knots, (Pussy Bow Blouse Redux)," Kate Hamilton, 2016/2021. "Letter to the World," Yura Adams, 2021. Late 18th-early 19th century staple repaired porcelain. "Bodies of Plenty: Harvest, Spoils, Sprout and Root," Corinne Spencer, 2013. "Tiaras," Katherine Umsted, 2013.

An American flag drawing with naked female breasts that take the place of the 50 stars, a monumental blouse with a “pussy bow,” and a series of elegantly provocative photos of women’s corsets that look more like armor than undergarments—these are a few of the fearless artworks included the “Hermerica” exhibition currently on view at the Byrdcliffe Guild’s Kleinert/James Center for the Arts in Woodstock (through April 25). Organized and curated by Carrie Feder with assistance from the artist Portia Munson, this inquisitive and offbeat mash-up of art and artifacts is a multidisciplinary exhibition that presents the work of 27 women artists, including Kiki Smith, Katrina Majkut, Rose Deler, Kate Hamilton, Ruby Palmer, Liza Todd Tivey, Tricia Wright, Melora Kuhn, and Lola Jiblazee, among others.

“Hermerica” offers a motley vision of woman’s journey through aspects of history and popular culture as seen through the artist’s imagination, including works on paper, installation, sculpture, photographs, stitching, memorabilia, ephemera, and other historical objects. The curatorial narrative highlights how our collective past is a potent reflection of the persistent issues gripping our country—freedom, respect, race, gender, reproductive health, voting rights, and radical reform remain at the forefront of our social-political landscape. History, her-story, America, Hermerica.

click to enlarge Foreground: "Mon Coiffure," Kathy Ruttenberg, 2019. Left to right: Misc. 18th to mid 19th century antiques and ephemera relating to “women’s work,” the cycle of life and death and women’s education. Includes Currier & Ives lithograph of "The Life and Age of Woman, Stages of a Woman’s Life from the Cradle to the Grave," 1850. "Pregnancy Test: Negative," Katrina Majkut. 2013. Twelve Images from the series Undergarment and Armor, Tanya Marcuse, 2002-2004. Antique and reproduced ephemera and antiques related to corsets and 19th c. dress reform, including pin cushion by artist Claudia McNulty. "Walled Garden; A Man Looking at a Woman Looking at Herself (Jo, La Belle Irlandaise, Gustave Courbet, 1865/66)," Tricia Wright, 2017. - JOHN KLEINHANS
  • John Kleinhans
  • Foreground: "Mon Coiffure," Kathy Ruttenberg, 2019. Left to right: Misc. 18th to mid 19th century antiques and ephemera relating to “women’s work,” the cycle of life and death and women’s education. Includes Currier & Ives lithograph of "The Life and Age of Woman, Stages of a Woman’s Life from the Cradle to the Grave," 1850. "Pregnancy Test: Negative," Katrina Majkut. 2013. Twelve Images from the series Undergarment and Armor, Tanya Marcuse, 2002-2004. Antique and reproduced ephemera and antiques related to corsets and 19th c. dress reform, including pin cushion by artist Claudia McNulty. "Walled Garden; A Man Looking at a Woman Looking at Herself (Jo, La Belle Irlandaise, Gustave Courbet, 1865/66)," Tricia Wright, 2017.

The exhibition is peppered with artifacts of historical significance juxtaposed with contemporary responses. One such example is a small cluster of reproduced black-and-white photos of Inez Millholland (1886-1916). Millholland was an outspoken activist, suffragist, labor lawyer, and war correspondent who became nationally known for riding a white horse at the front of the Woman Suffrage Procession in Washington, DC, in 1913. Turn to the middle of the room, and Portia Munson’s ready-made sculpture She (2017) provides a kind of parallel representation of an “avant-garde” agitator. Comprised of various found objects arranged like a towering wedding cake of kitsch—all some shade of white, a nod to Millholland—Munson’s calculated layering of functional femme items such as girlie lamps, lacy gloves, high-heeled shoes, porcelain lady figurines, trophies of female athletes, and other oddities presents an objectified yet humorous notion of what it means to be female.

While this show is both informative and inspirational, woven throughout are moments of trauma that cannot be overlooked, such as Kathy Ruttenberg’s stoneware sculpture Mon Coiffure, (2019). A male figure dressed in a suit with a buck’s head stands atop a stump as he caresses the hair of a sylvan female whose belly houses a disturbing scene of internal darkness—within the floral pattern of her spring dress a small cavern reveals a naked girl on her back and frozen with fear as a deer investigates her groin. I have been a fan of Ruttenberg’s fairytale-meets-quasi-Freudian-psycho-sexual mythology for years; however, the sudden shock of this disturbingly intimate moment is even more impactful in the context of this show. Given the outrageous political circus of the recent ruling party—where “grab ‘em by the pussy” became a nationally recognized slogan for the degradation of women—the creepy intensity of Ruttenberg’s spectacle is compellingly perverse.

The most powerful theme of the “Hermerica” story is that of slavery, “an empire of sin” as written in one of the pieces of ephemera included in this exhibit. In a grouping of caricatures and postcards near the front of the gallery, a drawing depicts a black woman being sold away from her child. The event is gruesome and cruel, yet the show balances this disgust with a sense of beauty and poise as reflected in a trio of sumptuous, colorful photographs by Corrine Spencer, Bodies of Plenty: Harvest (2013). Of the three works, on the left side of the triptych we behold a beautiful black female covered in a glittering frosty glaze, her naked body shielded by an enormous medley of flourishing spring flowers made of plastic. I stood looking at her for some time, experiencing the sense of tension as described in the caption next to the work, that of naturalness versus artificiality.

Taken together, this show is an engaging patchwork of ideas and artworks that address some of the significant issues of the last century and today while presenting those issues through a multiplicity of female voices and visual mediums. The exhibition succeeds at honoring the past, bringing that past forward, and pushing the “forward” even further. “Hermerica” is a courageous and candid look at the reality of women in America as told by women in America.

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