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Jenna Gribbon (b. 1978) lives and works in Brooklyn, NY. She received her MFA from Hunter College in New York. Much of her work is focused on the female nude; playing on historical gender roles, she highlights the voyeuristic aspect, so often associated with the female nude. Gribbon removes the male gaze and turns this notion of passive portrayal on its head by instead giving the subjects themselves agency, portraying them in active scenes, such as in her Pollyanna Wrestlers series. Gribbon's work is also extremely intimate; she creates tangible versions of snapshots and instances in her life through the people closest to her. With a deep knowledge of art history, her portrayal of these intimate memories often also references classical domestic scenes, positioning them within the broader history of art and understanding of women in society.



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Jenna Gribbon (b. 1978) lives and works in Brooklyn, NY. She received her MFA from Hunter College in New York. Much of her work is focused on the female nude; playing on historical gender roles, she highlights the voyeuristic aspect, so often associated with the female nude. Gribbon removes the male gaze and turns this notion of passive portrayal on its head by instead giving the subjects themselves agency, portraying them in active scenes, such as in her Pollyanna Wrestlers series. Gribbon's work is also extremely intimate; she creates tangible versions of snapshots and instances in her life through the people closest to her. With a deep knowledge of art history, her portrayal of these intimate memories often also references classical domestic scenes, positioning them within the broader history of art and understanding of women in society.



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Karen LaMonte (b. 1967, New York) graduated from the Rhode Island School of Design in 1990 and lives and works in Prague, Czech Republic. Although she uses a wide range of media in her work, from ceramic, bronze and iron, to alabaster, paper and marble, it is her sublime glass sculptures depicting the human form that have become internationally renowned. In Nocturne 1, LaMonte draws reference to the dynamic Hellenistic period of Greek sculpture, noting the clinging fabric that was indicative of marble figures of the time; however, the actual solid form beneath the clothes has been removed. Presenting the form of the nude female without the physical body is still seen as seductive, emphasizing the emptiness of such desire, and how detached it is from the individual woman.



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Karen LaMonte (b. 1967, New York) graduated from the Rhode Island School of Design in 1990 and lives and works in Prague, Czech Republic. Although she uses a wide range of media in her work, from ceramic, bronze and iron, to alabaster, paper and marble, it is her sublime glass sculptures depicting the human form that have become internationally renowned. In Nocturne 1, LaMonte draws reference to the dynamic Hellenistic period of Greek sculpture, noting the clinging fabric that was indicative of marble figures of the time; however, the actual solid form beneath the clothes has been removed. Presenting the form of the nude female without the physical body is still seen as seductive, emphasizing the emptiness of such desire, and how detached it is from the individual woman.



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Hayv Kahraman (b. 1981) lives and works in Los Angeles, CA. Originally from Baghdad, Iraq, her family was forced to flee the country during the first Persian Gulf War in 1990. Art became a way of emphasizing her own story and cultural displacement as a refugee, highlighting the ways in which she felt required to conform to Eurocentric ideals. In 2005, she studied graphic design at the Accademia delle Arti del Disegno in Florence, Italy. During her time there, she created the first version of the "assimilated woman," utilizing a singular blend of techniques and an aesthetic drawn from the Renaissance Old Masters, the art of Persian miniatures, and Japanese ukiyo-e prints. This figure is found in a majority of Kahraman's paintings, symbolizing a composite of a Westernized version of herself. The latticework seen in Body Screen is also often used by the artist as a motif, an ambiguous symbol of the mute space that women are traditionally expected to occupy.



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Hayv Kahraman (b. 1981) lives and works in Los Angeles, CA. Originally from Baghdad, Iraq, her family was forced to flee the country during the first Persian Gulf War in 1990. Art became a way of emphasizing her own story and cultural displacement as a refugee, highlighting the ways in which she felt required to conform to Eurocentric ideals. In 2005, she studied graphic design at the Accademia delle Arti del Disegno in Florence, Italy. During her time there, she created the first version of the "assimilated woman," utilizing a singular blend of techniques and an aesthetic drawn from the Renaissance Old Masters, the art of Persian miniatures, and Japanese ukiyo-e prints. This figure is found in a majority of Kahraman's paintings, symbolizing a composite of a Westernized version of herself. The latticework seen in Body Screen is also often used by the artist as a motif, an ambiguous symbol of the mute space that women are traditionally expected to occupy.



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Frances Goodman (b. 1975, Johannesburg, South Africa) received her M.A. in Fine Arts from Goldsmiths College at the University of London, England in 2000. In her multimedia work, Goodman explores definitions of female identity found in popular culture, expressing the aspiration, desire, and anxiety that intertwine in its consumption, often using unconventional materials associated with female vanity. These materials include, for example, acrylic nails (made into large-scale sculptures in tongue-in-cheek Pop Art fashion), false eyelashes, and sequins. Goodman's sequined works each take countless hours to sew; this time-consuming meticulous craftsmanship juxtaposes to the frivolity associated with the material. In The Drama, Goodman references Ophelia by the Pre-Raphaelite artist John Everett Millais, to highlight the trope of the 'hysterical' dramatic woman, a trope of which Shakespeare's "Ophelia" is a prime example.





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Frances Goodman (b. 1975, Johannesburg, South Africa) received her M.A. in Fine Arts from Goldsmiths College at the University of London, England in 2000. In her multimedia work, Goodman explores definitions of female identity found in popular culture, expressing the aspiration, desire, and anxiety that intertwine in its consumption, often using unconventional materials associated with female vanity. These materials include, for example, acrylic nails (made into large-scale sculptures in tongue-in-cheek Pop Art fashion), false eyelashes, and sequins. Goodman's sequined works each take countless hours to sew; this time-consuming meticulous craftsmanship juxtaposes to the frivolity associated with the material. In The Drama, Goodman references Ophelia by the Pre-Raphaelite artist John Everett Millais, to highlight the trope of the 'hysterical' dramatic woman, a trope of which Shakespeare's "Ophelia" is a prime example.



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Tschabalala Self (b. 1990, Harlem, NY) is a New Haven-based artist who received her MFA from Yale University in 2015. Self's work is intrinsically related to her sense of identity, and her exploration of the iconographic significance of the Black female body in contemporary culture. Through large scale multimedia assemblages and collages, Self pieces together the often-exaggerated forms of the female figure, emphasizing the way that society traditionally fetishizes Black bodies. She stitches the fabric of her narrative using multilayered characters, or "avatars," as the artist refers to
them, as visual representations of her own lived experiences and the experiences of others in her community. Self's goal is to correct the continued misconceptions perpetuated by society and create figures who do not have to perform to any expected persona, but instead can exist confidently in the world without judgement or expectation.





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Tschabalala Self (b. 1990, Harlem, NY) is a New Haven-based artist who received her MFA from Yale University in 2015. Self's work is intrinsically related to her sense of identity, and her exploration of the iconographic significance of the Black female body in contemporary culture. Through large scale multimedia assemblages and collages, Self pieces together the often-exaggerated forms of the female figure, emphasizing the way that society traditionally fetishizes Black bodies. She stitches the fabric of her narrative using multilayered characters, or "avatars," as the artist refers to
them, as visual representations of her own lived experiences and the experiences of others in her community. Self's goal is to correct the continued misconceptions perpetuated by society and create figures who do not have to perform to any expected persona, but instead can exist confidently in the world without judgement or expectation.





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Diana Al-Hadid (b. 1981) was born in Aleppo, Syria and currently lives and works in Brooklyn, New York. Her interest in process has led Al-Hadid to explore materials such as fiberglass and polymer gypsum, a modified form of the mineral used in plaster and wallboard. Through a meticulous drip-layering process, she arrives at what the artist describes as "a blend between fresco and tapestry"; an intriguingly organic woven surface where material, process and content seem to become one, and void is as meaningful as mass. Al-Hadid's works often allude to mythological figures drawn from world literature and classical art and architecture as in Woven Woman, whose centrally framed female figure recalls Renaissance depictions of the Madonna.



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Diana Al-Hadid (b. 1981) was born in Aleppo, Syria and currently lives and works in Brooklyn, New York. Her interest in process has led Al-Hadid to explore materials such as fiberglass and polymer gypsum, a modified form of the mineral used in plaster and wallboard. Through a meticulous drip-layering process, she arrives at what the artist describes as "a blend between fresco and tapestry"; an intriguingly organic woven surface where material, process and content seem to become one, and void is as meaningful as mass. Al-Hadid's works often allude to mythological figures drawn from world literature and classical art and architecture as in Woven Woman, whose centrally framed female figure recalls Renaissance depictions of the Madonna.



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Nevine Mahmoud (b. 1988, London) lives and works in Los Angeles, CA. Following a BFA from Goldsmiths College, at the University of London, England, she received her MFA from the University of Southern California in Los Angeles in 2014. Mahmoud emphasizes playful contradictions to create a sense of tension between the viewer and her often overtly sensual works. The physical labor required to make perfectly smooth forms, particularly in her stone sculptures, provides an added intimacy to the works. Drawing upon art history's tendency to objectify women, she subverts that idea in a literal way by placing innuendos of the female form into actual objects such as the peach. In this way, Mahmoud uses her identity as a woman to reclaim her anatomy, dismantle traditional objectification, and create a new narrative that is uniquely her own.



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Nevine Mahmoud (b. 1988, London) lives and works in Los Angeles, CA. Following a BFA from Goldsmiths College, at the University of London, England, she received her MFA from the University of Southern California in Los Angeles in 2014. Mahmoud emphasizes playful contradictions to create a sense of tension between the viewer and her often overtly sensual works. The physical labor required to make perfectly smooth forms, particularly in her stone sculptures, provides an added intimacy to the works. Drawing upon art history's tendency to objectify women, she subverts that idea in a literal way by placing innuendos of the female form into actual objects such as the peach. In this way, Mahmoud uses her identity as a woman to reclaim her anatomy, dismantle traditional objectification, and create a new narrative that is uniquely her own.



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ROMANCING THE MIRROR


December 4, 2020 – June 20, 2021


The group exhibition Romancing the mirror aims to showcase a new generation of women artists that, although developing in different directions, are shaping a new aesthetic framework grounded in the introspective experience of the everyday. As such, with their work they present a very female sense of self and way of looking at the world through an antiheroic, vulnerable and often playful lens.


The artists featured, painters Frances Goodman, Jenna Gribbon, Hayv Kahraman, Tschabalala Self, and sculptors Diana Al-Hadid, Karen Lamonte and Nevine Mahmoud, take themselves, their lives and environments, as narrative subjects, challenging classical depictions and definitions of the female in the history of art. In the case of Hayv Kahraman and Tschabalala Self, the stylized refinement of the first and the defiantly exaggerated bodies of the latter, point to the added complexity of overcoming racial fetishism; while Karen Lamonte and Nevine Mahmoud elegantly and playfully explore the erotic dimension in the masterful use of glass in their sculptures.


Romancing the mirror is meant somewhat ironic; women in the past used charm and wiles as a means to break through the objectifying tradition. The early Feminist movements felt they had to reject that altogether, but today, women hold and command that mirror, to reflect their own gaze on themselves and on the world, on their own conceptual and liberating terms.
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ROMANCING THE MIRROR


December 4, 2020 – June 20, 2021


The group exhibition Romancing the mirror aims to showcase a new generation of women artists that, although developing in different directions, are shaping a new aesthetic framework grounded in the introspective experience of the everyday. As such, with their work they present a very female sense of self and way of looking at the world through an antiheroic, vulnerable and often playful lens.


The artists featured, painters Frances Goodman, Jenna Gribbon, Hayv Kahraman, Tschabalala Self, and sculptors Diana Al-Hadid, Karen Lamonte and Nevine Mahmoud, take themselves, their lives and environments, as narrative subjects, challenging classical depictions and definitions of the female in the history of art. In the case of Hayv Kahraman and Tschabalala Self, the stylized refinement of the first and the defiantly exaggerated bodies of the latter, point to the added complexity of overcoming racial fetishism; while Karen Lamonte and Nevine Mahmoud elegantly and playfully explore the erotic dimension in the masterful use of glass in their sculptures.


Romancing the mirror is meant somewhat ironic; women in the past used charm and wiles as a means to break through the objectifying tradition. The early Feminist movements felt they had to reject that altogether, but today, women hold and command that mirror, to reflect their own gaze on themselves and on the world, on their own conceptual and liberating terms.
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JENNA GRIBBON
(American, b. 1978)
When I looked at you the light changed, 2019


Oil on linen
Courtesy of Debi and Steve Wisch




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JENNA GRIBBON
(American, b. 1978)
When I looked at you the light changed, 2019


Oil on linen
Courtesy of Debi and Steve Wisch




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KAREN LA MONTE
(American, b. 1967)
Nocturne 1, 2015


Cast glass, light
Courtesy of the artist and Gerald Peters Contemporary








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KAREN LA MONTE
(American, b. 1967)
Nocturne 1, 2015


Cast glass, light
Courtesy of the artist and Gerald Peters Contemporary








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NEVINE MAHMOUD
(British, b. 1988)
Bust (Genie), 2019


Glass, aluminium hardware
Courtesy of the artist, Nina Johnson, Miami, and Soft Opening, London



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NEVINE MAHMOUD
(British, b. 1988)
Bust (Genie), 2019


Glass, aluminium hardware
Courtesy of the artist, Nina Johnson, Miami, and Soft Opening, London



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NEVINE MAHMOUD
(British, b. 1988)
Triple Swell, 2020


Azzuro aquamarina marble, glass, acrylic
Courtesy of the artist and Soft Opening, London





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NEVINE MAHMOUD
(British, b. 1988)
Triple Swell, 2020


Azzuro aquamarina marble, glass, acrylic
Courtesy of the artist and Soft Opening, London





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Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
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DIANA AL-HADID
(Syrian-American, b. 1981)
Woven Woman, 2019


Polymer modified gypsum, fiberglass, powder coated aluminum, pigment
Courtesy of the artist






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DIANA AL-HADID
(Syrian-American, b. 1981)
Woven Woman, 2019


Polymer modified gypsum, fiberglass, powder coated aluminum, pigment
Courtesy of the artist






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JENNA GRIBBON
(American, b. 1978)
Pollyanna Wrestlers, 2018


Oil on canvas
Courtesy of Wassim Rasmny, New York
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JENNA GRIBBON
(American, b. 1978)
Pollyanna Wrestlers, 2018


Oil on canvas
Courtesy of Wassim Rasmny, New York
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HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Mnemonic Artifact 2, 2017


Oil on linen
Private Collection






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HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Mnemonic Artifact 2, 2017


Oil on linen
Private Collection






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HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Body Screen, 2013


Laser-cut walnut
Courtesy of Bill and Christy Gautreaux Collection, Kansas City, MO
HTMLText_A1064BD5_8BE4_12F7_41BB_09D7E7391354_mobile.html =
HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Body Screen, 2013


Laser-cut walnut
Courtesy of Bill and Christy Gautreaux Collection, Kansas City, MO
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HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Mnemonic Artifact 4, 2017


Oil on linen
Private Collection






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HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Mnemonic Artifact 4, 2017


Oil on linen
Private Collection






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JENNA GRIBBON
(American, b. 1978)
Erotic Hand in Public, 2018


Oil on linen
Courtesy of Jacqueline Shafiroff
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JENNA GRIBBON
(American, b. 1978)
Erotic Hand in Public, 2018


Oil on linen
Courtesy of Jacqueline Shafiroff
HTMLText_A2D9E7EF_8BE4_12D3_41E1_4CF5E1CA2426.html =
JENNA GRIBBON
(American, b. 1978)
Mutual pleasure, 2019


Oil on linen
Courtesy of Debi and Steve Wisch
HTMLText_A2D9E7EF_8BE4_12D3_41E1_4CF5E1CA2426_mobile.html =
JENNA GRIBBON
(American, b. 1978)
Mutual pleasure, 2019


Oil on linen
Courtesy of Debi and Steve Wisch
HTMLText_A35A817F_8BA4_2FB3_41CE_093EDABB41F2.html =
HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Eight Bends, 2020


Oil on panel
Courtesy of the Artist and Jack Shainman Gallery, New York





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HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Eight Bends, 2020


Oil on panel
Courtesy of the Artist and Jack Shainman Gallery, New York





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HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Untitled, 2012


Oil on panel
Courtesy of the Artist and Jack Shainman Gallery, New York


HTMLText_A38E7987_8BDC_7F53_41DB_62A83D58DDC9_mobile.html =
HAYV KAHRAMAN
(Iraqi-American, b. 1981)
Untitled, 2012


Oil on panel
Courtesy of the Artist and Jack Shainman Gallery, New York


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JENNA GRIBBON
(American, b. 1978)
Night Swimming Wrestlers, 2018


Oil on linen
Courtesy of the Ani Arnold Collection



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JENNA GRIBBON
(American, b. 1978)
Night Swimming Wrestlers, 2018


Oil on linen
Courtesy of the Ani Arnold Collection



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JENNA GRIBBON
(American, b. 1978)
I wonder was it really as beautiful as I remember, 2019


Oil on linen
Courtesy of Robert Levy


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JENNA GRIBBON
(American, b. 1978)
I wonder was it really as beautiful as I remember, 2019


Oil on linen
Courtesy of Robert Levy


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JENNA GRIBBON
(American, b. 1978)
To share a common memory, 2019


Oil on linen
Courtesy of Joyce Thomas


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JENNA GRIBBON
(American, b. 1978)
To share a common memory, 2019


Oil on linen
Courtesy of Joyce Thomas


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FRANCES GOODMAN
(South African, b. 1975)
The Drama, 2018


Hand-stitched sequins on canvas
Courtesy of Richard Tattinger Gallery, New York










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FRANCES GOODMAN
(South African, b. 1975)
The Drama, 2018


Hand-stitched sequins on canvas
Courtesy of Richard Tattinger Gallery, New York










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NEVINE MAHMOUD
(British, b. 1988)
Perfect Orifice, 2020


Portugeues marble, glass, acrylic
Courtesy of the artist and Soft Opening, London







HTMLText_AB8FE97B_8BA4_1FBC_41B6_37D160063556_mobile.html =
NEVINE MAHMOUD
(British, b. 1988)
Perfect Orifice, 2020


Portugeues marble, glass, acrylic
Courtesy of the artist and Soft Opening, London







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FRANCES GOODMAN
(South African, b. 1975)
Envy Her, 2018


Hand-stitched sequins on canvas
Courtesy of Richard Tattinger Gallery, New York








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FRANCES GOODMAN
(South African, b. 1975)
Envy Her, 2018


Hand-stitched sequins on canvas
Courtesy of Richard Tattinger Gallery, New York








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TSCHABALALA SELF
(American, b. 1990)
Unrequited, 2020


Oil, flashe, acrylic, and fabric on canvas
Private Collection







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TSCHABALALA SELF
(American, b. 1990)
Unrequited, 2020


Oil, flashe, acrylic, and fabric on canvas
Private Collection







HTMLText_AF3B06EC_8BBC_32D5_41CE_17E173707439.html =
FRANCES GOODMAN
(South African, b. 1975)
Killing Time, 2018


Hand-stitched sequins on canvas
Courtesy of Richard Tattinger Gallery, New York










HTMLText_AF3B06EC_8BBC_32D5_41CE_17E173707439_mobile.html =
FRANCES GOODMAN
(South African, b. 1975)
Killing Time, 2018


Hand-stitched sequins on canvas
Courtesy of Richard Tattinger Gallery, New York










HTMLText_AF9E0612_8BA4_354D_41DA_ECBBB45B0D70.html =
TSCHABALALA SELF
(American, b. 1990)
Sill, 2020


Oil, acrylic, flashe, handmade paper, fabric, and found material
Courtesy of the Artist and Galerie Eva Presenhuber, Zurich & New York / Private Collection, Switzerland





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TSCHABALALA SELF
(American, b. 1990)
Sill, 2020


Oil, acrylic, flashe, handmade paper, fabric, and found material
Courtesy of the Artist and Galerie Eva Presenhuber, Zurich & New York / Private Collection, Switzerland





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Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
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