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On view in the gallery is an expansive selection of work in diverse media by six artists who unapologetically create representations of female sexuality. The history of women in art has been, in large part, the history of women as subject or as muse.

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The artists included in CUNT make work that runs counter to this dominant history, asserting instead that women can be both image and image-maker. The exhibition argues that methods of representation have an impact upon the interpretation of bodies and histories, in a way that can challenge governing understandings of female sexuality.

Each artist in the exhibition contributes work that employs imagery of the body, of copulation, or of masturbation, that underscores these conversations, but none of the images elevate, romanticize, or subdue their subject matter for the comfort of the viewer. Instead, these works enlarge, repeat, and glorify images of women and vaginas in order to demand that the viewer respond to the work with an understanding of women as both subject and maker.

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Judith Bernstein b. Bernstein was a founding member of A. In addition to the mural, Bernstein will exhibit a new series of sexualized protest paintings in the gallery, all rendered in day-glow paint, as well as a pair of her vertical screw paintings. With the day-glow paintings, Bernstein continues to develop a system of images she established in her CUNTFACE paintings, rendering enormous, predatory vaginas complete with sharp, gnashing teeth.

Her oeuvre includes work in nearly all media, including video, photography, performance, installation, writing, and publishing, and her production has long been marked by a desire to explore culturally coded taboos related to women as sexualized objects.

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EXPORT quickly gained notoriety for her guerilla performances, in which she used her body as material. Dorothy Iannone b.

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Iannone began painting in the mids, with no formal training, and developed an instantly recognizable style that pulled on a set of visual strategies gathered during periods of extensive travel. Her work has always addressed corporality and the human figure, and her flattened forms variously recall Japanese woodcuts, Greek urns, Egyptian hieroglyphics, and Byzantine Mosaics. Marilyn Minter b. Since the s, Minter has doggedly rendered shocking images that call attention to the violent aspects of pornography, misogyny, and mass media present in American culture.

Also on view are two large format enamel paintings on metal, both of which feature close-up depictions of vaginas, partially obscured behind foggy panes of glass. Minter continues this steamy imagery in a dye-sublimation print and a series of large format c-prints, which variously depict manicured hands grazing vaginas, lengthy pubic hair, and glowing skin.

Minter has also included a photographic portrait of Miley Cyrus portrayed in a similar style, printed in an edition of fifty, the profits from which will be donate entirely to Planned Parenthood. Carolee Schneemann b. Her practice has been hailed for the way in which Schneemann uses her body as material to create videos, performances, and situations to address the politics of the body.

On view in this exhibition is a video called Fusesfromwhich depicts Schneemann and her then-boyfriend James Tenney having sex. The film is notable for the way in which Schneemann reworked the very material of the film by drawing, painting, burning, and staining the celluloid to blend the genres of performance, painting, and video art.

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Alongside the video work, Schneemann will also display a gelatin silver print and a work on paper that were produced in conjunction with the video. From a more recent series of work, Schneemann will display a work on paper related to her performance Ask the Goddesswhich draws comparisons between contemporary female sexuality and deities from ancient cultures. Betty Tompkins b. With near absolute precision, Tompkins variously renders vaginas and penises on large format canvases, as well as close-up depictions of both heterosexual and homosexual intercourse.

Her earliest work was produced using images from vintage pornography, which she would grid off, scale up, and subsequently render on large canvases with a finely tuned airbrush. A grid of her more recent Pussy Paintingseach an airbrushed rendering of a different vagina in black and white paint, will hang alongside a large format painting from entitled Ersatz Cunt Painting 1which depicts a vagina in peachy monochrome in a panoramic format.

For further information about the exhibition and availability, please contact the gallery at info venusovermanhattan. For all press inquiries related to the exhibition, please press venusovermanhattan. InBetty Tompkins packed up her latest paintings—tightly cropped images of couples having sex—and sent them to Paris for a gallery show.

They never arrived. The history of women in art has been largely the story of women as subjects or as muse. Download Press Release. Explicit Feminist Art Tests the Waters at Frieze October 3, InBetty Tompkins packed up her latest paintings—tightly cropped images of couples having sex—and sent them to Paris for a gallery show.

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