RECOMMENDED n the post-Feminist era—which this show, featuring three Latin American performance photographers, proves is here to stay—women are free to indulge themselves in staging themselves however they wish. Fabiana Barreda, Tatiana Parcero and Cecilia Paredes all choose to depict themselves or surrogate models as self-enclosed, indeed, narcissistic. Barreda adorns her model’s naked body with drawings of sinuous minimalist maps and various accoutrements from the vegetable kingdom to portray herself as a self-sufficient queen and vessel of nature. Parcero follows suit, wrapping herself in elegant patterns of thread that form astrological symbols and adopting poses that present her as a mistress of the orbs of the cosmos. Paredes, in white lace with a snake dangling from her neck, hides her face behind a silver mirror, intimating that it is the Gorgon Medusa’s. At least for these artists, post-Feminism has taken a decidedly new-age turn that signals a recovery of mythographic inwardness that sometimes follows the passage out of victimage. (Michael Weinstein) Through January 4 at Schneider Gallery
Related Stories
Reflections of Trauma: A Review of "Enter the Mirror" at the Museum of Contemporary Art Each piece in "Enter the Mirror" at the Museum of Contemporary Art Chicago reflects on a trauma, an injustice, an unfortunate demise, or a total loss of life. The artworks in the show range from the 1970s to the mid-2010s, and include installation, video, sculpture, film, photography, and painting.
For Us: A Review of "Something from Something" at Engage Projects Kushala Vora and Adia Sykes’ collaboration "Something from Something" tells us as viewers that knowledge, art, creation, inspiration, love—really anything you can think of—has a place of origin.
Women Behind the Lens: A Review of "From Her to Eternity" Courtney Love curates on the street. Just west of Wabash on the corner of Eighth Street, there is a wall of stellar rock star images that includes a special collection made by women photographers over the years.
