SHOCK of the FEMME

SHERRI CAUDELL, Editor-in-chief

Design, Curation, + Editing By Sherri Caudell

ABBY CARNEY: WRITING  BIO 

ADELAIDE: PAINTINGS   BIO 

ALEXIS POPE: POEM + AUDIO 1   POEM + AUDIO 2   POEM + AUDIO 3   POEM + AUDIO 4   BIO 

ALICE COHEN: VIDEO ART  BIO

ALISON BLICKLE: PAINTINGS  BIO

ALLISON RENTZ: ARTWORK  BIO

AMANDA BALDWIN: PAINTINGS  BIO

ANGELA FRALEIGH: PAINTINGS  BIO

ANNA KRAMER: MUSIC VIDEO  BIO

ANNA SPENCE: WRITING + VIDEO  BIO

APRIL LEDBETTER/DUST-TO-DIGITAL: SONG, WRITING, + ALBUM ART  BIO

BECCA KLAVER: POEMS  BIO

BERRY GRASS: FLASH NONFICTION  BIO

CANDICE GREATHOUSE: PHOTOGRAPHS  BIO

CAROLINE COX: WRITING  BIO

CHARLIE WATTS: PHOTOGRAPHS  BIO

CHRISTEENE ALCOSIBA: POEMS  BIO

CLEMENTINE WILLOWILDE: COMIC BOOK DRAWINGS  BIO

DELPHINE HENNELLY: PAINTINGS  BIO

ELIZABETH J. COLEN: WRITING  BIO

ELIZABETH JARRETT: MIXED MEDIA WORKS  BIO

ELIZABETH PORCEL: PAINTINGS  BIO

ELIZABETH TADDONIO: WRITING  BIO

ELLIE POURBOHLOUL: POEM + AUDIO 1  POEM + AUDIO 2  POEM + AUDIO 3  BIO

ESTHER RUIZ: ART OBJECTS  BIO

FAITH MCCLURE: PAINTING  BIO

HADASS WADE: WRITING  BIO

JAIME KEITER: TILE WORKS  BIO

JAMIE HOPPER: PHOTOGRAPH 1  PHOTOGRAPHIC SERIES  BIO

JENNA GRIBBON: PAINTINGS  BIO

JENNI(F)FER TAMAYO: INTERVIEW  BIO

JENNIFER VANILLA: SONG  BIO

JUDITH JONES: POEM  BIO

JULIE L. SIMS: PHOTOGRAPHIC WORKS  BIO

KATE MCQUILLEN: PAINTINGS + INSTALLATION WORK  BIO

KATIE TROISI: INSTALLATION WORK  PAINTINGS   BIO

KEIKO NARAHASHI: SCULPTURES  BIO

KELLY BLACKMON: PHOTOGRAPHS  BIO

KRISTEN SCHIELE: INSTALLATION WORK + PAINTING  BIO

LAURA CARTER: POEM  BIO

LAURA THEOBALD: POEMS  BIO

LAURA VELA: ARTWORK  BIO

LAUREN LULOFF: PAINTING  BIO

LEA LEA: SONG + VIDEO  BIO

LINDSAY BERNAL: POEM  BIO

LORRY KIKTA: WRITING  BIO

MANA AGHAEE: POEM + AUDIO 1  POEM + AUDIO 2  POEM + AUDIO 3  BIO

MARCIA VAITSMAN: VIDEO  BIO

MEGAN VOLPERT: POEM  BIO

MEREDITH KOOI: SOUND ART, PHOTOGRAPHS, + VIDEO ART  BIO

MICHIKA SKYY MCCLINTON: SONG  BIO

MOLLY ROSE FREEMAN: PAINTINGS  BIO

NATALIA CASTELLS-ESQUIVEL: WRITING  BIO

NEKA KING: GIFS   BIO

NICOLETTE EMANUELLE: SONG  BIO

NIKKI & THE PHANTOM CALLERS: SONGS  BIO

NIKKI SPEAKE: SONGS  PHOTOGRAPH   BIO

ORIANA GATTA: DIGITAL ART PRINTS  BIO

SADE LANAY: INTERVIEW  BIO

SAIRA RAZA/SISTER SAI: MUSIC VIDEO  BIO

SARAH JEAN ALEXANDER: POEM  BIO

SARAH MARIA CONARRO: SOUND ART  ARTWORK  BIO

SHANA ROBBINS: VIDEO ART  ARTWORKS  BIO

SHANNA COMPTON: POEMS  BIO

SHANTIH SHANTIH: MUSIC VIDEO  BIO

SHARA HUGHES: PAINTINGS  BIO

SHARON SHAPIRO: PAINTINGS  BIO

STEPHANIE DEMER: PHOTOGRAPHS  BIO

SUNNI JOHNSON: PHOTOGRAPH  BIO

TERA BUERKLE: WRITING  BIO

VALERIE JANE THOMA: COMEDY VIDEO  BIO

VASHTI WINDISH/WARM DRAG: MUSIC VIDEO  BIO

VERONICA IBARRA: PHOTOGRAPHS  BIO

Alison Blickle, Graces, 2016, oil on canvas and ceramics, 68 x 80 inches

Alison Blickle, Cloak, 2016, oil on canvas, 85 x 67  inches

Alison Blickle, Uncrossing, 2015, oil on canvas and ceramics, 81 x 108 inches

ARTIST STATEMENT By Alison Blickle:

Alison’s work includes oil paintings and ceramics that depict women engaged in mysterious ceremonies. Presented as installations, with objects positioned on the floor or on stands like altars in front of the paintings, the works together tell a story. They suggest that the viewer has entered a sacred space and that they are seeing remnants of a mystical happening that took place there. Vessels are repeated throughout the paintings and ceramics, and suggest the cosmic egg. These vessels are carefully tended to, guarded, and used by the women who inhabit the scenes. Figures pose in trance-like, choreographed movements, reflecting Alison’s belief that art making is ritual, and that all ritual is performance.

Delphine Hennelly, Untitled, 2017, Oil on canvas, 72 x 40 inches

Delphine Hennelly, Menage, 2018, Oil on canvas, 72 x 60 inches

10 Delírios em 10 Sutras

On one side, things are so complicated that the texts, that once translated reality into news or documentaries of their current times (and which in the future would be a script of today), became now an irregular texture full of folds, holes and contradictions. Texts today are written continuously by millions of people and ejected in real time into a transparent public space, existing in black boxes, the servers, infinitely bigger on the outside than on the inside. Our “scripts of reality” are now a ripped texture, a topographic map of sinkholes, with a unique notation: the word "rupture", [text+rupture=texture], defining things at the moment that they cease to be.

On the other side, a more tranquil space, infinitely larger inside than outside (like Doctor Who's Tardis, as a proof that this is possible). Space of little changes, where the mathematical disorder [text+rupture=texture] from the outside becomes nothing more than a radio playing in the background, at a neighbor's house, on a sunny Sunday in the city of São Paulo – while we bake bread. Suddenly, the scenes get exchanged and the calm image approaches a vision of what is natural. And the other, the overloaded one, looks more like what happens inside of our minds. Initially, it is a binary order, and gradually the situations repeat within themselves: like a box inside another box, inside other disorienting and pulsating boxes.

Oriana Gatta, Pink Is My New F*ck You, 2018, Digital Art Print.

Oriana Gatta, Atwood’s Iris, 2017, Digital Art Print.

Oriana Gatta, The Girl Is So Dangerous, 2018, Digital Art Print.

Differences By Mana Aghaee, Read By Ellie Pourbohloul

Differences By Mana Aghaee, Translated By Ellie Pourbohloul

One becomes a butterfly

And escapes towards the sun

From the edge of rain

Another stays in a cocoon

And dies of darkness

One becomes an ocean

And expands kindness

Another refuses their hands

One is Abraham in the fire

Another laughs at flowers

42 By Mana Aghaee, Read By Ellie Pourbohloul

42 By Mana Aghaee, Translated By Ellie Pourbohloul

I’ve given forty two springs

To the wind

Forty two winters

I’ve watched my hair turn whiter

Forty two autumns

I’ve counted the hatchlings

But no season saddens me

Like summer

I threw forty two stones

In the pond

Forty two circles

The Men- By Mana Agahee, Read By Ellie Pourbohloul

The Men- By Mana Agahee, Translated By Ellie Pourbohloul

The men

All came to my house

In the darkness

And entered without knocking

Each of them stole

A piece of my heart

Where I hid the sun

And left without a sound

Slowly and stealthily

Like midnight thieves

Each of them

“Knocking” by Shantih Shantih

Meredith Kooi, doris & ray & me, 2014.

All the above photographs in this post are by Meredith Kooi from the series, But Meredith Boo-Fucking-Hoo.

Meredith Kooi, Untitled (pink donuts II), 2006.

Meredith Kooi, ray’s welcome, 2012.

Meredith Kooi, i don’t mean rhinestones I: GPB (khora study #4), 2015.

Meredith Kooi, i like belle and belle likes me, 2015.

ARTIST STATEMENT By Meredith Kooi:

drafting a family history. i am determined by the legends of two men.

I am ambivalent about my family’s history. At times, I feel proud of their accomplishments. At other times, most of the time, I am overcome with embarrassment. I have a hard time admitting where I come from. Certain aspects of my past. My origin story is one of gains and losses. An inability to accept changes. An unwillingness to admit failure and trauma. Inhabiting the nexus of my two families, which in actuality, is more than two, I am surrounded by the patriarchs. The protagonists of the family story. A grand mythology.

The work I present here has been in progress since 2006, prompted by the passing of my grandfather Kooi, Papa K. I didn’t get to see him before he died. There was no memorial, as far as I know. The kinship I felt with him continues to strengthen with the sound of his voice. A tune he wrote for me when I was born. He welcomes me with song.

I now turn to another side, the family of my mother. The narratives my familiars craft about my great-great-grandfather and my great-grandfather make them into figures larger than life. To this side of my genealogy, they are the definition of the American Dream. But, there is an underbelly to this tale rarely discussed. It is seedy, marked by greed and jealousy. Privilege but also grit.

Images of blonde bombshells circumscribed the feminine imaginary in this family. Nevermind you pursue a career, young lady. You have been presented, debuted to society, let the suitors come. We don’t care that you relate more to a dog in a dirty room.

In 2017, during a collaborative residency at Eyedrum with Ajmal Millar and Johnnie Ray Kornegay III which we titled Disguises Welcomed Here, I dove into the belly of the beast, exposing its guts to the world. This work is aptly called But Meredith Boo-Fucking-Hoo. I put my most kept secrets on display. Parts of me that I didn’t want anyone to know about. Things that I kept hidden from view.