More than Meets the Eye: Surprising Materials

Several of the artists featured in NMWA’s collection galleries create works that seem to be at odds with their materials. This discrepancy goes to the heart of the viewing experience, revealing the duplicity of the work while also calling into question the audience’s assumptions concerning the depicted forms. In creating a paradox between subject and material, these artists seek to uncover the tensions inherent in artistic representation.

Sharon Core, Single Rose, 1997; Chromogenic color print; 14 x 13 inches; National Museum of Women in the Arts, Gift of the Heather and Tony Podesta Collection, Washington, D.C.; © Sharon Core, Courtesy of the artist and Yancey Richardson Gallery; Photograph by Lee Stalsworth

Sharon Core, Single Rose, 1997; Chromogenic color print; 14 x 13 inches; National
Museum of Women in the Arts, Gift of the Heather and Tony Podesta Collection,
Washington, D.C.; © Sharon Core, Courtesy of the artist and Yancey Richardson Gallery; Photograph by Lee Stalsworth

Sharon Core’s culinary interests led her to craft her photographic series “Thiebauds.” From 2003 to 2004, Core re-created Wayne Thiebaud’s vivid, pastel still-life paintings with her own baked and hand-decorated dessert dishes. An earlier work in NMWA’s collection, Single Rose (1997), explores the distinction between delicacies and delicacy. In this photograph, a rose blooms against a tightly cropped pink background. A closer look reveals that the crumpled petals seem to be slices of meat. With this revelation, Core forces viewers to re-contextualize what they see. She substitutes the image of an elegant blossom with a parody of the rose’s associations of natural beauty. Her juxtaposition of visual truth against physical authenticity calls into question assumptions about equating representation with reality. Although meat exists in nature, as do roses, the viewer’s clashing associations frame the image as an artificial construction. Core’s visual deception reveals the contradiction in these associations.

Frida Baranek, untitled, 1991; Iron, 44 x 75 x 46 in.; NMWA; Museum purchase: The Lois Pollard Price Acquisition Fund

At first glance, Frida Baranek’s untitled sculpture (1991) conjures images of a bird’s nest. Only when viewers approach do they realize that what seems to be a tangle of straw is actually carefully constructed from iron wires and rods. Although the sculpture’s form appears lightweight and organic, it is heavy and industrial. Baranek is interested in using her art to comment on environmental issues in her native Brazil and around the world. Baranek’s sculptures demonstrate that even industrial debris can have meaning if reused and remade.

Marisa Tellería-Díez, Getting Wet, 1999; Fiberglass, hydrostone, and enamel, 16 x 13 x 14 in.; National Museum of Women in the Arts, Gift of the Tony Podesta Collection; © Marisa Tellería-Díez

Marisa Tellería-Díez invites contradiction in her sculpture Getting Wet (1999). Interested in visitor perception, Tellería-Díez explores the relationship between a work’s physical reality and what she calls its “perceptual presence”—which she describes as “a presence that points not only to what’s there but also to what’s not.” While Getting Wet resembles cushy stools, closer inspection shows that its soft curves are carved from rigid materials. Shattering the correlation between the visual and the kinesthetic, Tellería-Díez draws viewers in. Perhaps meant as a tongue-in-cheek reference to the title, the bottom of the two “cushions” retain a light blue gloss, an imitation of wetness that is just as illusory as the work’s hard plaster bodies.

Interested in experiencing this visual trickery firsthand? Visit the museum to see all three works in NMWA’s third floor galleries.

—Xiaoxiao Meng was the summer 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

Gallery Reboot: Natural Women

The museum’s newly reinstalled collection emphasizes connections between historical and contemporary art. Organized by the themes of the body, nature, domesticity, fabrication, and herstory, each gallery delves into a topic explored by women artists through time and around the world.

The natural world often serves as a source of inspiration for artists. Because of their purported powers of observation, women artists historically were encouraged to render the natural world. Still-life painting was deemed appropriate since it did not require the training needed to render the human body. NMWA’s collection galleries feature women artists from the 17th and 18th centuries who produced precise and imaginative flower paintings, as well as modern and contemporary artists who continue to draw inspiration from the natural world.

Dutch flower painter Rachel Ruysch (1664–1750) gained renown for her meticulous attention to detail and scientific accuracy. Because her father was a botanist she studied his collection from an early age. Ruysch’s education allowed her to put her own spin on the genre of still-life painting. She employed her scientific knowledge in her paintings by including insects and signs of decay. Although each flower is depicted with scientific accuracy, her compositions are imaginative. Ruysch combined blooms from different seasons and locations. In reality, these particular flowers would not have existed in the same arrangement.

Contemporary artist Sharon Core (b. 1965) often uses photography to mirror still-life paintings by well-known male artists and trick the viewer’s eye when presenting them with natural subjects. Core looks beyond traditional standards of beauty. At first glance, Single Rose (1997) appears lovely and delicate, but its velvety petals seem to be constructed from thin slices of meat. The work confronts the expectations of what is and is not considered beautiful in nature—and challenges the traditional subjects depicted by women artists.

Sale Neige (1980) by Joan Mitchell (1925–1992) serves as an abstracted interpretation of nature. The monumental painting’s title translates to “dirty snow” in French. Snow, often romanticized as pure and fresh—not unlike qualities often attributed to women—appears grittier and less pristine in Sale Neige. Vigorous brushstrokes of pale color at the top of the canvas seem to melt onto the more vividly colored lower third. Like many of her works, Sale Neige signifies Mitchell’s memories of or feelings for the landscape. Mitchell extended the scope of Abstract Expressionist painting by applying it to the subject of nature.

Works by these innovative women transcend simple, pleasing depictions of the natural world. See these works online or by visiting NMWA!

Meghan Masius was the spring 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

5 Fast Facts: Sharon Core

Impress your friends with five fast facts about Sharon Core, whose work is currently on view at NMWA in the collection galleries and in Super Natural.

Sharon Core (b. 1965)

Sharon Core, Single Rose, 1997; Chromogenic color print; 14 x 13 inches; National Museum of Women in the Arts, Gift of the Heather and Tony Podesta Collection, Washington, D.C.; © Sharon Core, Courtesy of the artist and Yancey Richardson Gallery; Photograph by Lee Stalsworth

Sharon Core, Single Rose, 1997; Chromogenic color print; 14 x 13 inches; NMWA, Gift of the Heather and Tony Podesta Collection, Washington, D.C.; © Sharon Core, Courtesy of the artist and Yancey Richardson Gallery; Photograph by Lee Stalsworth

1. Mystery Meat
Two photographs on view in Super Natural, Single Rose and Bouquet, incorporate flower petals made from meat—purportedly from pig ears.

2. Painterly Beginnings
Core studied painting at the University of Georgia and later earned an MFA in photography at Yale. Her works are inspired by or directly based on realistic paintings—such as those by 19th-century painter Raphaelle Peale.

3. Presidential Produce
By growing heirloom vegetables and flowers, Core says, “I see the garden as an extension of my studio.” In her series imitating still-lifes by Peale, Core obtained many plants from Monticello. Thomas Jefferson kept meticulous records of his garden crops and was a friend of Peale’s family.

4. A Piece of Cake?
Core also reimagined works by Wayne Thiebaud, involving baking, decorating, and arranging more than 200 brightly colored cakes and foods. Food styling was not a new skill for Core, who has also worked on shoots for a German food company, HoneyBaked Ham catalogues, and Martha Stewart Living.

5. Nature Morte
Carefully staging photographic still-lifes with home-grown flowers is not a common practice. Core says, “The paintings on which [my works] are modeled were painstakingly painted to appear as real as possible, so I go to great pains to come at the image from another direction—to mirror it.”

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.