Beauty and Subjugation from The Goss-Michael Collection
April 11 through May 31
Guest Curator Filippo Tattoni-Marcozzi “encourages audiences to add these particular visual dialogues to the extremely current broader conversation, both political and cultural, surrounding the #MeToo movement”
A new exhibition of works at The Goss- Michael Foundation, curated by international art advisor Filippo-Tattoni- Marcozzi, have been selected to expose, inspire, confront and reflect upon the use and abuse of the female body in contemporary art.
The art has been chosen from the extensive works of The Goss-Michael Collection, one of the leading contemporary British art collections in the United States, which was founded by the late music icon George Michael and Kenny Goss in 2007.
Generations of artists have confronted themselves with the representation and/or interpretation of women. Artists constantly aim at capturing women’s profound identities, being themselves or their muses, sitters or fantasies, they have constantly struggled to empower and establish women’s personal
affirmations and to record their most intimate stories with honesty, and at times, respect.
Using women’s sexualities as banners for personal liberation or as inherited clichés associated with genre, artists are still attempting at capturing women’s strengths and weaknesses, adding to what even today represents an eternal battle between beauty vs. reality, romanticism vs. sex, culture vs. nature and ultimately: subjugation vs. equality.
In The Goss-Michael Foundation show, all works are allocated hidden roles to initiate as many conversations between themselves as possible, confronting different perspectives and messages from both female and male voices, to disrupt and challenge as well as to intrigue and celebrate.
Tracey Emin’s graphic neon messages, sensual painterly strokes and personal video performances are placed in conversation with works by Cecily Brown, Richard Patterson, Gary Hume and Linder that seem to emphasize the objectification of the female body but at the same time encourage a deeper look to discover a more personal, complex and autobiographical message.
A visually seductive canvas by Rachel Howard depicting a lifeless female body lying on a disheveled bed is paired with an imposingly strong self- portrait by artist Sarah Lucas in her studio titled “Selfish in Bed” allowing for more questions then answers.
Sculptures by Rebecca Warren, Henry Coombes and Don Brown reflect on opposite artistic practices while forming the body and its inner attributes.
Guest curator Filippo Tattoni-Marcozzi, the first curator of pop icon George Michael and Kenny Goss’ personal collection, revisits with this show some of the most important works acquired in the last fifteen years by The Goss- Michael Collection. Tattoni-Marcozzi also remembers the profound and personal conversations each piece originally sparked between the two owners and the artists and how their controversial messages are still extremely poignant and at the core of the The Goss-Michael Foundation’s educational mission.
“The audience is encouraged to add these particular visual dialogues to the extremely current broader conversation, both political and cultural, surrounding the #MeToo movement and the importance of addressing issues of harassment and inequality in contemporary culture worldwide, hoping that the new generation will use all of its creativity to finally rebalance its core values,” said Filippo Tattoni-Marcozzi, guest curator and owner of FTM Advisory.
ARTISTS IN THE SHOW:
Cecily Brown, Don Brown, Henry Coombes, Tracey Emin, Rachel Howard, Gary Hume, Rachel Kneebone, Linder, Sarah Lucas, Richard Patterson, Sam Taylor-Wood, Rebecca Warren