THE MOTHERLODE
…it didn’t happen in a single unit of time and place…*
SEPTEMBER is thrilled to present THE MOTHERLODE,* Nicole Cherubini’s first solo exhibition at the gallery spanning twenty years of the artist’s practice. The show will respond to the gallery’s spatial distinctions while integrating three facets of her work: sculpture, photography, and performance. A central drive to Cherubini’s creativity is collaboration which will be present here in varying forms: her work with a choreographer, her re-working of photographic archives, and her integration of the influence of feminists authors, artists and theorists. Cherubini’s familiar exploration of what she terms ‘Baroque Minimalism’ runs throughout the exhibition: her baroque aesthetic is at play in the maximalist outfitting of figures in her photographs and the decadent ornamentation of her sculptures, while her minimalist inclinations are echoed in the geometric composition of her photographs and her cubed benches. Throughout the exhibition, the democratization of class and cultural signifiers, and the leveling of aesthetics and function are evidence of Cherubini’s multi-aesthetic and anti-hierarchical ethos.
*Carla Lonzi, Italian art critic and feminist theorist, Self-portrait (Autoritratto), recorded and transcribed throughout the 1960s, translated by Allison Grimaldi Donahue, published by Divided Press in collaboration with Dia Art Foundation.
*Wikipedia, “Mother lode is a principal vein or zone of gold or silver ore. The term is also used colloquially to refer to the real or imaginary origin of something valuable or in great abundance.
SEPTEMBER is thrilled to present THE MOTHERLODE,* Nicole Cherubini’s first solo exhibition at the gallery spanning twenty years of the artist’s practice. The show will respond to the gallery’s spatial distinctions while integrating three facets of her work: sculpture, photography, and performance. A central drive to Cherubini’s creativity is collaboration which will be present here in varying forms: her work with a choreographer, her re-working of photographic archives, and her integration of the influence of feminists authors, artists and theorists. Cherubini’s familiar exploration of what she terms ‘Baroque Minimalism’ runs throughout the exhibition: her baroque aesthetic is at play in the maximalist outfitting of figures in her photographs and the decadent ornamentation of her sculptures, while her minimalist inclinations are echoed in the geometric composition of her photographs and her cubed benches. Throughout the exhibition, the democratization of class and cultural signifiers, and the leveling of aesthetics and function are evidence of Cherubini’s multi-aesthetic and anti-hierarchical ethos.
*Carla Lonzi, Italian art critic and feminist theorist, Self-portrait (Autoritratto), recorded and transcribed throughout the 1960s, translated by Allison Grimaldi Donahue, published by Divided Press in collaboration with Dia Art Foundation.
*Wikipedia, “Mother lode is a principal vein or zone of gold or silver ore. The term is also used colloquially to refer to the real or imaginary origin of something valuable or in great abundance.
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SEPTEMBER