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San Francisco

Pro Arts Gallery

Exhibition Detail
Medusa's Mirror: Fears, Spells, and Other Transfixed Positions
Curated by: Amanda Cachia
150 Frank H. Ogawa Plaza
Oakland, CA 94612

September 13th, 2011 - October 20th, 2011
September 13th, 2011 11:00 AM - 6:00 PM
Peggy Lee, Laura SwansonLaura Swanson, Peggy Lee,
2008, Inkjet Print, 20" x 30"
© Laura Swanson
Belly, Katherine SherwoodKatherine Sherwood, Belly,
2010, Mixed Media on Canvas, 92" x 30'
© Katherine Sherwood
Blind Field Shuttle - Open Engagement Conference, Portland State University, Carmen PapaliaCarmen Papalia,
Blind Field Shuttle - Open Engagement Conference, Portland State University,
2011, Digital Print, 11" x 17"
© Carmen Papalia
untitled, Neil MarcusNeil Marcus, untitled, 2006
© Neil Marcus
No Arms! (Self-Portrait), Sunaura TaylorSunaura Taylor, No Arms! (Self-Portrait),
2010, Oil Paint on Print on Raw Canvas, 60" x 42"
© Sunaura Taylor
Songs Without Words (Eartha Kitt), Joseph GrigelyJoseph Grigely,
Songs Without Words (Eartha Kitt),
2009, Pigment Print, 18" x 14"
Clean Sheets, Sadie WilcoxSadie Wilcox, Clean Sheets,
2007, Video Installation
© Sadie Wilcox
Dermis Leather Footwear, Chun-Shan (Sandie) YiChun-Shan (Sandie) Yi, Dermis Leather Footwear,
2011, Latex, Cork & Thread; Digital Chromogenic Print, 20" x 30"
© Chun-Shan (Sandie) Yi
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East Bay
Tue -Fri 10-5pm and Sat 11-4pm
sculpture, modern, figurative, realism, conceptual, video-art, mixed-media, photography

In Greek mythology, Medusa was viewed as a monster, and gazing directly upon her would turn onlookers into stone. Inspired by this myth, the artists in Medusa’s Mirror address the able-bodied gaze upon the disabled subject - often viewed with fear, curiosity or wonder - by turning the gaze upon the viewer. This shift allows the disabled subject to claim agency and gives cause for the able-bodied viewer to reflect on their own frameworks. The piercing gaze as interpreted through medicine are explored in Katherine Sherwood’s mixed media paintings and Sadie Wilcox’s examinations of the roles of patient, caregiver and doctor. The medicinal gaze is further skewed into the world of the sideshow in the work of Sunaura Taylor, articulating the point of tension in the gaze.  
Several works draw from the ruptures between the able-bodied and the disabled. Deaf artist Joseph Grigely’s explores the ruptures and failures of communication, pointing to the rift between spoken and signed language. Blind artist Carmen Papalia’s Blind Field Shuttle walking tours leads the closed-eyes participants to experience the world using their other senses - primarily sound and touch. Visual representations of the body and our relationship toward body image are thoughtfully explored in Chun-Shan (Sandie) Yi’s latex sculptures and in the discomfort reflected in Laura Swanson’s photographs. The body is further addressed in Neil Marcus’ drawings, an extension of his performance practice, which grapples with mobility and movement as one with dsytonia. The works in Medusa’s Mirror bring to light the able-bodied gaze upon the disabled subject and in turn point to the vulnerabilities and fragilities commonplace with all human beings.  
Medusa’s Mirror is curated by Amanda Cachia, The exhibition is part of Pro Arts’ annual open call for exhibition proposals. Pro Arts’ visual arts programming is supported by the National Endowment for the Arts, California Arts Council, and The Andy Warhol Foundation for the Visual Arts.

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