The Political Woman

September 13, 2002 - October 10, 2002

For a larger view and/or more information, click on the thumbnails below:

Artists Represented:

Karen Abbott (IL), Kristin Anderson (NY), Tracy Beaver (IL), Dawn A. Wms. Boyd (CO), Christine DiThomas (IL), Henri Doner-Hedrick (KS), Heidi Hardin (CA), Debi Harney (WA), Robyn Henzel (NY), Dawn Hunter (GA), Tracey Lane (GA), Roz (Rosalie) Mahoney (CA), M. A. Papanek-Miller (WA), Joanne Pasila (MA), Eden Stern (IL), Carla Stetson (MN), Judith Winn (MO), Alyssa Wood (MN), Nanette Wylde (CA), Hong Zhang (CA)

Juror(s): Christie Hefner, CEO of Playboy Enterprises, Inc. and Carrie Secrist, owner/director of Carrie Secrist Gallery, Chicago

Juror Statements:
I thought the process of jurying this show would be overwhelming because of the quantity of art submitted and because I have never done this before. But, in fact, I jumped into it easily and enthusiastically. It was surprising to me how often Carrie and I had a very similar response to the pieces. We both were struck by how often the political was framed by the personal. I especially liked the range of the work, both media and subject matter, and our selections were influenced by our interest in having the show reflect that range. We reviewed the art on a standalone basis first, and then went back and read each artist’s statement and reconsidered the works. Given that the show, by definition, was to have a significant intellectual context, we felt that the best works would “speak” to the viewer, in and of themselves, and yet also legitimately be illuminated by the thoughts and words of the artist. -Christie Hefner

While curating art exhibitions is part of my everyday life, the experience of jurying “The Political Woman” was fresh and quite interesting. The quality and content of the submissions were very strong, and viewing them with Christie brought a whole new dimension to the work. My first response would always lean toward an evaluation of only the visual. Christie would oftentimes open my eyes to the content or message that she would immediately recognize. This show is especially significant to me in the way that the subject matter, which is often times presented in a detached “shouting from atop a soap box” kind of way, instead seems to be illustrated in very private, valid, and heartfelt manner. Shock value, in both the visual and the message contained in each work, is replaced with the personal. -Carrie Secrist