Mary Beth Edelson and Molly Gochman
McKinney Avenue Contemporary (the MAC)
3120 McKinney Avenue
Dallas, Texas 75204

November 6 – December 12, 2010
Opening Reception: Saturday, November 6th 5:30 – 8:00 PM.
The MAC is open Wednesday through Saturday, 11:00 AM – 9:00 PM.

Mary Beth Edelson: Humor is the Best Game in Town


McKinney Avenue Contemporary (the MAC) and Deborah Colton Gallery are pleased to announce one of the main events at the MAC this year: an exhibition of new work by two female artists of different generations who articulate strong views on social realities. The exhibitions are curated by independent curator and Creative Director of OUTPOST NYC DCG, Liutauras Psibilskis.

Mary Beth Edelson, emerged in the 1960s on New York’s SoHO scene as a groundbreaking feminist artist. Her conceptually-based work activates a variety of women’s and human rights issues. Molly Gochman, a Houston and New York-based younger artist, formulates ideas of community and subjective interconnectedness in her growing oeuvre, characterized by fluid visuality and the use of multiple media. Edelson and Gochman will present both installed and performative works in their respective exhibitions There is Never Only One Game in Town and Other Stories at the MAC.

Mary Beth Edelson presents an outstanding body of work created 1981–97. Most of the framed mixed-media wall pieces are now exhibited for the first time. These images, in which the artist critically reflects on the roles traditionally played by women in society, represent a development of her earlier interest in pop culture to create new signifiers and meanings. She also shows a site-specific installation, in which the historical development of the Women’s Movement is visualized as a spider’s web of cut-out images on the gallery walls.

To counteract the exploitation and underrepresentation of women in art, Edelson has often used archetypal, pre-patriarchal images of female goddesses, tricksters or warriors. This strategy was famously employed in a series of over-painted, black and white nude photographic self-portraits, aiming to loosen the centuries-old grip of the male gaze on the passive female body. She also re-edited famous artworks by inserting women’s bodies and faces. Mary Beth Edelson has continued to combine humor and gravity in her work, which is still as subversive as in the beginning of her career. She has worked in collaborative and/or political environments, participating in the early exhibitions at A.I.R. Gallery (founded in 1972), taking part in the Heresies Collective, and helping to lead the Women’s Action Coalition,1992–94. Her work has been exhibited around the world and she is represented in major collections such as MoMA and the Guggenheim Museum of Art in New York, the Museum of Contemporary Art in Chicago, the Corcoran Gallery of Art in Washington DC and the Walker Art Center in Minneapolis.

Conceptual artist Molly Gochman presents Lullabies (2010), an installation of photographs, sculpture, and interdisciplinary artworks that emerge from almost 3 years of consideration. The installation will transform the MAC’s square gallery into a sensory/narrative experience that will delve into the mysterious universes of time, transition, permeability, gentleness, and song. Gochman infuses the familiar with symbolic meaning. Bed sheets, brushes, quiet melodies, even the movement of air become more than they once were, awakening us to the fact that the world resonates – even in its most familiar corners – with life, with time, and with meaning. This is Gochman’s first exhibition of the Lullabies photographic prints in North America, and the first fully realized installation of Lullabies anywhere.

From her dual bases in Houston and New York, Molly Gochman has created a diverse portfolio of work that is both personal and philosophical — a contemplation on concepts of interest, like time and change, value, love relationships, and balance. In Welcome (2009), a site-specific work in front of the New Orleans Museum of Art, a series of large grass-covered mounds spell out the 104-foot-long word “welcome” in Braille, transforming a simple word of greeting into an environment. Gochman’s work consistently bridges the traditional divide between “artist” and “viewer.” In her three-part project Give-Away (2002, 2003, 2008), she relinquished 95% of her clothes to her audience in exchange for photographing each recipient in the outfit he or she selected. The photographs were ultimately altered or erased by visitors in the final installment of the project. Since 2002, Gochman has exhibited widely in galleries and public spaces such as the Lincoln Center and the Emily Harvey Foundation in New York, the Hobby Center for the Performing Arts, Deborah Colton Gallery, and DiverseWorks in Houston, and the Sara Roney Gallery in Sydney, Australia.