On View February 4th – March 26th, 2016
“Arm candy, sugar tits, butterface – these are common words people casually throw around all the time. When disseceted and taken literally, these words turn the female body into an object of consumption (sugar, butter, candy). What does this say about our attitude towards women?”
In Words for Women, Friemoth ridicules labels often reserved for women by extracting their literal context and mocking their absurdity. “Sugar Tits” depicts a model’s breasts caked in scrumptious frosting, “Trophy Wife” presents Friemoth as a gleaming statuette on a pedestal. When these words for women are visualized, however sensual, they are merely a reflection on the contemporary society and its biases.
In a series of self-portraits, 10 Commandments provides a devilish interpretation on the Biblical laws by illustrating ways they can be broken — whether it’s absconding with a painting or impishly removing a wedding ring. Each frame is highlighted by meticulously chosen elements – be it a rotisserie chicken, a dartboard or a rotary telephone – and Friemoth’s arresting gaze, which serves as an invitation to the other side.
In each series, Anna Friemoth absorbs the original context and then reformats it into a fresh, interpretive narrative. Words for Women conveys real confidence in the power of portraits, and builds on the premise that imposing a boundary on an idea or a person is a futile attempt.
Anna Friemoth (b. 1990) received her BFA from Maryland Institute College of Art and studied photography abroad at Central Saint Martin’s in London. Her work has been published internationally in France, South Korea, Turkey, China, London and New York. Among these include BLINK Magazine, Beautiful/Decay, New Yorker, VICE, Feature Shoot, MATTE Magazine, Flavorwire, among others. Friemoth’s work has been exhibited in Brooklyn Museum of Art, New York; Toledo Museum of Art, Ohio; Queens Museum, New York; and acquired by the Museum of Modern Art’s periodicals collection.
“Words for Women”, install view at Gallery 151, New York, 2016