Sue Williams has lived and worked in New York since the mid-1980s. In her early career, she became known to a wider audience with her highly narrative painting. In taboo-like visual stories that seem like comics and caricatures, scenes of domestic violence and sexual obscenity, the artist expresses her rage over the enduring acceptance of sexism in society.Read More
Unlike many of her contemporaries, who in confronting the classically male dominated medium of painting turned to other modes of expression such as film, photography, or installation, Sue Williams remained committed to her familiar terrain. It is precisely this monopolistic aspect that allowed Sue Williams to play with the often conventional and stereotypical representations of her male colleagues and massively exaggerate them in her own visual space.
Sue William’s painting has constantly moved along a narrow line between figurative depiction and complete abstraction, as happens in some works in the early 2000s, in which the targeted monochromatic brushstroke becomes a central element. In her new works, these two realms are mixed anew, and Sue Williams thus explores an entirely new way of working.
Text courtesy Galerie Eva Presenhuber.
It will likely take me months to digest all the lessons I've learned from The Met Breuer's newest exhibition, Everything Is Connected: Art and Conspiracy, so it's a good thing that the show stays open through January.