August 30 2014

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faking it



Scan the roster for the upcoming Whitney Biennial and there can be little doubt that 2008 is officially the year of the badass female artist. Works by Rita Ackermann, Carol Bove, Ellen Harvey, and Agathe Snow will all be included in the Henriette Huldisch and Shamim M. Momin-curated show. Now, two generations after Linda Nochlin spearheaded the feminist art history movement with her 1971 “ArtNews” essay “Why Have There Been No Great Women Artists?” her granddaughter Julie Trotta has opened a show of work by another badass at Fake Estate, the gallery that she opened in a former utility closet in the West Chelsea Arts Building. The artist, Toulouse-born, London-based Caroline Achaintre, earned her cred when she worked as a blacksmith and drummed in a heavy metal band, activities she continued even while pregnant. For her first New York solo show, called “Visor Visitor,” she created two freshly hooked rug pieces and a print edition. A stellar sampling of artists packed into the space for the opening, including Patrizia Iglesias and Brad Kalhammer, Robert Geller, the guys from Loden Dager, members of bands Lapdog of Satan and Priestbird, and, of course, the grandmother of it all, Linda Nochlin.

Caroline Achaintre, “Coner,” 2007, hand-tufted wool, courtesy of Fake Estate

Dept. of Culture