OUT
2019.7.5

This new Coin Cunt collection has traveled to Vladimir, Russia to be included in OUT, an exhibition organized by Vavilova Anastasia and sponsored by the Moscow Museum of Modern Art from July 11 - 31. OUT is a special event for connoisseurs of contemporary art combining painting, photography, installation, video, underground cinema and performance of artists from both Russia and the United States.


The goal of the exhibition is to portray the intimate lives of others without filters, sometimes without clothes, exposing loneliness or sexual fantasies. At the exhibition, you can find that the bodies of other people are imperfect and this is quite normal. Everyone can try peeping or become an object of peeping. Perhaps you can better understand yourself, your loved ones, become sincere and frank, review your shortcomings and see that you are not alone in your complexes or fantasies.

OUT

July 11 - 31, 2019

Shopping Rows Parking Complex

Vladimir, Russia

Tickets available here

NUDE at Villa Schöningen
2019.4.28

A couple of months ago the original group of flesh colored Coin Cunts was acquired by a collector in Germany. I’m so honored to have this piece exhibited alongside an incredible lineup of female artists in Potsdam, Germany. NUDE: Female Bodies by Female Artists is an exhibition of works from the private collection of Mathais Döpfner at the Villa Schöningen from May 4th through October 1, 2019.


From May 4, 2019, a group exhibition will be shown at the Villa Schöningen in Potsdam: Nude - Female Bodies By Female Artists. More than forty works by 31 international artists show different nudes, from the Renaissance to the present, including works by Paula Modersohn-Becker, Cindy Sherman, Marina Abramovic, and Rosemarie Trockel. For this extensive show, two floors of the Italian tower villa are being used for the first time.


In der Villa Schöningen in Potsdam wird ab dem 4. Mai 2019 eine Gruppenausstellung gezeigt: Nude – Female Bodies By Female Artists. Über vierzig Arbeiten von 31 internationalen Künstlerinnen zeigen unterschiedliche Aktdarstellungen, von der Renaissance bis zur Gegenwart, darunter Werke von Paula Modersohn-Becker, Cindy Sherman, Marina Abramovic und Rosemarie Trockel. Für diese umfangreiche Schau werden zu ersten Mal beiden Etagen der italienischen Turmvilla bespielt. 


Exhibition view of “Nude" at Villa Schöningen in Potsdam, with works by Carolee Schneemann (back left), Suzanna Scott (center) and Diana de Rosa. Image courtesy Villa Schöningen, Photographer: Noshe, 2019.

Feminine bodies from the perspective of artists from five centuries show the Villa Schöningen in their current exhibition. In addition to landscapes, portraits, and religious themes, female nudes are among the most frequently portrayed motifs in art history. From the Venus of Willendorf 25,000 years ago to performances and video installations of the present, the naked body has fascinated artists over the centuries. Again and again, dealing with nudity and eros was also an exploration of taboos and a fascinating indicator of the sense of time. Like a sensor of the constitution of freedom of a society or epoch, acts have shaped art history: restrained, shy, idealizing, sexualizing, politicizing, violent, tender, ugly or disturbing. Whether the "Maja" by Goya, the "Olympia" by Manet or "L'Origine du Monde" by Courbet and "Les Demoiselles d Avignon" by Picasso were always acts that provoked art scandals and explored uncharted territory.


Weibliche Körper aus dem Blickwinkel von Künstlerinnen aus fünf Jahrhunderten zeigt die Villa Schöningen in ihrer aktuellen Ausstellung. Der weibliche Akt gehört neben Landschaften, Portraits und religiösen Themen zu den meist dargestellten Motiven der Kunstgeschichte. Von der Venus von Willendorf vor 25 000 Jahren bis zu Performances und Video-Installationen der Gegenwart hat der nackte Körper Künstler und Künstlerinnen über die Jahrhunderte hinweg fasziniert. Immer wieder war der Umgang mit Nacktheit und Eros auch eine Erkundung von Tabus und ein faszinierender Indikator des Zeitgefühls. Wie ein Sensor der Freiheits-Verfassung einer Gesellschaft oder Epoche haben Akte die Kunstgeschichte geprägt: Zurückhaltend, verschämt, idealisierend, sexualisierend, politisierend, gewaltsam, zärtlich, hässlich oder verstörend. Ob die “Maja” von Goya, die “Olympia” von Manet oder “L´Origine du Monde” von Courbet und “Les Demoiselles d Avignon” von Picasso immer wieder waren es Akte, die Kunst-Skandale provozierten und stilistisches Neuland erkundeten. 


Exhibition view "Nude" in the Villa Schöningen, Potsdam, with the AR station of the painter Marion Fink. Image courtesy of Villa Schöningen, Photo: Noshe, 2019.

From May 4 to October 1, 2019, under the title Nude - Female Bodies By Female Artists, the female body will be shown exclusively in representations by female artists at the Potsdamer Villa Schöningen. Almost all forms of sculpture, drawing, painting, photography, and video are represented. In the foreground is the question of whether there is something like a specifically feminine view of the naked body. Or whether such stereotyping in the feminist context shape patterns that can not withstand a non-judgmental view beyond the gender stereotypes.


Unter dem Titel Nude - Female Bodies By Female Artists wird von 4. Mai bis zum 1. Oktober 2019 in der Potsdamer Villa Schöningen der weibliche Körper ausschließlich in Darstellungen von Künstlerinnen gezeigt. Dabei sind fast alle Formen von Skulptur, Zeichnung, Gemälde, Fotografie und Video vertreten. Im Vordergrund steht die Frage, ob es so etwas wie einen spezifisch weiblichen Blick auf den nackten Körper gibt. Oder ob solche Stereotypisierungen im feministischen Kontext Sehmuster prägen, die einer vorurteilsfreien Betrachtung jenseits der Geschlechter-Klischees nicht standhalten.

Exhibition view "Nude", Villa Schöningen with works by Anne Imhof (left) and Ambera Wellmann. Image courtesy of Villa Schöningen, Photographer: Noshe, 2019.

Project Gallery
2019.4.6

Pleased to have my new sculpture Obligations on view this month in the Project Gallery at Gray Contemporary in Houston, Texas. Featured along with Theresa Anderson’s 04/ Sack, Amber Cobbs In the Palm of my Hand in center. On view through May 5, 2019.


Obligations by Suzanna Scott, 2019. Images courtesy of Mel DeWees, Gray Contemporary.

historically hysterical
2019.4.4

Maryland Institute College of Art’s (MICA) Exhibition Development Seminar (EDS) presents historically hysterical,  a show featuring artists who reject the coercive hierarchy of gender roles in order to smash the patriarchy. Created by a class of twelve women curators, the exhibition uses installation, performance, photography, and mixed media fiber works—all created by contemporary women artists—to transform three floors of Baltimore’s historic Peale Center. The show opens with a public reception on Thursday, April 11 from 6:00 pm to 9:00 pm, including a performance by Baltimore feminist hardcore punk band War on Women.


historically hysterical  features women artists from diverse backgrounds who reference some of the materials and methods of seminal feminist art from the 1970s but draw their content from the present moment. This link between past and present mirrors current political realities: As a record-breaking 102 women joined the U.S. House of Representatives in the wake of #MeToo and the Brett Kavanaugh hearings, some journalists dubbed 2018 the “Year of the Woman”—a title previously used to describe 1992, the year Anita Hill testified against Clarence Thomas during his Supreme Court confirmation battle. The struggle for the acknowledgment of women’s experiences, contributions, and imaginative labor in a male-dominated system seems to echo across decades, forever unresolved.


The answer, the EDS curators suggest, is anarcha-feminism, an ideology that rejects traditional power relationships and demands equity, horizontality, and free association. The spirit of anarcha-feminism might seem antithetical to the past life of the Peale, which, as the first purpose-built museum in the U.S., once reflected nineteenth-century hierarchical approaches to knowledge and culture. But by inviting women artists to occupy the Peale and excavate, transform, and repurpose its spaces, EDS asks viewers to feel the power of the future, be inspired, and be liberated.



historically hysterical  includes:

New York artist Katie Bell creates installations of deconstructed and found objects, often working directly on walls and surfaces with materials scavenged on-site.


In her mixed-media fiber works, Brooklyn, New York artist Tamar Stone embellishes corsets, dolls’ beds, and other vintage items associated with women using elaborately embroidered text and images.


California-born, Baltimore-based artist Nakeya Brown uses found images and objects in staged narrative photographs that explore the complexities of race, beauty politics, and gender.


Baltimore-born MICA photography and design graduate Amy Helminiak uses multimedia to meditate on the ambiguity of language and the transformation of culture in the digital age.


Louisiana-based sculptor Suzanna Scott creates fiber-based sculptures and installation works rooted in feminist themes and visual metaphors for the body.


Originally from Spain, Chicago-based artist Verónica Casado Hernandez uses performance and installation to lacerate history, identity, and politics.


East Baltimore born and based photographer, educator, and freedom fighter Shan Wallace uses themes of history, politics, and oppression to challenge existing narratives of black communities.


War on Women is a Baltimore-based co-ed feminist hardcore punk band led by singer and activist Shawna Potter, who uses her lyrics to address issues like street harassment, reproductive rights, and rape culture.


In addition to works and performances by these artists, the exhibition also features interactive elements, including a communal “hysteria room” in which visitors are encouraged to let loose, embrace the spirit of anarcha-feminism, and respond creatively—or viscerally. The Peale’s permanent historical exhibition on the ground floor will be supplemented with an exhibit resource area, including a library of anarcha-feminist texts selected by Baltimore’s anarchist bookstore, Red Emma’s.

historically hysterical

April 11 - 28, 2019

The Peale Center
225 Holliday St, Baltimore, MD
Reception: April 11, 6-9 pm


About the Exhibition Development Seminar

Exhibition Development Seminar (EDS) is a year-long MICA course in which students experience the curatorial process by working collaboratively with the assistance of professional mentors to research, plan, and produce a major exhibition. MICA’s undergraduate Concentration in Curatorial Studies is currently administered by faculty member Jeffry Cudlin.


The Peale Center

The Peale Center for Baltimore History and Architecture, a 501(c)3 non-profit organization, is restoring the oldest museum building in the United States in partnership with the City of Baltimore. Through its programs, the Peale Center aims to illuminate authentic stories of Baltimore’s people and places, while reinventing the urban museum in the creative and innovative spirit of its founder, artist Rembrandt Peale.


About Red Emma’s

Named after the influential early 20th-century anarchist and advocate for women’s rights, Emma Goldman, Red Emma’s was founded in 2004 as a coffeehouse, restaurant, and bookstore. Started on a horizontal structure, all workers can become co-owners, thus having a vote. Their board takes every decision under consideration, with extensive research to responsibly source sustainable, animal-friendly products.


About MICA

MICA (Maryland Institute College of Art) is home to top-ranked fine arts, design, electronic media, art education, liberal arts, and professional studies degree and non-credit programs. The College’s alumni and programming reach around the globe, even as MICA remains a cultural cornerstone in the Baltimore/Washington region, hosting hundreds of exhibitions and events annually by students, faculty, and other established artists.


historically hysterical  is made possible in part by support from Friends of EDS. 

Structured
2019.3.5

Sow Sow by Michael Radyk

Textile Center, in collaboration with the National Council on Education for the Ceramic Arts, brings together a complement of textile and ceramic artists in Structured, an exhibition focusing on textile processes as a starting point for conceptual departure. Structured is a gathering of forces who employ hand-making practices, challenging both maker and viewer in terms of how work is discussed, defined, considered, and categorized in contemporary art.

Artemis, Trishula, and Swan Song by Suzanna Scott, 2018.

The exhibition will feature 7 ceramic artists, along with 10 textile artists who work sculpturally, using textile constructions processes and sensibilities. The exhibition, which runs March 18 – May 11, 2019, will bring together a stellar collection of innovative work that reflects the processes of textile and fiber-based studio art practice. Content and inspiration are broad but specific to each artist. The invited artists grapple with everything from the historic to the contemporary, covering a range of content from politics, culture, gender, and identity to commentary on craft practice and the decorative.


Equivocator by Gina Telcocci

The invited artists who identify with the field of ceramics push their work in new ways through exploration of techniques generally championed by fiber and textile artists. In tandem, the works by the textile artists aid in contextualizing these terms of structure and sensibility, connecting the work in a peer-to-peer conversation on the nature of what constitutes a work of fiber art and the far-reaching implications textile works have on contemporary art.

Sarah Kusa
Joanna Poag
Michael Radyk
Tina Rice
Suzanna Scott
Gina Telcocci
Joy O. Ude
Casey Whittier
Rena Wood


Structured

Textile Center / Joan Mondale & Studio Galleries

3000 University Ave. SE, Minneapolis, MN

March 18 - May 11, 2019

Reception: Thursday, March 28, 5-9 pm

Gray Contemporary
2019.2.17

I'm honored to be included among these artists in a group exhibition opening Saturday night at Gray Contemporary in Houston, Texas. Jamey Hart: Pistachio will be featured as a solo exhibition in the main gallery. I've long admired Jamey's work via Instagram after coming across his feed a couple of years ago. Just as intriguing as his work are his words as streams of consciousness on life, work, and all else in-between. Jamey's paintings can be understood as careful and slow meditations on form, completeness, and the link between looking and feeling. In the second gallery works by Steve Riedell, Suzanna Scott, Molly Thomson and Derrick Velasquez will be on exhibit.

Gray Contemporary

3508 Lake St. Houston, TX

February 23 - March 23, 2019

Opening reception: Saturday, Feb 23, 6-8 pm

Familiar Friends
2018.12.11
Opening this Saturday night in Los Angeles, one last exhibition to close out 2018! I was invited by the curatorial duo Stephanie Sherwood & Joshua Oduga to participate in Familiar Friends at Durden & Ray in Los Angeles. It’s a witty show with a lineup of ten stellar artists.


Familiar Friends is an examination of the power of relationships in creative work; the otherwordly and whimsical nature of the pieces in this exhibit express notions of friendly mythical creatures like an imaginary friend or perhaps a helpful demon. The artists in this exhibit use color and abstraction to present familiar forms in new ways. As this curatorial teams second project to date, Familiar Friends seeks to explore new themes in our similar interests.


MEET THE CREW:

DARIUS AIRO
SEAN CULLY

YASMINE DIAZ
ALLISON HONEYCUTT
BEN JACKEL
JACKSON LA LONDE
SUZANNA SCOTT
TRINA TURTURICI
STEVEN WOLKOFF
JASON YATES

FAMILIAR FRIENDS
December 15th - 29th, 2018
Durden and Ray
1206 Maple Ave #832, Los Angeles CA
Opening Reception: Saturday, Dec 15th 6-9 pm




All exhibition images courtesy of Stephanie Sherwood, 2018.


50 Nuances de Rose
2018.10.31

I’m excited to participate in 50 Nuances de Rose / 50 Shades of Pink, an exhibition bringing artists together around the color pink in the heart of Paris. This diverse collection of work aims to highlight the semiological richness of the color pink, thus bypassing its apparent superficiality.

The curator of 50 Nuances de Rose is Kévin Bideaux, an artist who multiplies historical and cultural references with the aim of renewing the link between art and science. He is also a doctoral researcher in art and gender studies at Paris 8 University, under the supervision of Hélène Marquié, a professor of gender studies. His thesis topic is the pink color and its connection to the genre. He is particularly interested in the way in which the feminine symbolism of the rose was constructed.


A nod to the popular work of Erika L. James, with which the color pink shares her evocation to sexuality and femininity, the exhibition addresses the color in all its colors in a variety of expressions: plastic, technical, political, historical, sociological, anthropological, psychological, psychoanalytical, physical, chemical, biological, esoteric, semantic, symbolic, poetic, illustrative or anecdotal explorations. Aesthetic choices or claimed militancy, the pink that runs through the exhibition comes in an infinity of hues, ranging from white to red, shading yellow or beige, and sometimes graying to black or purple. Epidermal, carnal or organic, it can be gentle and soothing as much as it suggests energy, strength, even violence. Deeply superficial, it also knows how to take itself seriously in powerful and political works that embody a form of resistance in the power relations that bind us. Resolutely feminist and unquestionably queer, the stigmatic color pink here becomes the flag of margins, that of minorities of gender, sexuality, class, and knows how to go beyond the cliché while (playing) stereotypes. —Kevin Bideaux, curator


50 Nuances de Rose features the work of nearly 50 artists, both French and international, and will include nearly a hundred original works, a large number of which are presented for the first time in France. 50 Nuances de Rose places a wager on diversity and marginality, by choosing to exhibit young and old artists, known and less known, in an alternative space in the heart of Paris.

50 Nuances de Rose

Exposition du 16 au 24 novembre 2018
Vernissage le 15 novembre à partir de 18H
59 RIVOLI, 59, rue de Rivoli, 75001 Paris


Fiber Fetishes
2018.9.4
Fiber Fetishes, a solo exhibition featuring 42 fiber sculptures, opens tomorrow at the Morrison Gallery on the University of Minnesota, Morris campus. The exhibition will be on view through October 6th.

The 'Fiber Fetishes' explore the intricate web in/of our reproductive bodies and throughout the natural world. A tangle of coital life, I observe the animate and inanimate—­ovaries, stamens, fertility fetishes, sex toys and contraceptive devices. I endeavor to meld the endless labyrinth of time and sensual memory through repetitive wrapping and stitching.

Suzanna Scott / Fiber Fetishes

Morrison Gallery / Humanities Fine Arts Building
UNM Campus, Morris, Minnesota
September 6 - October 6, 2018
Opening reception: Sept 6th 4:30-6 pm

CHAOS at Ro2
2018.8.2

Six of my pieces are included in CHAOS 2018, an annual exhibition of small works at Ro2 Art in Dallas, Texas.


CHAOS promises to be a vibrant, expansive exhibition of intimately scaled artworks from a wide variety of artists. While most of the exhibiting artists hail from the North Texas region, the show will also feature a few prominent artists from around the U.S. and Europe. As in previous years, the artists represented by the gallery are joined by invited guest artists, creating a dynamic unique to Ro2 Art's CHAOSexhibition.

CHAOS 2018
Ro2 Art / 1501 S. Ervay Street, Dallas TX
August 4 to September 8, 2018
Reception, Sat August 4, from 7-10 pm

Still Talking About It
2018.7.19

Coin Cunts, vintage coin purses and thread by Suzanna Scott

Paradigm Gallery + Studio is pleased to announce two concurrent exhibitions: Still Standing, a solo show by Lauren Rinaldi, and Still Talking About It, a group exhibition of new works by Danielle Clough, Andrea Farina and Suzanna Scott. On view from July 27, 2018 until September 15, 2018, Still Standing is a focused solo presentation of oil self-portraits, marking a continuation of Rinaldi’s representation of the female form through a personal lens. Still Talking About It, the group exhibition, brings together the works of Clough, Farina and Scott to explore the diversity of women’s collective experiences. Together, these distinct exhibitions explore the personal and universal struggles women face in today’s society.


Still Standing (detail), oil on canvas by Lauren Rinaldi

Still Standing includes twenty-four large and small scale paintings by Lauren Rinaldi. Rinaldi’s delicate brushstrokes and soft coloration do not mask the strength embedded in the portraiture. Most of the works in Still Standing are sourced stills from videos that Rinaldi takes of herself as she gets ready in the morning. These videos act as a basis for her work and help her convey the natural movement often missing from depictions of the female form. While Rinaldi’s portraits are modeled after her own body, they communicate stories of universal importance in our contemporary moment. Focusing closely on particular regions of the body––legs, heads, torsos––Rinaldi detaches the image from the self-portrait, instead offering psychological representations that manifest societal pressures that affect her as a woman, particularly as an artist, mother and civic leader. “These works deal with ideas about what it means to be a woman: the different roles we play, the different stages in our life, the different archetypes that are required of us and the different ways that we are expected to be. Not only expectations that are put on us, but our own expectations that we put on ourselves.” Rinaldi states.


Playgirls, embroidery thread on fabric by Danielle Clough

Also located in the gallery, Still Talking About It, a group exhibition of new works by Danielle Clough, Andrea Farina and Suzanna Scott, showcases the various ways in which contemporary textile art is used to represent the female form. All three artists use their work to explore inclusive ideas of womanhood and feminine identity. Clough’s stylized needlework begins with found vintage images of playboy models. Through her colorful, textured approach and layered dimension, she diverts these images’ original purpose by giving them a new space. Farina’s delicate embroidery on fabric depicts the female form from a more ambiguous approach. The thoughtful subtraction of identifying details creates a more universal figure. Finally, Scott brings twelve new sculptures to Still Talking About It as a part of her Coin Cuntsseries that she began in 2015. Found vintage silk and vinyl coin purses are turned inside-out and stitched to allude to the female anatomy. When discussing the series, Scott says, “A tease to the imagination, these transposed objects challenge our visual and cultural associations of women, money, and power." The series is meant to raise awareness about the social, political, and economic plights of women globally through the powerful imagery.


Cascade, thread on canvas by Andrea Farina

“We’ve organized Still Standing and Still Talking About It with these artists as a way to encourage a conversation that embraces women fully and without judgement. When we talk about the issues that the exhibitions revolve around, objectification, expectation, and inequality, we can find ourselves needing to take a deep breath and a step back. Exhaustion is involved, for sure, but these problems are important and we need to keep talking about them with strength behind our convictions,” says Gallery Co-Founder Sara McCorriston.

Still Standing:
a solo exhibition by Lauren Rinaldi

Still Talking About It:
a group exhibition by Danielle Clough, Suzanna Scott, and Andrea Farina

July 27 – September 15, 2018

OPENING RECEPTION
Friday, July 27, 2018 5:30 – 10pm

CLOSING RECEPTION
Friday, August 24th • 5:30pm - 10:00pm

EXHIBITION HOURS
Tuesdays, Thursdays, and Saturdays • 12:00pm – 6:00pm
And 7 days a week by appointment: info@paradigm-gallery.com / (267)266-0073

LOCATION
Paradigm Gallery + Studio / 746 S. 4th Street, 1st Floor / Philadelphia, PA 19147

Masur Museum
2018.7.7

I’m pleased to have my wall installation, Thumbs Down, included in the 55th Annual Juried Competition at the Masur Museum of Art in Monroe, Louisiana. The museum’s annual event showcases contemporary artists throughout the United States of America working in a variety of mediums. This year’s curator is Joel Parsons, an artist and teacher based in Memphis, where he is the Director of Clough-Hanson Gallery at Rhodes College and Assistant Professor in the department of Art and Art History. His curatorial practice is often collaborative and driven by a desire to bring institutional resources to bear on conversations of equity and marginality.

Participating Artists include John S. E. Alleyne (LA), David Andree (AR), Elizabeth Arden (PA), Ariel Baldwin (IL), LeeLee Brazeal (TX), Amelia Briggs (TN), Kristen Brown (CA), Jesse Butcher (TN), Susan Chambers (AR), Dean Dablow (LA), Douglas Degges (IL), Michael DeLuca (PA), William Dooley (AL), Leah Drake (SC), Ann Marie Fitzsimmons (NJ), Mark Gordon (NC), Robert Gordon (AR), Gao Hang (TX), William Hays (VT), Joseph Holsapple (LA), Gerard Huber (TX), Jennifer Hunt (SC), Manami Ishimura (TX), Perry Johnson (TN), Kevin Jones (LA), Hannah Kozlowski (WV), Neema Lal (NY), Francine LeClercq (NY), George Lorio (MD), Stacy Medaries (LA), PJ Mills (FL), Charles Mintz (OH), Lacy Mitcham (TN), Daniel Moore (LA), Joshua Newth (MO), Stefan Nodarse (IN), Alan Pocaro (IL), Pam Schmidt (CO), Robert Schwieger (IL), Suzanna Scott (LA), Courtney Sennish (CA), Parker Seward (AL), Ricky Sikes (LA), Juvana Soliven (HI), Corrie Steckelberg (MN), Melissa Wilkinson (AR), Liz Zanca (LA).

The 55th Annual Juried Competition
Masur Museum of Art
1400 South Grand Street, Monroe, LA
July 12th — October 13th, 2018
Reception: Friday, Aug 24th, 5:30 - 7:30 pm

The Vavengers
2018.4.29

A pair of my Coin Cunt prints will be featured in The Exhibition this month in London. This is an event sponsored by The Vavengers (vagina avengers), a creative community who raises awareness through the arts to tackle and end the practice of FGM (female genital mutilation).


The Exhibition is an evening featuring a variety of artwork based around the female form/experience and several musical performances. The aim is to use art as a vehicle to inspire discussion and bring creatives together to raise awareness for important social issues. All proceeds of The Exhibition will go towards the building of a fistula ward in SOS Mother & Child Hospital in Mogadishu, Somalia where thousands of girls have been disregarded because of FGM inflicted injuries. A simple proceedure is needed to fix a fistula, yet millions of girls are being ostracised because of the lack of understanding and medical attention around the problem. The money raised will ensure girls are given the physical and emotional support required when suffering from a fistula.

The Exhibition
by The Vavengers
Unity Hall, 277A Upper Street, London
Saturday, May 5th, 2018 from 6-10 pm
Tickets available here

Fantastic Fibers
2018.4.9

It’s an honor to have an installation of my Fiber Fetishes on display at the Yeiser Art Center in Paducah, Kentucky as part Fantastic Fibers 2018. Opening this Friday, the show is an international juried exhibition that seeks to showcase a wide range of outstanding works related to the fiber medium. One of Yeiser Art Center’s most engaging, innovative & colorful international exhibits, Fantastic Fibers is an inspirational “must see” for fine artists, quilters and textile art enthusiasts across the globe.

This year’s juror, Arturo Alonzo Sandoval, is a fiber artist whose experimental techniques and expressive interpretations have earned him an international reputation. Arturo is one of Kentucky’s most original, influential and significant artists. Because he creates an extensive collection of work his artwork is everywhere. His work is in the collections of the New York City Museum of Modern Art’s Architecture and Design Collection, as well as galleries and private collections throughout the United States and the world.

The show began in 1987 as a wearable art show but has evolved over the years to include a compelling mix of traditional and non-traditional works created from natural or synthetic fibers, and work that addresses the subject or medium of fiber. The Fantastic Fibers exhibit is an American Quilter’s Society sanctioned event and selected works will be seen by thousands of viewers. Paducah becomes a Mecca for quilters and quilt enthusiasts each April as more than 30,000 visitors from across the globe attend AQS QuiltWeek. This year’s AQS QuiltWeek dates are April 18 – 21, 2018.

Fantastic Fibers
Yeiser Art Center
200 Broadway St, Paducah, KY
April 14 - June 9, 2018
Opening Reception: Apr 14th, 5-7 pm

Selected Artists 2018: Jackie Abrams, Dobree Adams, Philis Alvic, Eva Camacho, Marah Carpenter, Gray Caskey, Oxana Dallas, Jan Durham, Caryl Bryer, Jayne Gaskins, Caryl Gaubatz, Paula Giovanini-Morris, Sue Hale, Faith Humphry Hill, Ja Young Hwang, Marguerite Kellam, Patricia Kennedy-Zafred, Mary Ellen Latino, Margaret Leininger, Niraja Lorenz, Margo Macdonald, Lawrence McKenney, Rebekah Miller, Patricia Mink, Chris Motley, Carey Netherton, Kathy Nida, Pat Pauly, Branka Radonic, Michael Rohde, Elizabeth Runyon, Tommye Scanlin, Beth Schnellenberger, Suzanna Scott, Jess Self, Ashley Smith, Tina Struthers, Jill Vendituoli, Beverly Walker, Wendy Weiss, Peggy Wiedemann
No Man's Land
2018.2.25

Here's another opportunity to view a collection of my Coin Cunt’s in No Man's Land opening this Friday at The Yard’s Collective in Rochester, NY.

Politits: Art Coalition is proud to announce our second annual exhibition focused on promoting artwork by those who have been historically under-represented throughout the arts, ‘No Man’s Land’. This year, we have accepted work from 40 international artists, focusing on pieces by female-identifying, POC, queer, trans and any other two-spirited folks, that celebrates diversity in practice and strength in vision. Curating a visually diverse, yet cohesive, show that offers much in the way of materiality and topic, we champion ourselves in offering space to artists from Rochester and beyond to exhibit their work without censorship. 
'No Man’s Land'
Politits @ The Yards Collective
50 Public Market Way, Rochester, NY
March 2 — March 21, 2018
Opening reception: March 2 @ 6-11 pm
The Bitters
2018.2.18
My wall installation, ’Thumbs Down’, is to be included in ‘The Bitters 2: We’re Fucked’ opening this weekend at Whitdel Arts in Detroit, Michigan. The exhibition will feature a cathartic array of work by over 30 artists from all over our stress-out country.


In times of cynicism, disgust and hopelessness, we look for outlets to express our frustrations, as well as our aspirations for action and change. We decided to take one of our favorite exhibitions and reboot it in this current time of disillusionment and subjective truth. "The Bitters 2: We’re Fucked" explores how we currently cope with lies, greed, conflict, inequality, and paranoia - with all the sarcasm, and overall disenchantment that made the first “The Bitters” exhibition so satisfying.


While all ages are welcome, please know this exhibition might make you laugh, make you uncomfortable or even straight up make you angry. Not all work may be appropriate for young or sensitive viewers.


‘Thumbs Down’ is a not-so-subtle statement on our pussy-grabbing commander-in-chief who loves himself some good ratings and flashes a thumbs up wherever he goes. I cut the thumbs off of a variety of women’s leather gloves. By using gloves of various hues the thumbs represent the range of people who disapprove of the resentful, sexist, bigoted and hateful rhetoric by the president’s campaign and administration. Each ‘thumb’ has been placed on the wall with a T-pin, like a prized specimen of impotency. Stepping back we gaze on a diamond-shaped array of flaccid phalli. This visual display of bad ratings becomes a portal of united hope or at least it makes us chuckle and feel a little bit better for the moment.

The Bitters 2: “We’re Fucked”
Whitdel Arts / 1111 Bellevue St., Suite 110, Detroit, MI
Exhibition dates: February 23rd - April 14th, 2018
Reception: February 23rd, 7-10pm

Recent Press
2018.2.17
Fun to make the 'A-list' in the Twin Cities! I’m honored to have my work in a dual exhibition, 'After: Birth', alongside Judy Chicago’sBirth Project: Born Again’. The exhibitions run through March 16th at the Catherine G. Murphy Gallery in St. Paul, Minnesota.


And an interivew feature in the Philadelphia Weekly where I talk about my work, how the 'Coin Cunt's' came about and my personal ties to the city.


After: Birth
2018.1.28

Festooned, 2016 by Suzanna Scott

I’m excited to participate in After: Birth, an exhibition of feminist art curated by artist, Jess Larson. The exhibit is running concurrently with Judy Chicago’s Birth Project: Born Again at the Catherine G. Murphy Gallery in St. Paul, Minnesota and is co-sponsored by the Abigail Quigley McCarthy Center for Women.

Guided by the Goddess 55/75, 1985 by Judy Chicago / silkscreen, 30 x 40” / Courtesy: Through the Flower ©Judy Chicago

Judy Chicago's work radically shifted ideas, materials and processes in the feminist art created after The Dinner Party and the Birth Project, giving way to two generations of artists free to explore and challenge the constructs that define them as women and women artists. After: Birth specifically addresses contemporary responses to the concepts of motherhood, sexuality and the role of embroidery, clay, fibers and photography in third-and fourth-wave feminist art.


Solace by Amber Cobb / silicone and blanket

After: Birth
Catherine G. Murphy Gallery
2004 Randolph Avenue St. Paul, MN
February 3 – March 16, 2018
Opening Reception: Saturday, February 3, 6 – 8 p.m.

Social Media + Art
2018.1.22
I was recently interviewed by S. Nicole Lane for Exhibitions On The Cusp, an online publication whose purpose is to propel conversations in contemporary arts. The article examines the role of social media and its impact on the studio practice of individual artists, representation and the gallery. You can read the full article hereand find me on Instagram here.
Deemed A Canvas
2018.1.20

Paradigm Gallery and HAHA MAG (High on Art, Heavy on Antics), collaborate to bring you Deemed a Canvas, a group exhibition on view January 26 – February 17, 2018.

Deemed A Canvas channels storytelling through a range of artistic mediums. This curation of creators takes a light-hearted look at what happens when artists break away from the starkness of white ground to explore surface with unexpected materials and unconventional methods.

Traditional mediums tossed aside; their work becomes a creatively visual opportunity to converse, to find new and inventive ways of handling space, structure, and content-transforming the material so that it becomes something else than the novelty of the article itself.

Artists Kaplan Bunce, Danielle Clough, Ellen Greene, My Dog Sighs, Bunnie Reiss, Brooks Salzwedel, Suzanna Scott, Ruby Silvious, and Jasjyot Singh Hans use their skills and love of art to develop unique narratives.

The show's collision of perspectives offers the viewer an immersive experience into creative redevelopment that pays reverence to the foundation of concept and innovation.

Deemed A Canvas
January 26 – February 17, 2018
Paradigm Gallery / 746 S 4th Street, 1st Floor, Philadelphia, PA
Opening Reception: Friday, January 26th • 5:30pm - 10:00pm
Gallery Hours: Tuesdays, Thursdays, and Saturdays • 12:00pm – 6:00pm

The Price of FGM
2017.12.3

Sharing this impactful 28 Too Many ad campaign aimed to raise awareness of the real price of FGM (female genital mutilation). Paul Gregson and Jono Flannery, a creative duo, designed this powerful ad campaign using my Coin Cunt images.

FGM is a harmful traditional practice involving the cutting or removal of the external female genitalia. It has existed for more than 2,000 years and is performed on girls from birth, up to just before marriage, and sometimes beyond.


It is estimated that more than 200 million girls and women alive today have undergone female genital mutilation in the countries where the practice is concentrated. Furthermore, there are an estimated 3 million girls at risk of undergoing female genital mutilation every year. The majority of girls are cut before they turn 15 years old. FGM has been documented in at least 30 countries, mainly in Africa, as well as in the Middle East and Asia. It is also prevalent in diaspora communities around the world, even in the United States.


For traditional cutters, FGM is their livelihood. It is often seen as a lucrative job. But for girls and women it can lead to psychological problems, higher risk of infections & HIV, pain during sex, complications & even death in pregnancy or childbirth. While some are making money out of FGM, it's quite clear who pays the real price.

The British based organization 28 Too Many is dedicated to ending female genital mutilation everywhere. Their work focuses on the 28 African countries where it is practiced and in many other countries where it continues, often in spite of laws against it. Please visit 28 Too Many to find out how you can help end this horrific practice and save the futures of so many young girls.

Vulvacular
2017.10.26
I'm delighted to have my flesh colored grouping of Coin Cunts included in Vulvacular, a timely exhibition celebrating the rise of the vulva at Ceres Gallery in New York City. Artist/curators Susan Kaplow and Pam Shields have brought together the work of 19 artists whose take on the vulva is hilarious, sexy, poignant, searing and political. Works from the gallery show may also be viewed via the exhibition website.


In conjunction with Vulvacular, Ceres Gallery will present a free screening of VULVA 3.0, a documentary surveying attitudes towards female genitals through history to the present. Vulva 3.0 demonstrates the current attacks on and degradation of the vulva and the forms of resistance to these attacks by educators, scholars and activists. Three artists will comment after the film, highlighting the ways in which their art practice is another form of resistance.


VULVACULAR
Ceres Gallery
545 W. 27th St. #201 / New York, NY

October 31 - November 25, 2017
Reception: Thursday, Nov 2nd, 6-8 pm
Vulva 3.0 Screening: Wednesday, Nov 8th, 7-9 pm

IDAFT: Los Angeles
2017.10.2

Whitney Bell's I Didn't Ask For This: A Lifetime Of Dick Pics is back, this time in her hometown of Los Angeles, California. She is hosting the weekend event with the goal of exposing the normalization of misogyny and confronting the issue of sexual harassment in the digital age. In addition to a Friday night Penis Party, featuring a plethora of unsolicited dick pics staged in the comfort of her own home, Whitney has invited a kickass line-up of feminists to join discussion panels on Saturday. The topics include 'Feminism 101 For Men', 'Harassment In The Digital Era' and 'The Intersection of Feminism & Pornography'. Shirley Manson, the front woman of Garbage, is one of the panelists.


Along with the installation featuring Whitney's collection of unsolicited dick pics, I Didn't Ask For This will exhibit the work of a diverse mix of of over 20 artists who span the spectrums of gender, race, and sexuality to give an intersectional perspective to sexual harassment in the digital age. In addition to a grouping of my Coin Cunt's, my newest installation piece dubbed Thumbs Down will be making its debut. Thumbs Down was created using the thumbs of vintage women's gloves. It is a not so subtle statement on the flaccid performance of our pussy-grabber-in-chief.


I Didn't Ask For This: A Lifetime Of Dick Pics
Think Tank Gallery / Los Angeles, CA
Friday Oct 6, 8-1am & Saturday Oct 7, 12pm-6pm
Tickets Available Here


Seen and Heard
2017.9.24

Protest by Lena Rushing

Earlier this year I was invited by artist and curator Lena Rushing to participate in Seen And Heard, an exhibit paying homage to the women's rights movement. Included in the exhibition are a grouping of my Fiber Fetishes, interactive Bound Scissors, and a new wall sculpture created specifically for this show titled Out Of Reach.


I spent the first part of the year scavenging up all the vintage women's gloves I could find in order to create Out Of Reach. In the sculpture, I stitched the fingers from these various gloves onto a metal grate to form a compact, round cluster reminiscent of a breast. The piece represents the hands of all the women who have strived, fought, toiled, and persisted in the ongoing fight for equality for all. We celebrate those before us and join hands as we move forward together--reaching out and shattering those glass ceilings.
Designed to celebrate the efforts and accomplishments of women, the importance of the women’s rights movement, feminism, and the strength, independence, and bravery of women, Seen And Heard offers a powerful collection of artwork by eight nationally-acclaimed artists: Alise Anderson, Donna Bates, Kristin Bauer, Gabriela Handal, Sara E. Morales-Morgan, Meryl Pataky, Lena Rushing and Suzanna Scott.

Seen And Heard
Studios on the Park / Atrium Gallery
1130 Pine Street, Paso Robles, CA
September 28 - October 22, 2017
Opening Reception: October 7th, 6-9 pm

Le Papier
2017.9.18
Thirteen of my works on paper are included in Le Papier, an invitational exhibition of contemporary drawings and paper-made pieces in all forms and dimensions. I must extend a word of thanks to the staff at Dunedin Fine Art Center for all the precautions they took to protect artwork during Hurricane Irma two weeks ago. The exhibition was slated to open earlier this month, but the opening was postponed due to the impending hurricane. Despite plywood boarding up the damaged gallery windows the show is back on the walls and opens this Friday.


In the group exhibition, Le Papier, seven artists present works on (and of) paper. See the watercolors of Caitlin Albritton, Eva Avenue and Kristin Beauvoir. Paintings by Leslie Fry and Laine Nixon and the collages of Suzanna Scott. Finally, we remember painter, sculptor, printmaker + visionary, Roland Poska who died earlier this year. Poska had a solo show at DFAC in 2005 of his extraordinary pulp paintings and sculptures. Here, a small sampling of his enormous heart and soul, return to us.

Le Papier
Dunedin Fine Art Center
1143 Michigan Blvd., Dunedin FL
September 22 - December 24, 2017
Opening Reception: Friday, Sept 22nd 6-9pm

L'Origine du Monde
2017.8.21
In 1866 an Ottoman diplomat commissioned one of the most infamous paintings ever by French artist Gustav Courbet: 'L’Origine du monde' ('The Origin of the World'). The painting still to this day because of its very nature and realistic, graphic nudity, has the power to shock and trigger censorship. It pushed the idea of what is erotic, sensual and romantic to what is pornographic and unmoral.

"Eroticism is dependent not just upon an individual's
sexual morality, but also the culture and time
in which an individual resides.”
- Honore’ de Balzac


This exhibition brings together twenty-two artists, both local and International, with over sixty works of art ranging from painting and drawing to photography and sculpture. The show explores the ideas of sexuality, sensualism, romance, humor, innuendo and eroticism.

L'Origine Du Monde
Scarlet Seven Fine Art Gallery
137 4th Street, Troy, NY
August 25th - September 24, 2017
Reception: Friday, August 25th from 6-9pm

Exhibiting Artists: Michael Bergt, Nina Covington, Daniel Maidman, Reuben Negron, Julie Branch, Suzanna Scott, Colleen Lynch, Gary Masline, Mary Ellen Riell, Emily Lamb, Jeanne Ciravolo, Jon Gernon, Jeff Wigman, Yeachin Tsai, Jilian Platt, Frida Castelli, Corey Pitkin, Andrea Hersh, Rachel Gibson, Louis Braquet, Michael Bach, Chad Span
I Didn't Ask For This
2017.6.4
Whitney Bell is a writer, artist, activist, fashion-designer and self-dubbed 'feminist bitch'. When she approached me about participating in this event I had to pause and re-read the intent of the exhibit before responding with a 'hell yes!'. This conversation is a little off-putting, provocative on so many fronts and most often kept from public discourse. The content of 'I Didn't Ask For This: A Lifetime of Dick Pics' is an unsolicited collection of male groin images that have been framed up in mis-matched vintage frames and placed in a reconstructed tableau of Whitney's cozy home.


As Whitney remarks in this interview she wants to "demonstrate the pervasive and invading nature of digital harassment. The content is relatable to so many women, which proves the necessity of opening up this discussion. The unsolicited dick pic is horrible, but what's worse is the fact that this is how little respect many men have for women," she says. "We think we have come so far but misogyny is just a prevalent as ever — whether that be a dick pic in your inbox, or a pussy grab from the president."


Along with the installation featuring the collection of unsolicited dick pics 'I Didn't Ask For This' will feature the work of a diverse mix of artists who span the spectrums of gender, race, and sexuality to give an intersectional perspective to sexual harassment in the digital age.


I Didn't Ask For This: A Lifetime Of Dick Pics
SOMArts Cultural Center • San Fransciso, CA
Friday, June 9th • 7pm - Midnight PDT
AND Saturday, June 10th • 11am - 4pm
Tickets Available Here

Glasshouse Interview
2017.5.29
Lucy Vincent of Glasshouse Journal recently interviewed me over on their blog if you want to take a peek. The image featured here is 'Drip Drop' one of several new collage pieces up on my website.
Flora, Fauna & Entrails
2017.4.3
I'm excited to announce the inaugural exhibit of my Fiber Fetishes collection and work here in our new home state of Louisiana. The family and I will be attending the opening this weekend so if you're in the New Orleans area please stop by, take a gander at all the fiber art and say hello!

Fabric and thread are inextricably bound to our everyday lives. Flora, Fauna, and Entrails brings together artists using fibers in their practice to explore the beauty and fragility of the nature around them. Flora, Fauna, and Entrails is Antenna’s fourth exhibition exploring the work of artists that expand on the potential of fiber in contemporary art practices while still being steeped in craft traditions.

Antenna presents:
Flora, Fauna, and Entrails
3718 St. Claude St, New Orleans
On view: April 8 – May 7, 2017
Opening Reception: Saturday April 8, 6-10pm
Daily hours: Tuesday through Sunday 12-5 


UPDATE // A few images from the opening night. Also, several more pictures of the exhibition posted here.
Lee mis laVios
2017.3.26

A grouping of twenty Coin Cunts is in Mexico City for their international debut in the exhibition lee mis laVios. This clever show title is a play on words meaning 'read my lips' with the capital letter 'V' symbolizing the vulva.

The exhibition, lee mis laVios, chooses to undress the vagina from its prejudices, fetishes and desires, aiming for the acceptance of its sexual naturalization.


Throughout traditional art history the vagina has been systematically excluded, its representations either fade under a translucent veil or are replaced by a sexless pubis. This absence of detail has transformed it into an obscene and indiscreet symbol.


The gesture of symbolizing the vagina becomes an excuse to avoid it. Masculine gaze has constructed a specific imagery around it, based on simultaneous desire-censorship and summing it up through fertility symbols, objects of desire or immoral impurities. Its materialization is either morbid or symbolic. Indeed, vaginas have lost their right to (re)present themselves.


Lee mis laVios unveils the vagina from its prejudices in order to confront it as it is. By analyzing its allegorical connections we deconstruct the structure that surrounds it.


Read my lips: a vagina is more than anything, a vagina. It does not require any validation by dignifying it through symbols. The vagina exists as it is, dignified and worthy of its being. Now it's time to make this evident. 
Participating artists include Jamie Martinez, Maisie Cousins, Suzanna Scott, Rosa Borras, Sara Lorusso and Los Ninxs.
Playing With Scissors
2017.3.6

Thought I'd share a few images of my Bound Scissors out in the wild. Playing with scissors is a safe activity as long as they're bound and stitched up tight! I'm pleased that this interactive piece has now been exhibited in three venues, a year ago in Touch: Interactive Craft, this past January in Material As Medium, and this weekend as part of Play, an all media exhibition at the SAA Collective in Springfield, Illinois.

The exhibition Play was juried by by Bob Sill, a curator of art at Illinois State Museum. Play is the spontaneous, unstructured time found to foster creativity and problem-solving skills. As we grow up we tend to trivialize play and relegate it to childhood, but it’s an important element of life at any age. The exhibit features work not only about play in the traditional sense, but also the idea of being in the moment, of inspiring wonder, of invoking your natural curiosity. The viewers are encouraged to interact and play with many of the pieces on exhibit.

PLAY: All Media Exhibition
SAA Collective / H.D. Smith Gallery / Springfield, IL

March 10 - 31, 2017
Opening reception March 11 / 5:30 - 7:30 pm

Participating artists are Bruce Alves, Lex Archibald, Piety Choi, Betsy Dollar, Lauren Feret, Cathy Ganschinietz, John Hayes, Tessa Martinez, Corrin Smithson McWhirter, Beth Rodgers and Suzanna Scott.

Image by Adele Stuckey

Image by Leslie Mounaime 

Image by Katie Riggs

Image by SAA Collective

Image by Emma Wilson

A big thanks to all of you who've shared your arrangements of Bound Scissors via social media. #boundscissorproject
Duality Of Feminine
2017.3.2
My collection of red (and a few purple) Coin Cunts will be on view during the month of March at Gallery 66 NY in Cold Spring, New York. The exhibition, Duality of Feminine and Feminist, was juried by artist/curator Karen Gutfreund. These are some of the questions the artists were asked to ponder:


Endless news cycles emphasize the fragmentary nature of our present society and a divided nations’ opposition to a single logic or subject. With this in mind, how do women balance the duality of feminine and feminist? Should we be concerned with the manner in which a woman is portrayed as strong and/or feminine? In recent cultural movements, the ramifications of mixed gender attributes seemed to be growing in popularity yet with the recent elections and threats to women’s rights in particular, are we going backwards. This ability to carry the strengths of both genders is empowering but are we now dealing with a backlash? Is the current political atmosphere an attempt to return to the stereotypical view of women as submissive and passive?

Duality of Feminine and Feminist
Gallery 66 NY / Cold Spring, NY
March 3rd – April 2nd
Opening reception, March 3rd 6-9 pm

Artworks in the Duality of Feminine and Feminist exhibit are varied with works on paper, glass, collage, porcelain, photography, painting, fabric, assemblage, appropriated imagery and mixed media, with messages just as varied. The artists participating in this exhibit are from across the nation and include works by Torey Akers, Audrey Bernstein, Sarah Eagen, Sally Edelstein, Leslie Fandrich, Morgan Ford Willingham, Colleen Gahrmann, Lucy Julia Hale, Amy Hughes, Marie-Laure Ilie, Blond Jenny, Joan Lesikin, Lisa Levart, Sally Ann McKinsey Sisk, Jillian Nalty, Landon Newton, Antonella Piemontese, Jessica Putnam-Phillips, Suzanna Scott, Samantha Senack, Rosalind Shaffer, Allegra Shunk, Susan Singer, Dafna Steinberg, Gail Stouffer, Terrill Warrenburg, Jennifer Weigel, Galelyn Williams and Meghan Willis.
Wage On!
2017.1.29
WAGE ON! Women, Art, and Money will be the featured national exhibition of the 2017 Women’s Caucus for Art national conference in New York City. Hosted at Ceres Gallery, the exhibition offers a timely opportunity to address the impact of a changing political and economic landscape on women and art through the lens of twenty artists selected by juror Helga Christoffersen, an assistant curator at the New Museum. As she remarked:


I looked to works that took on issues of woman’s work, rights, and identity today, in ways that speak to fundamental underlying issues in our society that affect us all. This exhibition is an important initiative and an example of a way to bring together a broad range of voices, opinions, and practices under a united and urgent cause.


My grouping of fourteen 'Coin Cunts' was selected to be included in the exhibition which runs through February 25th.


WCA will host public Artists Reception on Thursday, February 16 from 6-8 pm. A full-color catalogue will accompany the exhibition and is available for purchase here.
About the Women's Caucus For Art: Founded in 1972, the Women's Caucus For Art is the leading national organization for women engaged in the visual arts professions, an affiliated society of the College Art Association, a founding partner of The Feminist Art Project and a United Nations NGO. The mission of the Women's Caucus for Art is to create community through art, education, and social activism.
New Prints
2017.1.23
In light of recent political events here in the United States my series of Coin Cunts has continued to gain interest and raise awareness of women's issues on many different fronts. Women around the world are fighting back and speaking out in multitudes to challenge the rise of misogynist, racist, and ignorant rhetoric that is dominating the cycle of our lives. I continue to seek out used kisslock coin purses with colorful and/or interesting interiors to grow the collection--it currently numbers over 100 pieces!


Since the first print has sold out--I've picked two new Coin Cunt images to make available as limited edition prints. The proceeds from these prints will continue to fund the growth of this project and its exhibition. You can purchase the new prints here.


Love & Empathy
2017.1.22
Since November 10th, these words have been ringing in my ears, "To all the little girls watching...never doubt that you are valuable and powerful & deserving of every chance & opportunity in the world". --Hillary Clinton


On Saturday we joined with millions of others around the world for a "sister march" of the Women's March On Washington in Shreveport, Louisiana.


As we gathered on the sidewalk of the courthouse to march we met friendly folks of all generations. Many approached Lizzie to tell her they came today to march for her and for her generation. They told her they were proud of her for marching for what she believes in. They told her she was beautiful. I thank these kind strangers for empowering her.


My daughter is young and on the cusp of womanhood. She has so many questions, she is confused about the hateful rhetoric flying around the news and social media. She wants to do something to make it stop and to show love and empathy towards others.


Together we read the mission statement and like a wave it echoed through the crowd lined around the courthouse. Together we took a first step and we marched. Hear our voice!


Material As Medium
2016.11.29
Two of my fiber works will be included in Material as Medium at the Target Gallery in Alexandria, Virginia. My tactile collection of Bound Scissors and recent wall sculpture, Lifeline will be on display along with the work of fifteen other fiber artists. The exhibition explores the future of contemporary fiber and textile art using traditional materials in a new context, or unconventional materials in a more traditional form. The juror for this exhibition is Aaron McIntosh.



Participating fiber artists:
Meg Arsenovic, Richmond, VA
Emma Balder, Denver, CO
Diana Baumbach, Laramie, WY
Arisa Brown, Everett, WA
Danielle Burke, Black Mountain, NC
Brooks Dierdorff, Orlando, FL
Julia Gartrell, Durham, NC
Lindsay Hall, Arlington, VA
Krista Heinitz, Eugene, OR
Hannah Hiaasen, Brooklyn, NY
Kathleen Kennedy, Mechanicsville, VA
Tiffany Lange, Menomonie, WI
Matthew Paulson, Rockaway Beach, NY
Suzanna Scott, Ruston, LA
Meaghan Westfall, Rock Hill, SC
Katie Westmoreland, Brooklyn, NY


Material As Medium exhibition at Torpedo Factory's Target Gallery, 2016

Reform: Subversive Fashion
2016.8.22

Last month I finished stitching over 100 'Coin Cunts' and shipped them off to Albuquerque, New Mexico. They will be included, along with work by four other artists, in an exciting counter-culture fashion exhibition opening Friday at Central Features Contemporary Art. This will be the largest installation of the 'Coin Cunts' thus far.


Photo by @clarkehere Clarke Condé

Missouri-based artist Suzanna Scott challenges visual and societal perceptions with Coin Cunts, a collection of coin purses. By turning each purse inside out to reveal and reform the different interior linings, Scott teases the imagination and sparks conversation about the ties amongst sexuality, gender, money, and fashion.


Nancy Zastudil, Central Features Contemporary Art
Contemporary fashion is in question and on display this Fall season at Central Features Contemporary Art. Cross programming and promotion is presented in conjunction with the exhibition ReFashion at form & concept in Santa Fe, NM. ReForm: Subversive Fashion is an exhibition of select garments, accessories, and other adornments that thwart conventional expectations. The exhibition features JUMPSUIT by The Rational Dress Society, an installation by Suzanna Scott, an interactive dress by Nina Silfverberg, collages by Kirsten Stolle, and new textile work by Sarah Wagner
August 26 - September 30
Central Features Contemporary Art
514 Central Ave SW #2, Albuquerque, NM
Opening Reception on Aug 26th, 6-8pm


Embrace rational dress! @rational_dress_society JUMPSUIT-making workshop held as part of the exhibition.

All exhibition images courtesy of Nancy Zastudil, 2016.

Fiber Options
2016.7.12

Cheese Box of Vulvas by Susan Hensel and Plexus by Suzanna Scott

I'm pleased to share that one of my fiber pieces, Plexus, is included in the exhibition Fiber Options: Material Explorations at the Maryland Federation of the Arts Circle Gallery. The show is comprised of seventy-two works using fiber in varied range of material and application. It is a wonderful collection of contemporary fiber works.


Getting To Quiet by Laurie LeBreton

From hand-knit pieces felted into sculptural monuments to video monitors shrouded in hooded sweatshirts, the options in fiber are limitless. Combining an array of materials, both traditional and unexpected, with historic to digital techniques, the artists of Fiber Options: Material Exploration exhibit artistry, innovation, and emotion. Precisely pieced quilts, meticulously knotted vessels, and delicately dyed silks are a few examples of the supreme skill and dexterity employed over countless hours by these artists. Oftentimes, several skills appear in a singular piece: stitched still lifes on hand-dyed cotton or fabric and thread encased in encaustic, all demonstrate supreme artistry.


Innovation commingles with tradition in a quilt deliberately severed into quadrants or sweetly stitched flowers paired with a expertly embroidered dead cockroach. Several artists reinvent conventional notions of fiber art by including unexpected materials. Typewriter ribbon and VHS cassette tape replace wool and linen in woven constructions. Fiber is no longer precious with roofing nails driven into silk and sticks set afire dangerously near hand-painted ropes. Technological advances provide artists with the ability to print on fabrics and digitize embroidery, opening up new options in the world of fiber.


Beyond the tangible, emotion and character can be observed in the stab of the needle, throw of the weaving shuttle, submersion of fabric into dye, and sometimes, sorrow and devastation literally spill forth onto the floor. Steadfast resolve surfaces in a hyper-realistic embroidered black eye while vulnerability lingers in a threadbare cloth. Clothing carries deep-rooted symbolism—a hooded sweatshirt, a bridal veil, a Hijab—and immediately conjure a range of emotions and viewpoints.


Fiber speaks to us in so many ways. It can be intricately detailed or all encompassing, traditionally constructed or surprisingly innovative, intimately displayed or globally outspoken. The options in fiber are endless.


Susanna Fields-Kuehl, juror



Big Flower by Lisa Marie Barber

MFA Circle Gallery
Annapolis, Maryland
July 14 - August 6
Opening Reception: July 24th, 3-5 pm
Coin Cunt Print
2016.5.23

The 'Coin Cunt' project began innocently last summer when I was playing around with an old coin purse. I flipped it inside out, and saw a vaginal form emerge from my playful pinching and tucking. Using a needle and thread I stitched it into place. As I thought about it, I found so much association between the little pocket-like forms and the inferred suggestions that these new objects brought to mind.


I began sharing the 'Coin Cunts' on social media and am amazed at the feedback it has provided. With a simple alteration these ubiquitous objects became evocative and their appeal provocative when I dubbed them 'Coin Cunts'. Aside from the chuckles, I've found that others can see in this project our assumed cultural associations of money and women, prostitution, female genital mutilation, suppression of women, gender equality, body image ideals, equal pay and the list continues to grow.


Ever since the 'Coin Cunt' images began making their rounds on social media I've had to turn down numerous purchase requests. My goal with this project is to grow the collection until I have a large installation of 100 or more. In order finance the rest of this project and give you an opportunity to enjoy this image on a daily basis I'm offering a limited edition of 25 pigment prints for purchase.
Quicksand
2016.4.27

Josh Stone, SV#3B, 2015, HD Video

Another venue for a second grouping of my Coin Cunts presented itself this month: QUICKSAND, a pop-up exhibit at the New Art Center in Newton, MA, features work that disrupts expectation by erasing, covering, and fracturing the human form, asking broader questions about the spectrum of cultural visibility. Through the lens of a fragmentary experience, the body becomes an allusion, goes missing, or is present as a mere impression. The figure on view here is unstable, like quicksand, and contends with the boundaries of identity, territory, and the negation of the body through technology.

 

April 29 - May 8, 2016
A MassArt Production at The New Art Center, Newton MA
Reception: Friday April 29th, 6pm-8pm
Featured artists include Salome Asega, Casey Ausman, Bashezo, AK Burns, Carlos Jimenez Cahua, Caleb Cole, Furen Dai, Allison M. Disher, Janet Loren Hill, Pope L., Curtis Mann, Susan Metrican, Alyssa Minahan, Landon Newton, Diana Jean Puglisi, John Robert Roy, Suzanna Scott, Corinne Spencer, Josh Stone, Triiibe, Xtina Wang, Xu Wang, Joe Zane


The exhibit has been organized by the Massachusetts College of Art and Design’s Graduate Seminar in Curatorial Practice class taught by Dina Deitsch.

The Female Complex
2016.4.12
My Coin Cunt collection has taken on a life of its own thanks to the wonders of social media. I've been invited by artist, Kristin Mahan to participate in The Female Complex at the University of Nebraska-Lincoln where these twenty-eight fiber pieces will be making their debut. The vaginal shaped works are sculpted from inside-out coin purses.

Feminism is nothing new-it has been around for more than a century-so why is it still so important to this day? As society progresses and the older waves of feminism accomplish much of what they set out to do, problems that were always there but never dealt with have begun to rise to the surface. "The Female Complex" will present the multiplicity of the emerging wave of feminism through contemporary art. Each of the 12 artists presented uses personal experiences to inform their work, which allows the work to be honest. The wide variety of mediums and subject matter in this exhibition will form a dialogue that reflects the diversity of issues placed under the umbrella of this developing feminist movement.

Kristin Mahan, curator
Participating artists include Samantha Aasen, Brooke Denton, Jeanne Donegan, Tessa Edgren, Lisa Guevara, Sheree Haynie, Katie Hovencamp, Kayla Linden, Roberta Malkin, Sidney Mullis, Claudia Rose, and Suzanna Scott
Ignoble In Between
2016.4.4
Six of my Fiber Forms were selected by artist Mandy Cano Villalobos to be included in an exhibition at a SiTE:LAB event in Grand Rapids, Michigan. The exhibit, Ignoble in Between is based upon the mundane gaps that occupy the space between when we are born and when we die, the exhibition exploring the idea of beauty as a by-product of happenstance.
Though we long for the heroic, for our friends and followers to “like” (or heart) our significant contributions to internet society, though we yearn for some sort of affirmation that we really matter within the larger context, it is everyday tedium that dominates our time. Our days are filled with to-do lists, dirty clothes, longings that will never be fulfilled, and bad breath. The artists of Ignoble in Between embrace the mundane passage of time, reveling in transient thoughts and physical decay, with happenstantially beautiful results.
Mandy Cano Villalobos, curator


Ignoble in Between will feature the work of nine artists and is one of six simultaneous exhibits in the unique setting of abandoned auto shop garage bays. The Auto Shop shows are part of a larger joint venture, called the Rumsey Street Project, between the volunteer art organization known as SiTE:LAB and Habitat for Humanity which finds under-utilized buildings and transforms them into art projects.
333 Rumsey St SW, Grand Rapids, Michigan
Saturday, April 9th, 12-9 pm


Carlos Aceves, Erin Curry, Molly Kaderka, Andy Kincaid,
Billy Mayer, Dennis Ritter, Suzanna Scott, Soo Shin, Danielle Wyckoff

Women In The Arts
2016.2.29

My rope sculpture, Raw Guts, will be included in the 23rd annual Women in the Arts show highlighting the work of sixteen talented women artists. In conjunction with Women’s History Month at the University of Missouri, the Craft Studio presents this exhibit as a tribute to women, past, present, and future whose artistic creations are often overlooked and forgotten.


The artists of this exhibition have, like all good artists, made what they know. Their experiences, methods, and styles are diverse and lovely. Georgia O’Keeffe wrote, 'I find that I have painted my life, things happening in my life – without knowing it.' I am encouraged and impressed that the women showing work here have dealt boldly with the imagery of their lives.


Hannah Reeves, Juror

Monday, February 29th – Friday, March 25th
Reception: Thursday, March 3rd, 4 pm– 6pm
Participating artists include Hannah Arslanian, Jessica Bremehr, Valerie Deveraux, Lisa Franko, Sarah Goodnow Riley-Land, Jennifer Halli, Kaitlin Hermann, Carina Jimenez, Hae-jung Larsen, Sheri Parker, Nicole Pratte, Shirin Rastin, Kest Schwartzman, Suzanna Scott, Rhonda Thomas-Urdang and Sabrina Tinsley.
Draw The Line
2016.2.21

There are 1,865 tally marks embroidered on this light blue cotton square. I'm mailing it off today to join with others in speaking out for the reproductive rights of women. It will be one of many squares in a collaborative quilt being created to raise awareness for Whole Woman's Health v. Hellerstedt and the 5.4 million women of reproductive age in TX. Read more about the ambitious project that artist Chi Nguyen has envisioned to make a physical tally of women whose right to safe and legal abortion is currently at risk. With each stitched line representing an individual woman, the 5.4 Million and Counting project is only finished when all 5.4 million lines are embroidered. Many more quilt squares are needed! Details of how to participate here.


A portion of the quilt being stitched together at the Textile Arts Center in New York with 300,000 embroidered lines in just 3 weeks and submissions from 34 states and 6 countries. Photo by Chi Nguyen.

The 5.4 Million and Counting quilt held by brave women and men who came out to defend our constitutional right to abortion in front of the Supreme Court House on March 2nd, 2016. Photo by Chi Nguyen.

Touch: Interactive Craft
2016.1.10
I'm pleased to announce that my collection, Bound Scissors, will be included in an upcoming exhibit at the Arrowmont Galleries in Gatlinburg, Tennessee. Touch: Interactive Craft will be a unique experience as the premise of the exhibit is to encourage the viewer to touch and interact with the work.

Touch: Interactive Craft
January 16 – March 11, 2016
Opening reception: Friday January 22, 5:00 – 8:00pm, Juror Talk at 7:00pm


Small Works
2015.10.22

My book collage, Pearl, was selected to be part of Small Works 2015 at Main Street Arts in Clifton Springs, New York. The exhibit will feature 260 works of art in a variety of media by 148 artists from across the country. If you live in Upstate New York it's a beautiful gallery to visit and this show is certain to be chock-ful of unique, affordable art.

Small Works 2015
November 7–December 29, 2015
Opening Reception: Saturday Nov. 7, 4-7 pm
Gallery Hours: Tues–Thurs, 11 am –6 pm & Fri/Sat, 11 am –7 pm

Fresh Space, New Blog
2015.9.29

A collection of objects on my studio wall.

With this fresh space I've decided to move my blog as well. It only makes sense to have things gathered into one place. If you have not done so I'd love for you to join my mailing list and/or the RSS feed for this space. Please direct all comments or questions about my work to me via email. Thank you for following and looking!