The Perfect Home II
Do Ho Suh
A trailblazing feminist artist, Miriam Schapiro established the Feminist Art Program at the California Institute of the Arts in 1971 with Judy Chicago; founded the Pattern and Decoration movement in 1976; and wrote, with Melissa Meyer, the influential text “Waste Not, Want Not: An Inquiry into What Women Saved and Assembled— Femmage,” published in Heresies in 1977. Setting out to remedy the lack of visibility for women artists, Schapiro posited that femmage—decorative and domestic elements traditionally considered “women’s work,” most often excluded from museums and found in vernacular, everyday environments—had great potential for subversion and aesthetic influence. Schapiro’s visually dense and diverse Tapestry of Paradise shows the application of femmage as artistic expression: accumulative and writ large against art history’s diminished view of women artists’ achievements.
110 × 240 × 516 in. (279.4 × 609.6 × 1310.6 cm) (show scale)
This item is not on view
Gift of Lawrence B. Benenson
© Do Ho Suh
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Do Ho Suh (Korean, born 1962). The Perfect Home II, 2003. Translucent nylon, 110 × 240 × 516 in. (279.4 × 609.6 × 1310.6 cm). Brooklyn Museum, Gift of Lawrence B. Benenson, 2017.46. © artist or artist's estate (Photo: Brooklyn Museum (Photo: Jonathan Dorado), 2017.46_DIG_E_2018_One_Do_Ho_Suh_01_PS11.jpg)
2017.46_DIG_E_2018_One_Do_Ho_Suh_01_PS11.jpg. Brooklyn Museum (Photo: Jonathan Dorado), 2018
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