Installation Views

This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.This is an installation view of the exhibition titled “Too Nice Too Long” featuring works by artist Lara Schnitger in 2017 at Anton Kern Gallery.
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Works

This is a work titled Too Nice Too Long by artist Lara Schnitger made in 2017. The materials are fabric on canvas, and the dimensions are 92 inches by 85 inches.This is a work titled Untitled by artist Lara Schnitger made in 2017. The materials are Cotton, resin, nylon, feathers, button, wig, wood, and the dimensions are 120 inches by 99 inches by 108 inches.This is a work titled The Young Are At The Gates by artist Lara Schnitger made in 2017. The materials are fabric on canvas, and the dimensions are 92 inches by 85 inches.This is a work titled Fernweh by artist Lara Schnitger made in 2017. The materials are Cotton and wood, and the dimensions are 51 inches by 48 inches by 55 inches.This is a work titled Venus of Fernando by artist Lara Schnitger made in 2017. The materials are Silk, cotton, burlap, nylon, wood, resin, sequined fabric, wood, and the dimensions are 192 inches by 216 inches by 84 inches.This is a work titled Slut-stick Boobs Not Bombs by artist Lara Schnitger made in 2017. The materials are Fabric, resin, leather, nylon, wood, and the dimensions are 120 inches by 29 inches by 1 inches.This is a work titled Slut-stick Dagger by artist Lara Schnitger made in 2017. The materials are nylon, wood, and the dimensions are 120 inches by 18 inches by 14 inches.This is a work titled Slut-stick Balconette by artist Lara Schnitger made in 2017. The materials are Bleached fabric, resin, lace, cotton thread, nylon, and the dimensions are 120 inches by 25 inches by 15 inches.This is a work titled Slut-stick Stud by artist Lara Schnitger made in 2017. The materials are Sequined fabric, leather, metal studs, nylon, wig, and the dimensions are 120 inches by 35 inches by 2 inches.This is a work titled Slut-stick Unravel by artist Lara Schnitger made in 2017. The materials are Silk, lace, elastic, nylon, metal clips, wood, and the dimensions are 120 inches by 8 inches by 7 inches.This is a work titled Slut-stick Gusset by artist Lara Schnitger made in 2017. The materials are Bleached fabric, cotton thread, resin, leather fur, nylon, wood, and the dimensions are 120 inches by 35 inches by 15 inches.This is a sculpture titled Slut-stick Androgens by artist Lara Schnitger made in 2017. The materials are Silk, resin, leather, nylon, wood, and the dimensions are 120 inches by 44 inches by 28 inches.

Press Release

Lara Schnitger

Too Nice Too Long

November 16 –
December 23, 2017

For her solo exhibition Too Nice Too Long, Los Angeles-based artist Lara Schnitger (Dutch, b. 1969) transforms Anton Kern Gallery into the headquarters of “Suffragette City,” her traveling hybrid procession-protest piece that draws inspiration from occult rituals and uses unabashed graphic design and boundary-pushing sculpture to champion women’s rights. With elements from the procession presented as static works of art, the exhibition offers an opportunity to examine Schnitger’s brilliant sense of material, architecture, and space. 

 

Schnitger’s sculptural practice is rooted in the contrast and union of ‘soft’ and ‘hard’. She uses rigid materials such as wood and resin in combination with soft materials like leather, fur, silk, cotton, and lycra to create sculptures that reference the female body. Pieces of lumber are fastened together to provide an underlying skeleton, while opaque and translucent materials stretch over it to form a permeable skin. The inner and outer are interdependent and require balanced tension in order to exist, suspended in time and space. The artist’s paintings and quilts are created by piecing together different patterned fabrics and incorporating text, thus doubling their functionality as art and protest sign. By pairing techniques like dying, quilting, weaving, and sewing with tough and rebellious postures and messaging, the artist pushes the expressive power of traditional crafts.

 

Schnitger marks the clubhouse at 16 E 55th St with a flag waving from the exterior of the building that declares “A Dress Is Not A Yes”. Within the main gallery are new quilts and ‘girl gang’ fabric paintings emblazoned with protest slogans culled from t-shirts, bumper stickers and buttons, paired with towering sculptures that boldly assert feminine power. Lined up along a wall are seven ‘slut-sticks’, wooden armatures bound with stretched fabric and leather, becoming abstract figures in stages between dress and undress. On the second floor you will find intricately-constructed oversized ‘burden’ backpacks (which will be activated throughout the run of the exhibition) and sequin paintings that capture the irreverence and spontaneity of bathroom graffiti. An ad hoc newspaper will be available at the gallery with press clippings about stagings of “Suffragette City” around the world.

 

Schnitger uses female sexuality and depictions of the body as a tool to challenge what is deemed acceptably feminine versus obscene. The work is playfully over-the-top and exuberant yet serious; pointedly addressing the continued struggle for women’s equality and safety in a culture of patriarchy.

 

Too Nice Too Long blurs the line between art and protest, sculpture and body, gallery and street. Works in the exhibition are crafted with the practical intention of being activated in a public protest. Inspired by demonstrations throughout history, from the Suffragettes to SlutWalk, FEMEN, and Pussy Riot, this evolving body of work provides a forum to discuss contemporary political and social issues, and tools to inspire and embolden a new generation of feminists.

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