How the Grinch Stole Feminism

A collection of Texas artists hits the trifecta of bad feminist art

A A A Comments By Christine Biederman Thursday, Dec 14 2000

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Eberle has two pieces in the current show, both beauties. "Like the Night" is a herd of toy horses flocked in black, apparently galloping across the wall. But it is Eberle's other piece, on the opposite side of a gallery wall from "Like the Night," that is the highlight of Mulcahy's show. At first, it looks like a toy moose head, with a fuzzy white face and orange antlers mounted trophy-style on the gallery wall. As you move closer, studying the piece from all angles, recognition suddenly strikes: You are looking at the upside-down butt of a decapitated, stuffed toy duck.

Named after a mythical Native American bogeyman, "The Windigo" is a sly commentary on the nature of our fears when confronted with the unfamiliar. Like all of Eberle's work, it manages to be at once edgy and comforting, smart and a little silly, serious and witty. Indeed, it is the last element that predominates, and thank God, for wit is a commodity all too lacking not only in feminist art, but in contemporary art generally. For this reason alone, Eberle is the one gal worth watching.

Reproduction courtesy of Mulcahy Modern Gallery

Celia Eberles The Windigo is a sly commentary on the nature of our fears when confronted with the unfamiliar.

Details

Linda Ridgway Leap Year runs through December 16 at Dunn and Brown Contemporary. Call (214) 521-4322.

Recent works by Celia Eberle, Corbin Doyle, Christine Bisetto, Page Kempner, Lane Banks, Tom Sime are on display through January 13 at Mulcahy Modern Gallery. Call (214) 948-9595.