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A thick book standing upright, its pages slightly spreading. The cover features an out-of-focus portrait of a person in blue light with red lipstick. The title at the top reads in serif font, "Suzanne Bocanegra: Poorly Watched Girls."A book spread showing on the left page an older white woman in a minimally designed long-sleeve white dress smiling at the viewer. She appears lit as if on a stage with her shadow behind her. On the right is an extreme close-up with a soft focus of her smiling face at a three-quarter angle,

MW Editions and The Fabric Workshop and Museum

Suzanne Bocanegra: Poorly Watched Girls

1

Description

Published after Bocanegra’s 2018 solo exhibition at FWM, Suzanne Bocanegra: Poorly Watched Girls, this book explores the ways that our popular entertainments theatricalize women in trouble—spiritual trouble, emotional trouble, and romantic trouble. Inspired by an opera, a film, and a ballet, Bocanegra, whose work involves large-scale installation and performance, draws on the breadth of her practice to create a multidisciplinary contemporary art experience.

Published in 2019 by MW Editions and The Fabric Workshop and Museum
Hardcover. 96 pages / 60 color.

Includes a foreword by Susan L. Talbott, then Executive Director of The Fabric Workshop and Museum, and an interview with the artist by art critic and art historian Hal Foster.

ISBN: 9780998701851.

About The Exhibition

A photograph of a kneeling woman theatrically lit in a pitch black environment. She is wearing straw carefully balanced on her head, a yellow floral shirt with rolled up sleeves, a long brown dress, and a red plaid apron. She is holding with both arms a zither, a kind of string instrument.

Suzanne Bocanegra: Poorly Watched Girls

In Poorly Watched Girls, visual artist Suzanne Bocanegra explores the ways that our popular entertainments theatricalize women in trouble—spiritual trouble, emotional trouble, and romantic trouble. Blending elements from performing and visual arts—textile, collage, performance, staging, video, and original music—she blurs the boundary between the black box of the theater and the white box of the museum.