Quotes From The New York Times Women in the World:
Words For Women is a wondrously vibrant collection of photographs, showcasing not only Friemoth’s aptitude for portraiture and keen eye for design, but also her sense of humor and adventure.
As for the insults directed towards women that Words for Women spotlights, Friemoth proves how ridiculous, and ultimately unnecessary they are. Though they may not raise many red flags when spoken, seeing them through Friemoth’s eyes stops us in our tracks. “I really just want to get people thinking. In Words for Women, I offer a new perspective by challenging the viewer to a lighter yet satirical interpretation on something ugly.”
She comes from a fascinating line of artists that spans three centuries, among them her mother, photographer Penny Gentieu; her grandmother, Audrey Gentieu, a portrait painter and her great-great-great grandfather, Pierre Gentieu, who drew civil war encampments while he was a soldier.
Words For Women featured here:
- Time Magazine: Here’s What a Rude Word For a Woman Looks Like—Literally
- New York Times: Insults directed towards women brought to life in sophisticated satire
- Huffington Post: Surreal Photos Reclaim The Words People Use To Insult Women
- Hyperallergic: A Blue Gallery Tour of Chelsea
- Slate: Visualizing the Ridiculous Words Used to Disparage Women
- Vice: Vice: Gendered Put-Downs Come to Life in this Photo Series
- Wall Street International: Words for Women
- Fashion Industry Broadcast: Anna Friemoth Mocks Gendered Slurs in Funny Photo Series
- Brit + Co: This 20-Something Photog Just Shut Down Every Insult To Women
- Bustle: Words For Women’ Photo Series By Anna Friemoth Skewers The Sexist Ways We Talk About Women
- We Heart: Photographer highlights absurdity of labels like Sugar Tits and Butter Face in literal self-portrait series.
Gallery 151, New York, NY February 4 – March 26, 2016
In her first New York solo exhibition, Anna Friemoth unveils her latest series, Words for Women, and revisits her collection of candid self-portraits, 10 Commandments. Friemoth playfully re-examines these innate concepts by defying and challenging their validity. She portrays herself (and others) in each photograph as mischievous, lustful and devious – all through wry implications.
In Words for Women, Friemoth ridicules labels often reserved for women by extracting their literal context and mocking their absurdity. “Sugar Tits” depicts a model’s breasts caked in scrumptious frosting, “Trophy Wife” presents Friemoth as a gleaming statuette on a pedestal. When these words for women are visualized, however sensual, they are merely a reflection on the contemporary society and its biases.
In a series of self-portraits, 10 Commandments provides a devilish interpretation on the Biblical laws by illustrating ways they can be broken — whether it’s absconding with a painting or impishly removing a wedding ring. Each frame is highlighted by meticulously chosen elements – be it a rotisserie chicken, a dartboard or a rotary telephone – and Friemoth’s arresting gaze, which serves as an invitation to the other side.
In each series, Anna Friemoth absorbs the original context and then reformats it into a fresh, interpretive narrative. Words for Womenconveys real confidence in the power of portraits, and builds on the premise that imposing a boundary on an idea or a person is a futile attempt.
Anna Friemoth (b. 1990, New York, NY) received her BFA from Maryland Institute College of Art and studied photography abroad at Central Saint Martin’s in London. Her work has been published internationally in France, South Korea, Turkey, China, London and New York. Among these include BLINK Magazine, Beautiful/Decay, Feature Shoot, MATTE Magazine, Flavorwire, among others. Friemoth’s work has been exhibited in Brooklyn Museum of Art, New York; Toledo Museum of Art, Ohio; Queens Museum, New York; and acquired by the Museum of Modern Art’s periodicals collection