As a renowned artist and a trailblazer for women's rights in the art world, Joan Semmel continues to break boundaries with her unapologetic works at an astonishing 93 years old. In a recent solo exhibition, "Joan Semmel: In the Flesh," now running through May 31, Semmel has once again asserted her vision and challenged societal norms.
In the early 1970s, Semmel faced significant resistance when trying to showcase her vibrant paintings of bodies in various configurations of sex at galleries in New York. Undeterred, she took matters into her own hands by renting a space on Prince Street and mounting her first solo show in the city. This bold move marked the beginning of her long-standing pursuit of equality and challenging the male gaze.
Throughout her career, Semmel's works have consistently defied conventions and pushed boundaries, exploring themes of nudity and sexuality from a woman's perspective. Her iconic series of self-portraits, where she paints herself in various states of undress, has been a direct assault on the male gaze – by asserting her own vision and challenging societal norms.
These works, which include paintings like "Through the Object's Eye" (1975) and "Sunlight" (1978), showcase Semmel's unflinching approach to exploring the human body. Her self-portraits are not about likeness or character but about challenging the viewer's perspective and inviting them to see themselves from a different viewpoint.
Semmel's art has been associated with key figures of the feminist movement, including Carolee Schneemann, Betty Tompkins, Tee Corinne, and Judy Chicago. Works like "Fuses" (1967), "Fuck Paintings" (1969-1974), "Cunt Coloring Book" (1975), and "The Dinner Party" (1979) have become landmarks in the art world, celebrating women's bodies and challenging societal norms.
Today, Semmel continues to create works that are as confrontational as ever. Her latest piece, "Skin in the Game" (2019), is a 24-foot-wide oil painting that challenges the viewer to confront their own prejudices and biases. By pushing back on prevailing prejudices, Semmel's work reminds us of our impulse to hide or dismiss aging bodies.
For Semmel, art has been a means of empowerment – first for herself and then for women around the world. As she once said, "My work has been dedicated to empowering women... And in order to empower women, I had to empower myself first."
In the early 1970s, Semmel faced significant resistance when trying to showcase her vibrant paintings of bodies in various configurations of sex at galleries in New York. Undeterred, she took matters into her own hands by renting a space on Prince Street and mounting her first solo show in the city. This bold move marked the beginning of her long-standing pursuit of equality and challenging the male gaze.
Throughout her career, Semmel's works have consistently defied conventions and pushed boundaries, exploring themes of nudity and sexuality from a woman's perspective. Her iconic series of self-portraits, where she paints herself in various states of undress, has been a direct assault on the male gaze – by asserting her own vision and challenging societal norms.
These works, which include paintings like "Through the Object's Eye" (1975) and "Sunlight" (1978), showcase Semmel's unflinching approach to exploring the human body. Her self-portraits are not about likeness or character but about challenging the viewer's perspective and inviting them to see themselves from a different viewpoint.
Semmel's art has been associated with key figures of the feminist movement, including Carolee Schneemann, Betty Tompkins, Tee Corinne, and Judy Chicago. Works like "Fuses" (1967), "Fuck Paintings" (1969-1974), "Cunt Coloring Book" (1975), and "The Dinner Party" (1979) have become landmarks in the art world, celebrating women's bodies and challenging societal norms.
Today, Semmel continues to create works that are as confrontational as ever. Her latest piece, "Skin in the Game" (2019), is a 24-foot-wide oil painting that challenges the viewer to confront their own prejudices and biases. By pushing back on prevailing prejudices, Semmel's work reminds us of our impulse to hide or dismiss aging bodies.
For Semmel, art has been a means of empowerment – first for herself and then for women around the world. As she once said, "My work has been dedicated to empowering women... And in order to empower women, I had to empower myself first."
She's a true inspiration and a testament to the power of art as a tool for social change. I mean, can you imagine taking on an industry that's been dominated by men for centuries and still pushing forward with unapologetic passion? 
Her self-portraits are not just bold statements about women's bodies but also a reflection of her own journey to self-acceptance and empowerment. It's amazing to see how she's challenged societal norms throughout her career, from the male-dominated galleries in New York to the art world today. 
Semmel's work is more than just a critique of the patriarchal gaze – it's a celebration of women's bodies, experiences, and perspectives. We can all learn from her unwavering commitment to using art as a means of self-expression and empowerment. 
She's like a fine wine getting better with age, you know? Her unapologetic works have been breaking boundaries for decades, challenging societal norms and giving women a voice in the art world. I love how she took matters into her own hands back in the day, mounting that solo show on Prince Street – talk about going against the grain 
. It's inspiring to see someone push through resistance and keep creating from a place of truth. And let's be real, her self-portraits are some of the most iconic and empowering pieces out there - who wouldn't want to see themselves in a new light? 
, like, yeah, she broke boundaries and all that, but let's be real, 93 years old is just a number 
. She's still trying to push her agenda on us, but isn't it time for someone else to take over the spotlight? Her art might be empowering for some women, but I think it's also kinda... smug 
. Like, who does she think she is, challenging societal norms at this age? It's just a midlife crisis in paint form 
. And those self-portraits? Just an excuse to show off her bod 
. Not buying it.
. Her self-portraits are not just about showcasing her own body, but also about giving women a platform to see themselves in art 
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. It's no surprise that her pieces like "Fuses" and "The Dinner Party" have become landmarks in the art world, celebrating women's bodies and challenging societal norms 
. And I love how she continues to push back on prevailing prejudices with her latest piece, "Skin in the Game" 
), it's amazing to see someone who has been fighting for equality and empowerment for so long still going strong 
.
Semmel's art is like that one aunt at family gatherings - always bringing the drama and forcing you to see things from a different perspective 
! 
, 93 years old and still killing the game 
. Joan Semmel is a total legend 
. Her art is so raw and honest, it's like she's speaking straight to your soul 
. The way she challenges societal norms and pushes boundaries is truly inspiring 
. She's not just a trailblazer for women's rights, she's also a reminder that art can be used as a tool for self-love and empowerment 
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That's some serious bravery and determination.
. Semmel's legacy is a powerful reminder that art can be a force for change and that women's voices need to be heard 
! She's been breaking rules and challenging people's norms for ages, and still going strong at 93 
. And honestly, who wouldn't want to see a 93-year-old woman painting naked bodies on canvas? It's time we stop shitting on women's art and started giving it the respect it deserves 
.