He had caused quite a commotion at Briarcliff the previous Christmas and she intends that he do the same this year. Lana realizes that Kit is also in the asylum and concludes that her own case has never been reported to the police. She tells Kit about Dr. Sister Jude desperately wants to get back into the asylum and gets help from a totally unexpected source. Things don't quite go as planned. Alden has a close encounter while trying to dispose of Grace's body. Written by garykmcd.
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The Stories of 21 Families Who Teach Their Children at Home
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Director: Michael Lehmann. Added to Watchlist Add to Watchlist. New York Comic Con Best American Horror Story Episodes. American Horror Story. Worth Watching once. On its surface, the conceit seems generous: so many windows accommodating so many points of view.
But who gets to enter the house and perch at a window, field glass in hand? Such a privilege has not been granted equally. Wilson seems to plane over the history of art, shaking up categories and dissolving boundaries between genres, nationalities, historical eras, and between nature and culture. Then, she floats down to occupy the new spaces she has opened up—and often those spaces are actually windows.
Sometimes, for example, she appears in her own work as a saint-like figure in a stained-glass window. She can morph into a looming ocean goddess, or a silhouetted head. At other times, Wilson makes herself known solely through her style—distinct and knowable despite the diversity of an oeuvre spanning video, decorative arts, printmaking, fashion, collage, and performance.
The words describe nature—two types of bodies of water and the artist meditates often on pools and oceans as spaces of creativity. Wilson wants us, precisely, to see and to contemplate seeing. Windows, cell phone screens, and cameras abound in her work, which showcases the drama of looking. Out of Light the piece opening her Miami exhibition presents the exterior of a stained-glass window.
The figure of a regal woman is discernible in the glass, a white dove perched on her outstretched arm. This small window entices us to enter the building and appreciate the stained glass from the other side, where its brilliant colors will be set ablaze by the sun. In other words, Out of Light, beckons us to follow Wilson into the house of art, to witness her exuberant and provocative work. In Lady with Reflection Pool, the stained glass comes alive as a woman resembling the figure from Out of Light stands amid shifting patterns, in a Cubist-inflected reinterpretation of cathedral windows.
We espy what looks like a hooded knight alongside a distinctly Picasso-esque decorative fragment, while the palette and visual rhythms conjure Romare Bearden. But as Wilson pays homage to these artists and styles, she makes her own statement: they are the pool upon which she reflects. Here, as elsewhere, she turns stained glass—that most iconic of medieval, European, Christian iconography—to her own purposes.
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There is no reverence of either ancient saints or the overwhelmingly male art-historical canon. Instead, there is light and sun, movement, nature, and—crucially—women. A fuchsia sunset hovers, melding nature and culture. Three dancing feminine skirts or tassels sway in an upper corner. In Stained Glass Vision, Wilson depicts herself as an artist-magician, creating in a kaleidoscopic, stained glass world where colored fragments take shape in her hands, and nature and art seem to tumble together and separate seamlessly. In the monumental Stained Glass Sisters, Wilson offers a double self-portrait in negative and positive one face in shadow, the other in light.
With its bejeweled ornamentality, the piece recalls Gustav Klimt.
Paula Wilson featured in the Miami Rail
Look closer, and you espy a dense world of very different references: shards of ancient-looking pottery though one seems to depict a mini-van , African-American portraits one looks like Maxine Waters, but that might just be a hopeful hallucination , and more classic Wilson iconography: wide, Byzantine icon-style eyes painted on buttocks.
They suggest the propulsive, creative force driving the woman who wears them, the treasure trove of images, past and present, from which she crafts her aesthetic. A Kara Walker-style, silhouetted head in the foreground might stand in for the artist as spectator. Here, the artist seems to consider our experience, how spectators absorb her world of references, her riot of colors, patterns, icons, and motifs.