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DTSTAMP:20261113T211702Z
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DESCRIPTION:Sep 10 - Dec 5\, 2026\nLong before ‘feminist art’ was a com
 mercial category\, the New Zealand photographer-turned-painter Alexis Hunt
 er (1948–2014) made sensual\, feral\, and unapologetic paintings in the 
 1980s and 90s\, works that blended romanticism with tropes of history pain
 ting to forge a new female mythology. At Totah\, in Manhattan’s Lower Ea
 st Side\, her work is on view in a solo exhibition—the first in the U.S.
  in 40 years—curated by fellow New Zealander Sophia McKinnon. Hunter\, w
 ho spent much of her life in London\, was one of the first artists to use 
 photography to radically expose and exploit the male gaze. In the 1970s\, 
 she used her camera lens to sexualize men\, annotating the images with the
  words “yes\,” “no\,” or “maybe.” Some museum workers refused 
 to hang those pieces. Hunter shifted to painting\, using it as a vehicle f
 or reclaiming power from old forms: women weren’t classical nudes\, hero
 ines\, or victims\; they were animals or spirited hybrids that resisted ca
 tegorization and learned new modes of survival. At a time when Britain was
  being radicalized by Margaret Thatcher’s politics\, Hunter was clear th
 at it amounted to gross\, systematic inequality. Hunter’s mythos told wo
 men to keep pushing: transformation\, she seemed to say\, is strength.
LOCATION:TOTAH\, 183 Stanton St\, New York\, NY 10002
SUMMARY:Alexis Hunter: Chimera
URL;VALUE=TEXT:https://airmail.news/arts-intel/events/alexis-hunter-chimera
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