![]() The Monday before they performed at the “In Company of Women” preview, members of the local Latin fusion band Las Chollas Peligrosas gathered at Andria Bunnell’s Roosevelt Row home, as they do every Monday. Like, girls can be this good? What?!” Machismo in Phoenix's music scene “That women don't have as high a skill level as men do. “It's this weird assumption that people have - that men are artists,” she said. “But they don't think it's for them."Ĭauley has run into this frequently throughout her five-year art career. “Like, they know it's possible (to be an artist),” she said. When women, women of color and people of color don’t see themselves represented by artists featured at galleries and museums, the idea that art isn’t for certain groups of people perpetuates. Lack of inclusive art spaces, Cauley said, perpetuates stereotypes surrounding art and who can be an artist. And I’m the only black artist they have.” “Even at the monOrchid, there are seven of us represented. “There’s definitely not a balance,” she said. Certain themes - themes that women or black artists might address, were they given platforms in the Phoenix community - go unexplored. The art scene here is dominated by white and Hispanic men, she said. "And I use these little girls to do it? I just never know how people are going to react to it."Ĭauley expects her work to ruffle some feathers, considering where she lives. “I paint a lot about stereotypes and social issues and stuff," Cauley said. ![]() Because of who she is - a woman of color - and because of her paintings’ themes. She worries sometimes, though, about how Phoenix artists and community members will perceive her work. In her last series, she painted young white girls with face tattoos, assault rifles, gold chains. She’s painted Offset, Quavo and Takeoff of Migos, 21 Savage, Post Malone and, now, YG and Nipsey Hussle, as girls. In her current series, she reimagines popular rappers as little girls. A few of Cauley’s paintings remain scattered about her apartment-studio - most of them, by now, she has sold or put on display at the monOrchid.Ĭauley challenges racial and gender stereotypes, through her art. She takes pride in making it as an artist here in her hometown. She now resides in central Phoenix’s peaceful Peper-Thurman neighborhood, in a small white-walled, wood-floored apartment that doubles as a home studio.Ĭauley, who is represented by Roosevelt Row’s respected monOrchid Gallery, has grown to love Phoenix. She has called pretty much every corner of the Valley home, at some point - Tempe, South Phoenix, Ahwatukee, downtown’s Roosevelt Row. She was getting started on her latest work, a portrait of two little girls posed as Nipsey Hustle and YG in their “Last Time I Checc’d” music video.Ĭauley was born and raised in Phoenix. The Thursday before the exhibition opening, Cauley was sketching. MORE: How Instagram is inspiring Scottsdale art for a new generation 'There's definitely not a balance' They said Phoenix’s art scene, though diverse in its own way, has some growing to do toward gender equality. In conversations that evening and over the days that followed, a few of the artists talked about their experiences establishing and growing their careers here in relation to their gender. "I play a lot with masculinity and femininity," she said to the audience. It turns out playing with gender, in relation to the experiences she went through as a girl and woman, significantly influences her work. One of those artists, Antoinette Cauley, led a drawing workshop and spoke in a discussion about how being a woman influences her art. The museum invited them to facilitate discussions, lead live-drawing workshops, play music and more. Though the exhibition includes work from only two local artists, Ellsworth and Lopez, a few local artists were involved in the exhibition preview on this First Friday. And this percentage is even lower for women of color.” “Women artists only make up only 3 to 5 percent of major permanent collections in the United States and Europe, with roughly just 5 percent of works on museum walls by women. “History has shown a systematic exclusion of women from mainstream art,” she said.
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