Caitlin Cherry, black female bodies and sexually confident women in general are portrayed as self-possessed in the face of oppression and outmoded, moralizing aesthetics. Her topsy-turvy palette riots topple expectations and reveal an emboldened generation of women ready to rule this jacked-up kingdom.
In a world where every image is distorted, manipulated, aspirational and dysmorphic, what is to become of painting's history of generating interpretive, fantastical pictures? Within the hierarchy of the beautiful, what place is there for images viewed through the mediation of technology — especially when it isn't working right? And what does "right" even mean when we're having a subjective and subversive discussion on patriarchal, racial and colonialist paradigms of beauty in the first place? In the paintings of