Michele StuevenL.A.’s Originales: Women Defining Contemporary Art, an all-women, femme-presenting group show, opened over the weekend at Superchief Gallery LA with Kendalle Getty, bringing together a lineup of Los Angeles–based women artists whose voices are often overlooked in mainstream gallery systems.
Curated by Steve Galindo, one of the highlights is Getty’s Hostile Home II, an installation that reimagines the domestic interior through re-engineered furniture and hostile architectural forms, examining how womanhood, domesticity, pop culture, and power shape daily life.
Kendalle Getty and Steve Galindo (Courtesy Superchief Gallery)
A descendant of the Getty dynasty, the artist also presented her Angry Feminist Pin-Up series, which uses humor and pop iconography to challenge gendered imagery, language bias, and cultural erasure while promoting a feminist ethic of visibility.
Described as a reality check, joy ride, and archive in motion. L.A.’s Originales: Women Defining Contemporary Art is a proposition: to reroute power from the gallery halls and place it back into the streets. Born from Superchief’s mission to make art accessible and overturn the gatekeeping codes of the art world, the exhibition gathers Los Angeles–based women whose work refuses walls, translation fees, and quietude. Here, art lives where people live: on street corners, against alleys, across flyers and murals, in conversation and confrontation.
The artists, including Catherine Wang, Isabella Morillo, Parker Day, Masha Sheinina, and Siyowin, aim to wield the tools of visual culture as acts of reclamation and counter-archive. They confront the blank wall, language bias, gendered iconography, and cultural erasure, provoking through color, humor, wordplay, scale, and tactility.
Coppertoned (Courtesy Superchief Gallery)
According to Galindo, the exhibition resists the white cube. Instead of contained rooms, visitors move through a layered environment of digital and analog works, asking viewers to step up, step out, and step closer.
Hostile Home II combines Getty’s sculptural, performative, photographic, and time-based practices into a single organism, a house that thinks out loud. Her re-engineered furniture, détourned pin-up imagery, lyric-etched mirrors, and melting self-portraits function like rooms in one psyche, illustrating how womanhood, domesticity, pop culture, and power script the everyday.
Threaded through the space, Getty’s Angry Feminist Pin-Up vocabulary returns as banners, calendars, and lightboxes, cheeky and politically pointed. Across Hostile Home II, interiors and exteriors trade places. The living room behaves like a street, the mirror like a billboard, the body like a clock. The house she builds is not a refuge but a rehearsal studio, somewhere to confront the scripts that raised us, rewrite them in our own language, and practice living differently.
The show runs through Sunday, Dec. 14.
Mirror of Influence (Courtesy Superchief Gallery)
Getty Family Crest (Courtesy Kendalle Getty)