One of the joys and challenges in curating a show with diverse content is finding a common thread in order to tell a compelling story. Such is the case with my next exhibition planned for mid-September with its four female artists. How do I balance the tight technical skills of Joyce Zipperer's sculptural work with the loose hand of Yvette Kraft? What kind of dialogue is created between the somewhat explicit emotions found in Laura Elkin's portraits of powerful women and Claire Feng's subtle and quiet moments? And, then, how do I combine the work of all four in a narrative way? That's the conundrum of curating but also the thrill of it.
Joyce Zipperer at her home in Springfield, Virginia. Strangely, I became aware of Joyce's work when, long ago, I purchased a small impressionistic painting of a sailboat in the bargain basement of Ruff-n-Ready on 14th Street NW. It was an early Joyce Zipperer (1963). I have to confess that I bought the painting primarily because it was orange. (I was going through an orange craze at the time.) I had the painting for over 15 years, and it continued to fascinate me.
Years later, I attended the opening of one of DCAC’s Wall Mountable shows and was surprised to find small, delicate sculptural pieces by Joyce there. I introduced myself and was won over by her warmth. She remains much the same today as she welcomed me to her home and studio.
I’m thrilled to include Joyce in the second exhibition of my selects series with Yvette Kraft, Laura Elkins, and Claire Feng. The exhibit opens September 16 at Studio B at Biagio Fine Chocolate. Mark your calendars and plan to attend.