In this case, she has collected ceramic figurines of busty ladies, cups with boobs, miniature high-heeled boots, manicured hands meant to hold rings. “I’m pointing things out through stuff that our culture is consuming.” The objects are arranged on a chest of drawers in such a way that it evokes the female form as a whole—a cluster of eccentric, at times offensive, objects that portray the ideal woman.
I ask for Munson’s impressions of being a feminist artist now, at a moment when long-overlooked female artists are being given due attention, and young women are proud to identify as feminist. “[Feminist] was almost more of a dirty word for a while there,” she acknowledges as we take a seat among The Garden’s explosion of artificial flowers. “I’ve been really noticing that, reading about it and seeing it on Instagram, there’s so much pride and strength in it now.”
I point to her Functional Women work, the first objects visitors will see as they enter the show, as representing an urgent statement to be making now. “Now, with this whole new administration coming in, it’s so important, right?” she replies. “It’s almost more important than ever for women to be putting that kind of power and energy out there, to really critique our roles and perceptions and expectations.”