Among Atkinson’s contributions to the exhibition are his newspaper paintings, sketched or altered papers—including a partially obscured front page from the New York Times dated September 11, 2001—that serve to highlight the way that the media shapes (or manipulates depending on whom you ask) the truth. A similar approach is given to the artist’s own U.S. naturalization papers, which he transforms into a statement on immigration with the childlike insouciance of a student doodling on his homework.
Ever since that first London show, Harrison’s activism has been more focused on feminism, including pinup-inspired sketches that placed male figures like Captain America in poses and outfits typically reserved for consumption by the male gaze. At Ronald Feldman, Harrison’s installation The Last Gaze injects Tennyson’s “Lady of Shalott” (1832) and the painting of the same name by John William Waterhouse with the added tension of the awareness of viewing and being viewed, with the addition of car rear-view mirrors. Other works include delicately rendered paintings that treat potentially dangerous objects in the style of high-end jewelry advertisements and department store scenes that update Édouard Manet’s A Bar of the Folies Bergère (1881-82) with modern examples of working women on display.
Harrison has noted that in the decades since their debut, the controversial images from her first show have come to represent more the broadened options for self-expression available today than the radical statements on gender they once were. Likewise, the works by both artists in this exhibition serve to show how activism can move things forward, in art and beyond.