Integrating historical and emerging feminist practices and theories inspires my research. By combining bits and pieces of repressed stories I am exploring systematic approaches to defining gender identity using culture and social media, researching propaganda, bias, discrimination, and political agendas.
Artist-in-residence (September - December 2020)
Great Women Artist: 50 years later, West Texas Edition
This project focuses on artist that identify as women and whose work I have curated into the category of protest art. I believe women’s work and their action of art making emulates a kind of protest whether that be in the act itself, as a woman, and/or in the subject of the work presented for the viewer to absorb. The questions I intend to answer begin with the artist lived experience that then edges in to and occupies the work. Unapologetically and purposefully I am focusing on women artist in West Texas, more specifically on the South Plains. In this barren and sometimes isolated land, women artist root themselves in the shifting dirt and wind to take up the charge to move a community to thinking and acting as a collective unit. The collective is necessary to withstand the implied sense of belonging nowhere and nevertheless persisting to be everywhere. I am asking the same questions asked many years ago that seem to resurface each time women pick up a brush, a chisel, a thread and needle, and hammer into the dirty canvas, the story of our lived experience.
1.) Taking inspiration from the 2010 publication of Art of West Texas Women: A Celebration, authored by Kippra D. Hopper and Laurie J. Churchill, Earl sets out to lift us out of a sense of women artist working in isolation to a collaborative and collective state of activism through art.
2.) From 1971: Why Have There Been No Great Women Artists? by Linda Nochlin, ARTNews, May 30, 2015