Budapest, 1968.

For the past decade, Rita Ackermann has pushed the boundaries of a painting-based practice that embraces a plethora of social roles and an equally catholic range of artistic

media, from stained glass to the red ballpoint pen she’s applied to runway models’ faces in lieu of makeup. In both her drawings and collages, Ackermann juxtaposes characters and narratives, drawing on the semiotics of fertility and pornography to create an anthropomorphic woman-child.

(Suzanne Hudson)