Betty Tompkins’s solo exhibition Virgins at P.P.O.W. Gallery arrives at an apt time of increasing mainstream attention to whiteness as a distinctive ethnicity. Currently, there lacks critical attention to the whiteness of imagery that Tompkins depicts, instead framing Tompkins’s represented sexual liberation in the context of all women.
2016 seems to be the year that the art world rediscovered women. Well, at least in their summer group shows. With this glut of all-women exhibitions, there are valid arguments on either side whether all-women shows are good for the careers of women artists. On one hand, women could be slotted solely as “women artists”–their careers relegated to essentialism and on the other, increased visibility is never a bad thing.