Jennifer Ling Datchuk: Karma Is A Cat: New York City

November 15, 2023 - January 26, 2024
  • Jennifer Ling Datchuk: Karma is a Cat

    NEW YORK CITY NOVEMBER 15- January 26, 2024
  • Ruiz-Healy Art is pleased to present Karma is a Cat, a solo exhibition of works by gallery artist Jennifer Ling Datchuk, opening on Wednesday, November 15th, with an opening reception from 6:00-8:00 PM. Karma is a Cat will be on view at our New York City gallery through January 2024. A fully illustrated catalog will be published, and the artist will attend the opening reception.
  • Jennifer Ling Datchuk’s work explores her layered identity–as a woman, a Chinese woman, an “American,” and a third-culture kid. Datchuk...
    Jennifer Ling Datchuk
    Flawless (peaches), 2023
    Porcelain, decals from Jingdezhen, China, mirror plexiglass
    20 x 16 x 3 in
    50.8 x 40.6 x 7.6 cm

    Jennifer Ling Datchuk’s work explores her layered identity–as a woman, a Chinese woman, an “American,” and a third-culture kid. Datchuk works with porcelain and materials often associated with traditional women’s work—such as textiles and hair fibers. Datchuk’s practice discusses fragility, beauty, femininity, intersectionality, identity, and her personal history.

  • Jennifer Ling DatchukGirls Just Want To Have Fun, 2023

  • Through material culture, the history of craft, and by championing the handmade, Datchuk challenges the social, political, and cultural systems that continue to hold women back. In her latest work, Datchuk continues to build upon her “object-based practice” by initiating thought-provoking dialogues that confront the misogynistic conventions that continually stigmatize women who defy traditional roles.
  • Jennifer Ling Datchuk, Kitty Cat Consent, 2023
     
  • In the early 20th century, as women came closer to gaining the right to vote, cats became a standard feature...
    Jennifer Ling Datchuk
    Quality/Equality, 2023
    Felt, Asian human hair, cat bell
    60 x 36 x 1/2 in
    152.4 x 91.4 x 1.3 cm

    In the early 20th century, as women came closer to gaining the right to vote, cats became a standard feature of anti-suffrage propaganda. As stated by journalist Rae Alexandra, “associating women’s rights activists with this particular pet acted as a wink and a nod to the public about what kind of woman wanted the vote: lonely, bitter man-haters.”

  • This colored stipple engraving depicts a funeral procession of elderly women with cats in their arms, following the coffin of...
    This colored stipple engraving depicts a funeral procession of elderly women with cats in their arms, following the coffin of a dead cat. The art, by J. Pettit after E.G. Byron, is dated 10 April 1789. (Wellcomecollection.org)
  • The cat lady trope has persisted in culture and advances the stereotype of lonely and strange women who use felines...
    Jennifer Ling Datchuk
    Ying and Yang, 2021
    Porcelain and 11 K. gold luster
    23 x 18 x 9 in
    58.4 x 45.7 x 22.9 cm

    The cat lady trope has persisted in culture and advances the stereotype of lonely and strange women who use felines as a substitute for both lovers and children. On May 4, 2022, Congressman Matt Gaetz of Florida employed this sexist trope by tweeting, “How many of the women rallying against overturning Roe are over-educated, under-loved millennials who sadly return from protests to a lonely microwave dinner with their cats, and no Bumble matches?” Karma is a Cat delves into the use of the expression to discredit the feminist movement and explores the complexities of the “cat lady” label.

  • Hear Us Coming features 8 porcelain cat bells each measuring 3 x 3 x 3.5 inches. Datchuk states,“As an overeducated, cat-loving, elder millennial in a committed and loving relationship with a man and cat, I am actively fighting against the social, cultural, and political systems that continue to hold women back. Adorned with large porcelain bells, they will hear us coming and continue to fear us because karma is a cat." 

  • "Women and people of color are imprisoned in cages that men have created. These patriarchal systems turn women's bodies into sites of ideological struggles, where often whiteness is centered and the assumed standard. As a Chinese American woman, I want to reclaim the narratives that we did not create, claim visibility in the black and white racial binary, and show that our stories are not monolithic." - Jennifer Ling Datchuk​​​​​​​​
  • Jennifer Ling Datchuk, Truth Flag (Fanny Hills, 1848, age 9 years old), 2017

    Jennifer Ling Datchuk

    Truth Flag (Fanny Hills, 1848, age 9 years old), 2017
    Digital jacquard textile produced by Textiel Lab in Tilburg, Netherlands
    60 x 36 in
    152.4 x 91.4 cm
  • Jennifer Ling Datchuk was born in Warren, Ohio, and raised in Brooklyn, New York. Datchuk holds an MFA in Artisanry from the University of Massachusetts Dartmouth and a BFA in Crafts from Kent State University. In 2017,  Datchuk received the Emerging Voices award from the American Craft Council and, in 2020, was named a United States Artist Fellow in Craft. Her work has been featured in a solo publication, “Jennifer Ling Datchuk: Half,” through French and Michigan in San Antonio, TX, and included in “Artpace at 25,” “Black Cube: A Nomadic Museum,” the Guardian, Vogue, and American Craft Magazine. Her work is in the collection at the Los Angeles County Museum of Art, Los Angeles, CA; Museum of Fine Arts Houston, Houston, TX; San Antonio Museum of Art, San Antonio, TX; and the Ogden Museum of Southern Art, New Orleans, LA. She is an Assistant Professor of Ceramics at Arizona State University and lives and maintains a studio practice in Phoenix, Arizona.
     
  • About the Artist

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