This painting depicts the heads of three missiles lined up in a row, hanging threateningly in an empty star field. The tops of the missiles seem to suggest fingers with red painted nails. The composition resembles a human hand in search of control—one led dangerously astray into hostile and distant terrain. The artist's oil and acrylic paintings spotlight both the diminutive and the grand, while addressing the tension between humans and nature—including our desire to control the uncontrollable.
Furr creates floating landscapes populated by sleek machines striding through space. Her seemingly impenetrable compositions reveal upon close inspection pores and glimpses of disembodied flesh. The artist's work employs these elements to explore tensions in binary oppositions, such as male versus female, alongside the potentialities and limitations of scale.
Emily Furr’s paintings seek to restore the feminine archetype and usher in a new yonic era. Her work disassembles patriarchal symbols to show the female aspect overcoming the phallocentrism of the current moment. Furr’s work also addresses the tensions in binary oppositions, such as male versus female, while exploring the potentialities and limitations of scale.
Emily Furr was born in 1978 in St. Louis, Missouri. She received her MFA in 2018 from Hunter College in New York.
Furr’s debut solo show at Sargent’s Daughters received reviews in ARTFORUM and Hyperallergic. In 2019, she was an artist in residence at the Watermill Center in Watermill, New York.
Solo exhibitions of Furr's work include: So Tough at Sargent’s Daughters in New York Cit (2020); Cloudbusting at 12.26 Gallery in Dallas, Texas (2020); Omni Mind at Rebecca Camacho in San Fransisco, California (2021); Dynamite Bridge at 12.26 West in Los Angeles, California (2021); Emily Furr: Star Tap at SCAD Museum of Art in Savannah, Georgia (2021).
Group exhibitions that have shown Furr's work include: Sweet Jane in Fields of Daisies, curated by Joan Tucker, Phillips (2021); Woman in Paris at Galerie Hussenot in Paris, France (2021); NADA Miami at Sargent’s Daughters in New York City (2020); Inside.Out Upside.Down Cosmic.Space at Rebecca Camacho Presents in San Francisco, California (2020); Garden at Sargent’s Daughters and SHRINE, both in New York City (2019); New American Painting 2019 Review: Part 2 at Steven Zevitas Gallery in Boston, Massachusetts (2019); Painting Zeitgeist? at Achenbach Hagemeier in Berlin, Germany (2019); you haven’t started wondering about yet at Halsey McKay Gallery in East Hampton, New York (2019); Body Parts at Galerie Maria Bernheim in Zurich, Switzerland (2019); Ever Upward at Collar Works in Troy, New York (2019); NADA Miami with Sargent’s Daughters and Shrine in Miami, Florida (2018); Cheeky: Summer Butts at Marinaro Gallery in New York City (2018); and Show 2, xo, Hunter College MFA Thesis Exhibition Part 2 at Hunter College Art Galleries in New York City (2018).
In February of 2021, Furr opened her first museum solo exhibition at the SCAD Museum in Savannah, Georgia. The show was curated by Ariella Wolens, assistant curator of SCAD exhibitions, and was on view from February through May of 2021.
Furr was featured on the cover of New American Paintings’ 25th Anniversary Edition.
Furr is represented by Sargent’s Daughters.
Furr currently lives and works in New York City.
This painting depicts the heads of three missiles lined up in a row, hanging threateningly in an empty star field. The tops of the missiles seem to suggest fingers with red painted nails, like a human hand in search of control.More
- Framed: 11.0 x 11.0 x 2.0 in.