Higher Horse

2008 - Film & Video (Film & Video)

6:13 minutes

Kate Gilmore

location: New York, New York
year born: 1975
gender: female
nationality: American
home town: Washington, D.C.

In the six-minute single-channel video Higher Horse , Kate Gilmore perches herself on top of a tall pile of plaster blocks, in front of a pink colored wall with vein-like streaks of red. Two muscular men with sledgehammers simultaneously pummel the blocks where Gilmore attempts to stand. Although we can only see the artist from the waist down, her body language reveals apprehension: her hands, tense, press against the wall in an attempt to maintain balance while the men come dangerously close to smashing her bare legs. Gilmore’s attire—red heels, a black skirt, and a pink top—together with the pink walls, are all symbolically charged as expressions of the female gender. The aggressive actions we see in Higher Horse are consistent with her investigation into the language of damage, destruction and rage, which in this case, is inflicted by the male body as she attempts to remain above, unharmed.


Whether through live or filmed performances, or sculptural works where we can see traces of actions, Kate Gilmore’s practice always departs from the female body. Through her own physicality, and often using the language of destruction and rage, she creates works that bring into question social constructs relating to sex, gender, and most specifically, femininity. Although early in her career she often placed herself as the central protagonist, over the past few years she has invited other women to perform her pieces, and in some instances has even relied on audiences to activate works. A common feature of her work is the use feminine signifers—high heels, skirts, floral patterns, and specific color hues—which are set in stark contrast with physically demanding actions that are aggressive in nature and would commonly be associated with a masculine ethos. By tearing dry walls with sledge hammers, bashing cubes of metal and plaster, smashing glass containers full of paint—Gilmore’s gestures embody a form of resistance seeking to break free from the norms that constrict femininity, all of this articulated through and from the female body.


Colors:



Related works featuring themes of: » Abstract Sculpture, » Feminism, » Cultural Commentary, » Endurance Art, » American

!Women Art Revolution
© » KADIST

Lynn Hershman Leeson

2010

Hershman Leeson’s documentary, Women Art Revolution (W...

Tania Libre
© » KADIST

Lynn Hershman Leeson

2016

Tania Libre is a film by Lynn Hershman Leeson centered around renowned artist Tania Bruguera and her experience as a political artist and activist under the repressive government of her native Cuba...

Cathy (bed self-portrait)
© » KADIST

Catherine Opie

1987

Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...

Oakland Girls
© » KADIST

Pascal Shirley

2006

Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...

Never Leave Home Without It
© » KADIST

Aaron Young

2007

The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...

Nightmare-Wallpaper (No.DCCC901-16#8): An-Angel-in-Conversation-with-a-Young-Lady
© » KADIST

Pak Sheung Chuen

2017

The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement...

The Last Post
© » KADIST

Shahzia Sikander

2010

The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...

Eraser
© » KADIST

Will Rogan

2014

Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...

Freeway Series
© » KADIST

Catherine Opie

1994

Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...

Lightning
© » KADIST

Paul Kos

1976

Parked on the shoulder of a single lane highway running through a desert landscape, Marlene looks over her shoulder from inside the car at a fierce storm looming over a distant horizon...

VertiGhost
© » KADIST

Lynn Hershman Leeson

2017

Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...

Sentimentite (COVID-19 Global Lockdowns 53/100, from Chapter 6: The Pandemic)
© » KADIST

Agnieszka Kurant

2022

For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history...

Towhead n’Ganga enclosed in darkness, lorded over by the sexualized folded high priestless form
© » KADIST

Mike Kelley

1996

Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...

Radical Hospitality
© » KADIST

Andrea Bowers

2015

Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...

Alistair Fate
© » KADIST

Catherine Opie

1994

Alistair Fate (1994) depicts, presumably, a member of the LGBT community...

Silencer #16 & #17
© » KADIST

Will Rogan

2010

MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...

Untitled (Construction)
© » KADIST

Larry Bell

2007

Untitled (Construction) recalls the series of glass cubes that gained Bell international recognition in the 1960s...