Athena Papadopoulos shortlisted for Max Mara Art Prize for Women
October 16, 2017 — January 21, 2018

Congratulations to our beloved Athena Papadopoulos, who has been nominated for the Max Mara Art Prize for Women!

The Whitechapel Gallery, Collezione Maramotti and Max Mara announced the six shortlisted artists for the seventh edition of the Max Mara Art Prize for Women: Helen CammockCéline CondorelliEloise HawserAthena PapadopoulosLis Rhodes and Mandy El-Sayegh.

Featuring artists that work across a range of mediums, the shortlisted artists were selected by a judging panel chaired by Iwona Blazwick OBE, Director of the Whitechapel Gallery, and joined by gallerist Vanessa Carlos, Carlos/Ishikawa, London; artist and previous recipient of the prize Laure Prouvost; collector Marcelle Joseph and art critic Rachel Spence.

The Max Mara Art Prize for Women was established by the Whitechapel Gallery in collaboration with the Max Mara Fashion Group in 2005. Its aim is to promote and support female artists based in the UK, enabling artists to develop their potential. The winning artist, announced in early 2018, is awarded a bespoke six-month artist residency in locations around Italy after presenting the judges with a proposal for a new body of work. During the residency, which is organised by Collezione Maramotti in collaboration with Max Mara and the Whitechapel Gallery, the artist has the opportunity to realise an ambitious new project which is presented in major solo exhibitions at the Whitechapel Gallery in London and Collezione Maramotti in Reggio Emilia, Italy.

Athena Papadopoulos (b. 1988) 
Using cosmetic, medicinal, and edible ingredients, Athena Papadopoulos stains layers of cotton bedsheets with red wine, lipstick, hair dyes, Pepto Bismol, and self­tanner. Drawings and photographs of women are layered into dense collages: Papadopoulos chemically transfers, cuts, and stitches her own photographs into and alongside imagery gleaned from literature, art history, and popular culture. Papadopoulos’ action of isolating and recombining images therefore becomes a way of thinking about the construction of subjectivity in general and femininity in particular.