Indeed, Unger is just one of a litany of women artists whose practice has come under the spotlight over the past decade, either posthumously or retrospectively, as the art world does the important work of reevaluating the canon. “People are paying attention to women now, but not nearly enough,” says Unger's daughter, Eve Biddle, who has a practice of her own and co-directs the Wassaic Project, an upstate New York residency and exhibition space. Alongside her father, photographer Geoffrey Biddle, she's been working to champion her mother's work and legacy, at times exhibiting her work alongside Unger's—allowing for their material and formal similarities to drift in and out of conversation.
Ahead of Mother's Day, Eve sat down with CULTURED to reflect on growing up in her parent's hybrid studio/living space, and how that informal education has informed her own practice and family life with 10- and 11-year-old children. "I'm in my studio right now, and I was just thinking about how I have stuff my kids made next to me, like this little clay poop," she says with a laugh. For those yet to visit Berry Campbell's showcase, Biddle dives into the underexplored aspects of her mother's work that one should keep an eye out for, and the themes that still stand out to her after all these years.
