The image of a feminine figure emerging from the sea is a timeless motif, woven into myths from various cultures around the world. While many are familiar with Disney’s cheerful version of The Little Mermaid, Hans Christian Andersen’s original tale offers a stark contrast: the mermaid does not win the prince but instead dissolves into the ocean, joining an ethereal realm of female spirits. Additionally, the mythical selkies of Scottish lore embody this allure, as enchanting beings who shed their seal skins to become human, only to return to the sea. The ancient Egyptian goddess Nu, who embodies the waters from which all life emerged, emphasizes the deep connection between femininity and the sea, a force both nurturing and destructive.
Although the lesbian-focused exhibition She Sells Seashells at the Alice Austen House does not explicitly delve into these myths, it presents powerful works that resonate with the theme. Finnish artist Nastja Säde Rönkkö’s video series Those Who Kept the Light (2022) reflects on the untold stories of women who kept lighthouses lit when the male tender failed to fulfill those duties. The series features breathtaking visuals from Norway and Denmark, showcasing stark coastal landscapes that confront viewers with the elemental nature of the sea and its historical allure to the feminine spirit.
The exhibition, curated by Gemma Rolls-Bentley, showcases the artwork that embodies the freedom associated with bodies near the sea, often unclothed, unconfined, and liberated from societal constraints. Ana Benaroya’s striking marker and ink work, “By the Ocean’s Roar” (2022), illustrates the exuberance of queer and trans bodies celebrating their existence at Riis Beach in New York, depicting figures that revel in the joyful abandon of naturalism and acceptance. Similarly, the photographic compositions of Meryl Meisler, Lola Flash, and JEB (Joan E. Biren) capture intimate moments of lesbian joy and freedom in the proximity to water, whether from the 1970s or contemporary times. Ro Robertson’s installation, “birthbuildshift” (2022), nestled within the historical confines of the Austen Museum, evokes alternative narratives of genesis, subtly shifting the focus from revelation to the interconnection between the body and nature.
Furthermore, the exhibition showcases the iconic works of Alice Austen, whose legacy as a lesbian photographer lives on within the museum’s walls. Familiar scenes of women by the shore are complemented by her non-figurative pieces, displaying a slightly veiled moonlight filtering through skeletal branches, casting reflections on tranquil waters. Upon close inspection, one might recognize elements that relate to the reality of Austen’s home, offering a unique perspective of a world-renowned harbor she observed throughout her life. Another notable work from 1935 features two gigantic oyster shells, interpretations of potent symbols of femininity or perhaps a nod to Japan’s mythical Sazae-oni.
If you make your way to this enchanting exhibition, take some time to explore the surrounding shoreline. The Alice Austen House is situated in a scenic city park with public hours extending after museum operations. If you’re coming via the Staten Island Ferry, keep an eye out for the Robbins Reef Lighthouse, where Katherine Walker, a remarkable woman, persevered for over thirty years, safeguarding the light and rescuing numerous souls from perilous waters.
She Sells Seashells is currently on display at the Alice Austen House Museum (2 Hylan Boulevard, Shore Acres, Staten Island) and will run through February 21, 2026. This exhibition is curated by Gemma Rolls-Bentley.
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