WORKS IN THE EXHIBITION TEACHING GALLERY Fall 2017

Betty Dodson Barbara Kruger Mel Ramos (American, b. 1929) (American, b. 1945) (American, b. 1935) Friends, from S.M.S. No. 6, 1968 Girl, Don’t Die for Love, 1992 Candy, from S.M.S. No. 5, 1968 3 1 7 7 Offset lithograph and cellophane, 8 x 5 /8" Offset lithograph, 11 x 8 /2" Photolithograph, 10 /8 x 13 /8" University purchase, 1990 Gift of Visual AIDS, 2004 University purchase, 1990

Jeanne Dunning Lauren Lesko Martha Rosler Reframing Feminism: (American, b. 1960) (American) (American, b. 1943) Study for The Extra Nipple, 1994 Fur Muff, 1993 Semiotics of the Kitchen, 1975 1 1 Cibachrome, 21 x 15 /4 x 1 /2" (framed) Monkey-fur muff and porcelain saucer Black-and-white video with sound, Visualizing Women, Gift of Peter Norton, 2015 with cream; muff 17 x 11 x 9" (approx.), transferred to DVD, 6:09 min. 1 saucer 7 /2" diameter University purchase, Bixby Fund, 2013 Valie Export Gift of Peter Norton, 2015 (Austrian, b. 1942) Kara Walker Gender & Sexuality Roy Lichtenstein (American, b. 1969) Touch Cinema, 1968 (American, 1923–1997) Black-and-white video with sound, The Bush, Skinny, De-boning, from transferred to DVD, 1:08 min. Crying Girl, 1963 Edition No. 19, 2002 University purchase with funds from Offset lithograph, 192 / 300, 18 x 24" Painted stainless steel in 3 parts, 29 / 100; The question "Why have there been no great women artists?" 3 1 3 1 1 3 3 Samuel Kootz Gallery, by exchange, 2014 Gift of Mrs. Joseph L. Tucker, 1965 5 /4 x 5 /2 x /4", 4 /2 x 4 /8 x /4", and 5 /4 3 x 6 x /4" is simply the top tenth of an iceberg of misinterpretation and Gran Fury Hung Liu Gift of Peter Norton, 2015 (American artist collective, active (Chinese, b. 1948) misconception…. While the "woman problem" as such may be c. 1987–1995) Andy Warhol Trademark, 1992 (American, 1928–1987) a pseudo-issue, the misconceptions involved in the question… Kissing Doesn’t Kill: Greed and Photolithograph with collage, 7 / 16, 1 Miguel Berrocal Indifference Do, 1989 22 /2 x 33" , 1971 point to major areas of intellectual obfuscation beyond the Bus poster mounted on aluminum, Gift of Island Press (formerly the Ladies and Gentlemen (Broadway), 1 1 Washington University School of Art 32 /16 x 116 /16 x 2" 1974 specific political and ideological issues involved in the subjection Collaborative Print Workshop), 1993 Gift of Betsy Millard in memory of Earl Nude Model (Male), 1977 Millard, 2004 of women. Basic to the question are many naive, distorted, Howardena Pindell Frau Buch, 1980 Jenny Holzer (American, b. 1943) Maria Shriver, 1986 uncritical assumptions about the making of art in general, as 1 3 (American, b. 1950) Free, White and 21, 1980 Polaroids, 4 /4 x 3 /8" each Gifts of The Andy Warhol Foundation for well as the making of great art. Untitled (Expiring for Love Is Beautiful Color video with sound, transferred to the Visual Arts Inc., 2008 but Stupid), 1983–85 DVD, 12:15 min. – Linda Nochlin, 1971 University purchase, Bixby Fund, 2012 Untitled (In a Dream You Saw a Way Hannah Wilke to Survive and You Were Full of Joy), (American, 1940–1993) 1983–85 Adrian Piper Reframing the art historian Linda Nochlin’s pioneer- Barbara Kruger, Martha Rosler, and Hannah Wilke, are Gestures, 1974 Untitled (Men Don’t Protect You (American, b. 1948) ing question to think not only about women artists but explicitly committed to feminist practice, while others, Anymore), 1983–85 Let’s Talk, from the portfolio 10: Artist Black-and-white video with sound, about art engaging with feminist philosophies, this such as Gran Fury and Andy Warhol, are less overtly transferred to DVD, 35:30 min. Untitled (Protect Me from What I as Catalyst, 1992 University Purchase, Bixby Fund, 2016 Teaching Gallery exhibition considers the role art plays feminist yet also offer important interventions against Want), 1983–85 Screen print, 53 / 100, 26 x 26" in the development of feminist activism. Specifically, sexism and heteropatriarchy. Packaged latex condoms with printed text; University purchase, 1994 Reframing Feminism: Visualizing Women, Gender & 3 1 1 1 1 1 2 /8 x 2 /4", 2 /8 x 2 /8", 2 /8 x 4 /4", and Sexuality pulls together a selection of artworks from The term feminist art is most often used as a rubric for 3 1 2 /8 x 2 /4" Anonymous gifts, 2001 the Mildred Lane Kemper Art Museum’s permanent col- discussing art made by women, and by some men, that lection to consider how women’s bodies, sexuality, and is consciously aligned with the politics of the women’s feminist activism have been central themes for artists rights movement and feminist theory as they emerged in the United States and beyond. What characterizes a in the “second wave” of feminism in the late 1960s This Teaching Gallery exhibition—on view September 8, 2017, to January 8, 2018—is curated by Trevor Joy feminist art practice, and how does it relate to social through the early 1980s. Therefore, at issue are both movement activism? Some artists, such as Valie Export, the political and conceptual involvement of the artist Sangrey, lecturer in the Department of Women, Gender, and Sexuality Studies and assistant dean in the College of Arts & Sciences, in conjunction with the course “Introduction to Women, Gender, and Sexuality Studies,” offered in fall 2017. and the core ideas and ideals of this period of social, traditional assumptions about the meaning of women’s Intersectionality view from the 1970s and 1980s, a subset of a larger cultural, and political activism. Rather than focus- bodies change when decontextualized by feminist and Issues of race, identity politics, and white supremacy collection held by the Kemper Art Museum, Warhol ing explicitly on what is and what isn’t feminist art, feminist-influenced artists. took center stage in the feminist debates in the late lingers on gender expression and representation, this exhibition brings together a variety of artworks to 1970s and early 1980s and continue to offer important frequently photographing men as active and women as consider central themes of, as well as continuities and Sexuality insights for feminist activists and artists. Howardena static. Warhol also inverts the typical portrayal of the discontinuities in, feminist struggle. Indeed, the prints, Concerns with sexuality, sexual propriety, and activ- Pindell’s and Kara Walker’s works speak to the long nude, capturing parts of male bodies for the viewer and photographs, videos, and mixed-media works collected ism to expand cultural conversations on sex and sexual history of the struggle against racism in the United challenging expected heterosexual viewing patterns. here engage many of the key topics discussed in the health undergird many of the works on view, echoing States. Walker’s The Bush, Skinny, De-boning (2002), In Semiotics of the Kitchen (1975) Martha Rosler plays course related to this exhibition, including the history of the feminist theorist Gayle Rubin’s remark that “sex as in much of the artist’s other work, focuses on the an apron-clad housewife reciting the inventory of her US women’s movements, global feminisms, masculinity, is always political.” In particular, sex and sexuality history of American slavery and the attendant gender kitchen, a parody of stereotypical female domesticity. sexuality, racialization, and intersectionality. galvanized sharp discussions and renunciations on all and sexual violence on which that “peculiar institu- Exploring the formative link between identity and sides of the so-called feminist sex wars, the heated tion” thrived. Her visual engagement with violence and representation, these works further reflect on the mal- disagreements within feminist circles about pornog- race is echoed in Pindell’s video work, as both pieces leable and unstable nature of identities and the social Bodies raphy, sexuality, trans issues, and prostitution. In this force the viewer to grapple with history of slavery and structures within which they develop. The selected works invite viewers to reflect on what vein, Betty Dodson’s explicit print Friends (1968) pushes a lack of reparations that is often publically ignored or images of women and women’s bodies they expect the viewer to consider sex outside of partnered relation- misrepresented. Pindell, who was twenty-one years The works in this gallery can be explored through some to see, and are comfortable seeing, both in art and in ships, while its evocative cellophane cover resonates old when the Civil Rights Act passed in 1964, reflects of the themes suggested above, or by geographic public spaces. Many artworks trouble the archetype with Jenny Holzer’s collection of condoms (1983–85). The on both the second wave of the women’s movement location of the artist, or chronologically in relation to of the naked woman’s body and critique common art condoms, culturally associated with loose sexual morals, and the civil rights and black power movements in her unfolding histories. One could trace, for example, the practices of presenting women through the male gaze, have wrappers printed with expressions ranging from video Free, White and 21 (1980). In this searing work development of women’s and feminist activism from or as beautiful objects to be looked at, often using such potential disdain (Men Don’t Protect You Anymore) to love Pindell plays both herself and a rude, inconsiderate the 1960s into the early 1990s. However viewed, the techniques as abstraction and defamiliarization. Lauren (Expiring for Love Is Beautiful but Stupid), and aim to shift white woman from midcentury reflecting on race; the artworks prompt us to reconsider many of the familiar Lesko’s Fur Muff (1993) sits politely, taking a traditional the debate around proper sexual behavior by evoking the performance demonstrates various privileges white tenets of feminism and ponder just what makes a femi- accessory of upper-class femininity and making it a theme of commitment rather than penetration. people, particularly white women, gain from white nist art practice, who makes feminist art, and what role playful sexual pun of the cat lapping up cream. Hannah supremacy. It also provides an important counterweight art plays for and within feminist movements. Wilke pulls her face toward the grotesque in Gestures Students and viewers are encouraged to extrapolate to Peggy McIntosh’s canonized text “White Privilege (1974), and Jeanne Dunning’s study for The Extra Nipple and examine similar links between works, such as and Male Privilege” by offering insight into the impact Trevor Joy Sangrey (1994) imagines reconfiguring the body in ways that Gran Fury’s Kissing Doesn’t Kill: Greed and Indifference of structural racism while recentering the discussion Lecturer, Department of Women, Gender, and Sexuality Studies muddle pleasure and utility, rendering the body strange Do (1989) and Barbara Kruger’s Girl, Don’t Die for Love on the experiences of people of color. Students and Assistant Dean, College of Arts & Sciences Washington University in St. Louis and unfamiliar. As a counterpoint, Roy Lichtenstein’s (1992), both of which, like Holzer’s condoms, engage viewers might find fruitful a cross-reading of Pindell’s Crying Girl (1963) and Mel Ramos’s Candy (1968) are two public spaces and social movements around sexuality. video with either the almost-contemporary Combahee Pop art engagements that make looking at women’s Gran Fury, the artist collective that grew out of AIDS River Collective Statement (1977) or bell hooks’s “Black bodies easy by presenting them in ways that are famil- Coalition to Unleash Power (ACT UP), used this poster, Women: Shaping Feminist Theory” (1984), both of which References iar, comfortable, and knowable to the viewer. displayed on the side of a bus in New York City, to contextualize criticism of white-centered feminism and The Combahee River Collective. “A Black Feminist Statement” explicitly critique government policies, or lack thereof, the bourgeoning black feminist critique. (1977). The Second Wave: A Reader in Feminist Theory. Edited by Linda Nicholson. New York: Routledge, 1997. Valie Export’s performance Touch Cinema (1968) con- around HIV and AIDS. Similarly, Kruger adopted the fronts both the objectification and commodification of style of a broadside for her poster that was designed to Adrian Piper’s evocative Let’s Talk (1992) comes from hooks, bell. “Black Women: Shaping Feminist Theory.” Chap. 1 in women’s bodies by inviting the public to engage (literally) be easily reproducible for circulation by artists, activ- her Mythic Being performance project, begun in 1973, in Feminist Theory: From Margin to Center. Boston: South End Press, 1984. with a real woman’s body rather than with images on a ists, and others. which she transforms herself into a racialized, mascu- canvas or a screen. Part a retort to rampant consumer- line character by donning an Afro wig, mustache, and Katz, Jackson. Tough Guise 2: Violence, Manhood & American ism and part a response to the 1960s male-dominated The range of works referencing or implying the cultural sunglasses and exhibiting conventionally masculine Culture. Media Education Foundation, 2013. DVD, 82 min. art movement Viennese Actionism, Export performed this battles around HIV and AIDS, which burned hottest in the behavior. In Let’s Talk we see the artist, a light-skinned, McIntosh, Peggy. “White Privilege and Male Privilege” (1987). work in ten cities across Europe. In each performance late 1980s through the mid-1990s, reflect the longstand- mixed-race woman, as the “mythic being,” looking away Women, Culture and Society: A Reader. Edited by Barbara J. she would build a “movie theater” around her naked ing relationship between art and activism. Many of these from the viewer with knees apart. Piper’s piece chal- Balliet. Fourth edition. New York: Kendall-Hunt Publishing, 2004. chest and invite people on the street to “visit the cinema” artists, like Grand Fury and Barbara Kruger, are overtly lenges ideas of what constitutes a proper racialized Nochlin, Linda. “Why Have There Been No Great Women Artists?” by reaching inside the box and touching her body. Hung political, engaging the public through both the form gender performance, exploring how masculinity is made (1971). Chap. 7 in Women, Art, and Power and Other Essays. Liu, a Chinese-born artist whose work builds on her expe- and the content of their art. Such a public exposure of and remade through what Jackson Katz calls the “tough Boulder, CO: Westview Press, 1988. rience navigating Mao Tse-tung’s Cultural Revolution, sex and sexuality recalls Gayle Rubin’s important essay guise” in his documentary of the same name. Rubin, Gayle S. “Thinking Sex: Notes for a Radical Theory of the collages an old photograph of Chinese prostitutes in “Thinking Sex,” which critiques the cultural value system Politics of Sexuality” (1984). Pleasure and Danger: Exploring her Trademark (1992) to comment on women’s images that ascribes particular meanings to sex and reminds Andy Warhol’s presentation of masculinity is more Female Sexuality. Edited by Carole S. Vance. London: Pandora, 1992. and consumption. These and other works illustrate how readers of the context of the early AIDS movement. subtle, though not less fleshly. In his photographs on