1 Next Bodies Faith Wilding at the Beginning of the Twenty-First Century
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Subrosa Tactical Biopolitics
14 Common Knowledge and Political Love subRosa . the body has been for women in capitalist society what the factory has been for male waged workers: the primary ground of their exploitation and resistance, as the female body has been appropriated by the state and men, and forced to function as a means for the reproduction and accumulation of labor. Thus the importance which the body in all its aspects—maternity, childbirth, sexuality—has acquired in feminist theory and women’s history has not been misplaced. silvia federici (2004, p. 16) Under capitalism, femininity and gender roles became a “labor” function, and women became a “labor class.”1 On one hand, women’s bodies and labor are revered and exploited as a “natural” resource, a biocommons or commonwealth that is fundamental to maintain- ing and continuing life: women are equated with “the lands,” “mother-earth,” or “the homelands.”2 On the other hand, women’s sexual and reproductive labor—motherhood, pregnancy, childbirth—is economically devalued and socially degraded. In the Biotech Century, women’s bodies have become fl esh labs and Pharma-commons: They are mined for eggs, embryonic tissues, and stem cells for use in medical, and therapeutic experiments, and are employed as gestational wombs in assisted reproductive technologies (ART). Under such conditions, resistant feminist discourses of the “body” emerge as an explicitly biopolitical practice.3 subRosa is a cyberfeminist collective of cultural producers whose practice creates dis- course and experiential knowledge about the intersections of information and biotechnolo- gies in women’s lives, work, and bodies. Since the year 2000, subRosa has produced a variety of performances, participatory events, installations, publications, and Web sites as (cyber)feminist responses to key issues in bio- and digital technologies. -
Revisiting Cyberfeminism
AUTHOR’S COPY | AUTORENEXEMPLAR Revisiting cyberfeminism SUSANNA PAASONEN E-mail: [email protected] Abstract In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology Ϫ especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technol- ogy and its gendered underpinnings formed networks and groups. Conse- quently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfemi- nist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media Ϫ yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under dif- ferent names. Keywords: cyberfeminism, gender, new technology, feminism, networks Introduction Generally speaking, cyberfeminism signifies feminist appropriation of information and computer technology (ICT) on a both practical and theoretical level. Critical analysis and rethinking of gendered power rela- tions related to digital technologies has been a mission of scholars but equally Ϫ and vocally Ϫ that of artists and activists, and those working in-between and across such categorizations. -
Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”). -
“My Personal Is Not Political?” a Dialogue on Art, Feminism and Pedagogy
Liminalities: A Journal of Performance Studies Vol. 5, No. 2, July 2009 “My Personal Is Not Political?” A Dialogue on Art, Feminism and Pedagogy Irina Aristarkhova and Faith Wilding This is a dialogue between two scholars who discuss art, feminism, and pedagogy. While Irina Aristarkhova proposes “active distancing” and “strategic withdrawal of personal politics” as two performative strategies to deal with various stereotypes of women's art among students, Faith Wilding responds with an overview of art school’s curricular within a wider context of Feminist Art Movement and the radical questioning of art and pedagogy that the movement represents Using a concrete situation of teaching a women’s art class within an art school environment, this dialogue between Faith Wilding and Irina Aristakhova analyzes the challenges that such teaching represents within a wider cultural and historical context of women, art, and feminist performance pedagogy. Faith Wilding has been a prominent figure in the feminist art movement from the early 1970s, as a member of the California Arts Institute’s Feminist Art Program, Womanhouse, and in the recent decade, a member of the SubRosa, a cyberfeminist art collective. Irina Aristarkhova, is coming from a different history to this conversation: generationally, politically and theoretically, she faces her position as being an outsider to these mostly North American and, to a lesser extent, Western European developments. The authors see their on-going dialogue of different experiences and ideas within feminism(s) as an opportunity to share strategies and knowledges towards a common goal of sustaining heterogeneity in a pedagogical setting. First, this conversation focuses on the performance of feminist pedagogy in relation to women’s art. -
WOMANHOUSE Intimacy, Identity and Domesticity
WOMANHOUSE Intimacy, Identity and Domesticity Susana Solís-Zara1 University of Sevilha 1. Introduction This text examines the issue of art and intimacy, and its strong connection with the concept of identity: and especially representations of female identity in the collaborative feminist art installation, perfor- mance space, exhibition and pedagogical project Womanhouse (Janu- art exhibition, coinciding with the foundation of feminist art criticism at the beginning of the seventies in the United States . The Project Womanhouse was a collaborative project that deals with women’s gender experiences within the context of a real house 1. Susana Solís-Zara https://orcid.org/0000-0001-9932-9452 Universidad de Sevilla Departamento de Educación Artística, Facultad de Ciencias de la Educación Calle Pirotecnia s/n. CP. 41013 (Sevilla), Spain. [email protected] 298 Susana Solís-Zara setting in an urban neighbourhood in Los Angeles (http://www.wom- anhouse.net/). It presented and exhibited feminist artistic proposals concerning subjective identity, gender and intimacy like the ones found in domestic spaces. It includes perspectives such as the home as a space for both intimacy and identity, the body-house-home relationship, as- pects of maternity and the dichotomy between the private and the pub- lic, all of which continue to be narratives in contemporary women’s art. The main object of this essay is therefore to analyse the Woman- house project, as well as to examine some of its most prominent art- works and how intimacy was used as a means of expression, bringing - tion. It is precisely women who developed the notion of intimacy, as their role in history has been one of marginality and invisibility, being - WOMANHOUSE: Intimacy, Identity and Domesticity 299 2. -
SUZANNE LACY, FEMINISM and QUILTING by JACQUELINE
EVER PRESENT, NEVER PRESENTED: SUZANNE LACY, FEMINISM AND QUILTING by JACQUELINE WITKOWSKI B.A. (Hons), DePaul University, 2010 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2014 © Jacqueline Witkowski, 2014 Abstract Seated at tables of four, over four hundred women aged 55-95 years old unfold tablecloths of yellow, red, and black. With their choreographed and synchronized gesturing hands, they mimic traditional Euro-American quilt patterns. This performance, titled The Crystal Quilt, was produced by Los Angeles-based artist Suzanne Lacy in 1987 as the culminating work to the two- year long, statewide initiative Whisper Minnesota (1985-1987). There is a continued resonance of the quilt in Lacy’s oeuvre, as The Crystal Quilt was the third project to reference quilts and quilt making. The first project, Evalina and I: Crimes, Quilts, Art (1975-78), and a smaller commemorative project (1980), employed tactile quilting projects instead of the conceptual quilt arrangement that Lacy would incorporate in 1987. The formal and historical attributes of this textile practice have been largely ignored in contemporary scholarship on the artist, thus raising the question of how this very specific medium encouraged her artistic and activist agenda. The primary focus of this thesis is an exploration of how Lacy mediates these two approaches, one of feminism and the other inspired by conceptual artist Allan Kaprow, through the medium of the quilt. Neither Lacy’s quilt works nor the use of craft during the second wave feminist movement has been sufficiently analyzed within craft scholarship. -
Oral History Interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27
Oral history interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Suzanne Lacy on March 16, 1990. The interview took place in Berkeley, California, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. This interview has been extensively edited for clarification by the artist, resulting in a document that departs significantly from the tape recording, but that results in a far more usable document than the original transcript. —Ed. Interview [ Tape 1, side A (30-minute tape sides)] MOIRA ROTH: March 16, 1990, Suzanne Lacy, interviewed by Moira Roth, Berkeley, California, for the Archives of American Art. Could we begin with your birth in Fresno? SUZANNE LACY: We could, except I wasn’t born in Fresno. [laughs] I was born in Wasco, California. Wasco is a farming community near Bakersfield in the San Joaquin Valley. There were about six thousand people in town. I was born in 1945 at the close of the war. My father [Larry Lacy—SL], who was in the military, came home about nine months after I was born. My brother was born two years after, and then fifteen years later I had a sister— one of those “accidental” midlife births. -
Partial Artist List: Nancy Angelo Jerri Allyn Leslie Belt Rita Mae Brown Kathleen Burg Elizabeth Canelake Velene Campbell Carol Chen Judy Chicago Clsuf Michelle T
Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011 – January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design This exhibition presents artwork, graphic design, ephemera, and documentation of work by the artist collectives and individual artists/designers who participated in collaborative projects at the Woman’s Building in Los Angeles between 1973-1991. Artist Collectives/Projects: Ariadne: A Social Network, Feminist Art Workers, Incest Awareness Project, Lesbian Art Project, Mother Art, Natalie Barney Collective, Sisters of Survival, The Waitresses, Chrysalis: A magazine of Women’s Culture, and more. Partial artist list: Nancy Angelo Jerri Allyn Leslie Belt Rita Mae Brown Kathleen Burg Elizabeth Canelake Velene Campbell Carol Chen Judy Chicago Clsuf Michelle T. Clinton Hyunsook Cho Yreina Cervantez Candace Compton Jan Cook Juanita Cynthia Sheila Levrant de Bretteville Johanna Demetrakas Nelvatha Dunbar Mary Beth Edelson Marguerite Elliot Donna Farnsworth Anne Finger Audrey Flack As of 9-27-11 Amani Fliers Nancy Fried Patricia Gaines Josephina Gallardo Diane Gamboa Cristina Gannon Anne Gauldin Cheri Gaulke Anita Green Vanalyne Green Mary Bruns Gonenthal Kirsten Grimstad Chutney Gunderson Berry Brook Hallock Hella Hammid Harmony Hammond Gloria Hajduk Eloise Klein Healy Mary Linn Hughes Annette Hunt Sharon Immergluck Ruth E. Iskin Cyndi Kahn Maria Karras Susan E. King Laurel Klick Deborah Krall Christie Kruse Sheila Levrant de Bretteville Suzanne Lacy Leslie Labowitz-Starus Lili Lakich Linda Lopez Bia -
The Mothernists II
The Mothernists II: ‘Who Cares for The 21st Century?’ 12-15 October 2017 The Mothernists II: Who Cares for the 21st Century? is the second iteration of The Mothernists, a transatlantic summit & art exhibition held in The Netherlands in June 2015, which brought together the work and thought of practicing international artists and art historians for the cross pollination of art, philosophy, and maternal theory, practice, and experience. It is the brainchild of Lise Haller Baggesen (Mothernism) and Deirdre M. Donoghue (m/other voices) and it combines their two long running projects concerning artistic and academic research into maternal (aesth)ethics. The symposium is co-organized and co-hosted by Astrid Noacks Ateliers and the The Royal Danish Academy of Fine Arts and was made possible through generous support from the Danish Arts Foundation, Copenhagen, and Centrum Beeldende Kunsten Rotterdam. Participating artists, scholars, mothers, activists: Arahmaiani (IDN), Irina Aristakhova (USA), Jubsi Baggesen (DK), Lise Haller Baggesen (USA), Lisa Baraitser (UK), Yvette Brackman (DK), Rosemarie Buikema (NL), Myrel Chernik (USA), Chloé Clevenger (USA), Ada Corsi (DK), Christa Donner (USA), Deirdre M. Donoghue (NL), Pirkko Donoghue (FIN), Kirsten Dufour (DK), Rachel Epp Buller, (USA), Dyana Gravina (UK), Courtney Kessel (USA), Tina Kinsella (IRE), Natalie Loveless (CAN), Irene Lusztig (USA), Nanna Lysholt Hansen (DK), Pernille Zidore Nygaard (DK), Elena Marchevska (UK), Irene Pérez (ESP), Micah Perks (USA), Barbara Philipp (NL), Shira Richter (ISR), Syvende & Sidst (DK), Lena Simic (UK), Emily Underwood-Lee (UK), Faith Wilding (USA), Sheena Wilson (CAN), Joen Vedel (DK) , Danielle C. Wyckoff (USA), Weronika Zielinska Klein (NL) 1 With contributions from: Bracha L. -
PEGGY PHELAN NOTES on FEMINISMS PEGGY PHELAN Bodies to Come
NOTES ON FEMINISMS 3 PEGGY PHELAN NOTES ON FEMINISMS PEGGY PHELAN Bodies to Come Feminism today often feels bipolar. Focusing only on recent actions and reactions in the United States, it seems clear that, on the one hand, activist feminist movements such as MeToo and Time’s Up have helped spark a revolution in awareness about sexual harassment, sexual assault, and the larger forces of misogyny that have been long central to the consolidation of white patriarchal power. During Brett Kavanaugh’s Supreme Court confirmation hearings, Christine Blasey Ford’s testimony about his alleged sexual assault of her in high school did not cancel his confirmation, but her testimony, broadcast live and in full, helped ignite more probing analyses of the ways in which (mainly white) men regulate and fail to regulate them- selves with women in everyday life. Coming after Hillary Rodham Clinton’s (apparent) loss to Donald Trump in the 2016 presidential election and Chanel Miller’s important publication of her “victim impact statement” in the Brock Turner rape trial, Blasey Ford’s testimony tapped dormant rage about the ways in which (mainly white) men often feel entitled to the bodies of women. While some of this entitlement has been scrutinized in recent years, its connection to the aggressive rollback of women’s reproductive rights has received little attention. The same logic that leads men to think they can impose their sexual desires on women leads them to decide when and how women can reproduce. Finally, it should not be forgotten that even while MeToo and Time’s Up and other feminist activist groups have been effective in stopping some appalling behavior, the United States nonetheless elected a president who boasted to Billy Bush, on tape, that he “can do anything” he’d like with women’s bodies: Trump: I better use some Tic Tacs just in case I start kissing her. -
Download Issue (PDF)
Vol. 2 No. 2 wfimaqartr f l / l I l U X l U l I Winter 1977-78 ‘ARTISTS IN RESIDENCE': The First Five Years Five years ago, the A.I.R. feminist co-op gallery opened its doors, determined to make its own, individual mark on the art world. The first co-op organized out of the women artists' movement, it continues to set high standards of service and commitment to women's art by Corinne Robins page 4 EXORCISM, PROTEST, REBIRTH: Modes ot Feminist Expression in France Part I: French Women Artists Today by Gloria Feman Orenstein.............................................................page 8 SERAPHINE DE SENLIS With no formal art training, she embarked on a new vocation as visionary painter. Labelled mentally ill in her own time, she is finally receiving recognition in France for her awakening of 'female creativity' by Charlotte Calmis ..................................................................... p a g e 12 A.I.R.'S FIFTH ANNIVERSARY 1 ^ ^ INTERVIEW WITH JOAN SEMMEL W omanart interviews the controversial contemporary artist and author, curator of the recent "Contemporary Women: Consciousness and Content" at the Brooklyn Museum by Ellen L u b e ll.................................................................................page 14 TOWARD A NEW HUMANISM: Conversations with Women Artists Interviews with a cross-section of artists reveal their opinions on current questions and problems, and how these indicate movement toward a continuum of human values by Katherine Hoffman ................................................................... pa g e 22 GALLERY REVIEWS ..........................................................................page 30 WOMAN* ART»WORLD News items of interest ................................................................... page 42 FRENCH WOMEN ARTISTS REPORTS Lectures and panel discussions accompany "Women Artists: 1550-1950" and "Contemporary Women" at the Brooklyn Museum; Women Artists in H o lla n d ...............................................................page 43 Cover: A.I.R. -
Annual Report 5 4 Our Year in Review
ANNUAL REPORT 5 4 OUR YEAR IN REVIEW 16 NEW ACQUISITIONS 72 OPERATING REVENUE & EXPENSES 73 STATEMENT OF FINANCIAL POSITION 74 INDIVIDUAL DONORS 78 THE JAMES SACHS PLAUT SOCIETY 82 CORPORATE DONORS 84 GOVERNMENT AND FOUNDATIONS 85 BOARDS OF TRUSTEES & OVERSEERS 87 STAFF 91 EXHIBITIONS 92 PERFORMANCE 94 PROGRAMS Front COVER: Sheila Hicks, Banisteriopsis II (detail), 1965–66/2010. Wool and linen, dimensions variable. The Institute of Contemporary Art/Boston, gift of the artist in honor of Jenelle Porter. Photo by Charles Mayer. © Sheila Hicks ABOVE: Elsi Giauque, Élément spatial (Spatial Element), 1979. Linen, silk, wool, and metal, twenty frames, each 35 3⁄8 x 37 3⁄8 x 1⁄4 inches. Mudac–Musée de design et d’arts appliqués contemporains, Lausanne, Switzerland. Photo by John Kennard. 2 3 OUR YEAR IN REVIEW We open our 2015 Annual Report with the programs, the ICA connected audiences of all ICA’s mission: “to share the pleasures of ages with art and artists all year round. Our reflection, inspiration, provocation, and imagi- award-winning Teen Programs are at capacity nation that contemporary art offers through and now award school credit to Boston Public public access to art, artists, and the creative School students who participate in many of our process.” This language of exchange and Teen New Media courses. Our family programs reciprocity is common rhetoric in today’s shar- offer Play Dates, Books and Looks storytell- ing economy, and these themes resonated ing, Gallery Games, and Vacation Week throughout our year, permeating the museum programs for parents and children to experi- and our community.