The Interventionists (2005)
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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. -
Mediating Reproduction: Feminism, Art, Activism MCM 0900, CrossListed in Gender & Sexuality Studies and Theatre & Performance Studies
Mediating Reproduction: Feminism, Art, Activism MCM 0900, crosslisted in Gender & Sexuality Studies and Theatre & Performance Studies. Instructor: Beth Capper Office Hours: Tuesdays 1.303.30 PM, and by appt. [email protected] Location: 155 George Street, rm. 202 Seminar time: T/R 10.3011.50 AM Screenings: Mondays, 710 PM Location: Production 2, 135 Thayer Street Location: Henkle Room, 155 George Street How have feminist cultural producers and activists imagined and transformed the politics of reproduction? This course explores the complex meanings of “reproduction” across media, performance, and public culture, with a focus on questions of sexuality, race, labor, and aesthetic practice. Situating reproduction in an expanded frame, we will consider the relationship between biological reproduction and the gendered labor of reproducing social life (e.g., domestic labor, sex work, care work). We will examine how ideas about reproduction have been central to the regeneration of race and nation; how the gendering of labor reproduces capitalist social relations; and how feminists have variously theorized and practiced alternative conceptions of reproduction in relation to the politics of labor, difference, and community. Throughout, we will pay special attention to the entanglements of artistic labor with women's reproductive labor. Topics include: eugenics, housework/welfare rights activism, art workers movements, biotechnologies, queer kinship, and feminist utopias. Artists include: Betye Saar, Mierle Ladermann Ukeles, Ursula Biemann, Andrea Fraser, Suzanne Lacy, SubRosa, and María Magdalena CamposPons. Required Books: Charlotte Perkins Gilman, Herland. Course Requirements Attendance and Participation: Your attendance and participation are crucial to the success of this seminar. You are expected to come to class prepared to contribute meaningfully to our discussions with your own questions and critical commentaries on course materials. -
Women in the City Micol Hebron Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art 1-2008 Women in the City Micol Hebron Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Part of the Art and Design Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Hebron, Micol. “Women in the City”.Flash Art, 41, pp 90, January-February, 2008. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Women in the City Comments This article was originally published in Flash Art International, volume 41, in January-February 2008. Copyright Flash Art International This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/45 group shows Women in the City S t\:'-: F RA:'-.CISCO in over 50 locations in the Los ments on um screens throughout Museum (which the Guerrilla Angeles region. Nobody walks in the city, presenting images of Girls have been quick to critique LA, but "Women in the City" desirable lu xury items and phrases for its disproportionate holdings of encourages the ear-flaneurs of Los that critique the politics of work by male artists). The four Angeles to put down their cell commodity culture. L{)uisc artists in "Women in the City," phones and lattcs and look for the Lawler's A movie will be shown renowned for their ground billboards, posters, LED screens without the pictures (1979) was re breaking exploration of gender and movie marquis that host the screened in it's original location stereotypes, the power of works in this eJ~;hibition. -
2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones). -
Closeby Deborah Patton
OPINIONATED • OUTSPOKEN • UNBIASED THE FALL 2015 GLOBAL REPORTS FROM BRAZIL, CUBA, ITALY AND MEXICO PAGES 17,18,23,32,42 MILLENNIALS: TALKING LUXURY AND THE WORKPLACE OF THE FUTURE PAGES 8, 40 COSTCOHOLICS 75 MILLION ADDICTS AND COUNTING PAGE 3 / 1 TOC Featured Contributors: RANDY BURT VISHWA CHANDRA NADIA SHOURABOURA Randy Burt is a Partner in the Consumer Goods Vishwa Chandra is a Partner in Dr. Nadia Shouraboura is a retail and Retail Practice at A.T. Kearney, a global A.T. Kearney's Consumer Goods and revolutionary. She holds a Ph.D. in strategy and management consulting firm. Retail Practice, where he partners Mathematics from Princeton University, He has over 16 years of experience in consumer with food, mass, drug and value has extensive retail and technology products and Food Retailing with focus on retail retailers to drive merchandising experience, and was former head of strategy, Fresh and Center Store merchandising, effectiveness and supply chain Supply Chain and Fulfillment Technolo- ecommerce, and supply chain. He also spent efficiency. He is also a leader in the gies for Amazon.com. Nadia also served five years at the Nielsen Company in a variety firm's Consumer institute, where he on Jeff Bezos's senior leadership team, of market research and data operations roles. leads primary research on the ever which was responsible for overall He is a regular speaker and author on online evolving consumer landscape and direction and operations of Amazon. grocery and other food retail topics. its implications for retailers. CEO, EDITORIAL -
FOR IMMEDIATE RELEASE Contact: Doug Kubek April 15, 2019 312.499.4254 [email protected] MIERLE LADERMAN UKELES to DELIVER COMMEN
FOR IMMEDIATE RELEASE Contact: Doug Kubek April 15, 2019 312.499.4254 [email protected] MIERLE LADERMAN UKELES TO DELIVER COMMENCEMENT ADDRESS FOR THE SCHOOL OF THE ART INSTITUTE OF CHICAGO Ukeles will receive an honorary doctorate from the School, along with Dawoud Bey, Isaac Julien and Chris Ware CHICAGO—The School of the Art Institute of Chicago (SAIC), a global leader in art and design education, will welcoMe celebrated artist Mierle LaderMan Ukeles who will deliver the School’s coMMenceMent address on Monday, May 13, at Wintrust Arena, 200 East CerMak Road. Ukeles, an activist artist known for her feMinist works, will receive an honorary doctorate froM the School, along with esteeMed honorees, photographer Dawoud Bey, whose latest body of work was recently featured at the Art Institute of Chicago; filMMaker Isaac Julien and cartoonist and SAIC aluM Chris Ware (SAIC 1991–93). “We are honored to welcoMe Mierle, Dawoud, Isaac and Chris,” said SAIC President Elissa Tenny. “These visionary leaders are inspirations to our graduates. Like theM, SAIC artists, designers and scholars pursue the questions that expand our understanding, increase our coMpassion and help Make our shared society better.” Since 1938, SAIC has awarded honorary degrees to an elite group of individuals who have Made significant contributions to art, design, scholarship and culture. Past recipients include Marina AbraMovic, Judy Chicago, Jeanne Gang, Theaster Gates, Kerry JaMes Marshall, Yoko Ono, Patti SMith and Kanye West, and SAIC aluMs Tania Bruguera (MFA 2001), Jeff Koons (SAIC 1975–76) and David Sedaris (BFA 1987). More than 900 students are expected to receive undergraduate and graduate degrees and post-baccalaureate certificates froM the prestigious art and design college. -
Lorne Bair :: Catalog 21
LORNE BAIR :: CATALOG 21 1 Lorne Bair Rare Books, ABAA PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 2621 Daniel Terrace Winchester, Virginia USA 22601 (540) 665-0855 Email: [email protected] Website: www.lornebair.com TERMS All items are offered subject to prior sale. Unless prior arrangements have been made, payment is expected with order and may be made by check, money order, credit card (Visa, MasterCard, Discover, American Express), or direct transfer of funds (wire transfer or Paypal). Institutions may be billed. Returns will be accepted for any reason within ten days of receipt. ALL ITEMS are guaranteed to be as described. Any restorations, sophistications, or alterations have been noted. Autograph and manuscript material is guaranteed without conditions or restrictions, and may be returned at any time if shown not to be authentic. DOMESTIC SHIPPING is by USPS Priority Mail at the rate of $9.50 for the first item and $3 for each additional item. Overseas shipping will vary depending upon destination and weight; quotations can be supplied. Alternative carriers may be arranged. WE ARE MEMBERS of the ABAA (Antiquarian Bookseller’s Association of America) and ILAB (International League of Antiquarian Book- sellers) and adhere to those organizations’ standards of professionalism and ethics. PART ONE African American History & Literature ITEMS 1-54 PART TWO Radical, Social, & Proletarian Literature ITEMS 55-92 PART THREE Graphics, Posters & Original Art ITEMS 93-150 PART FOUR Social Movements & Radical History ITEMS 151-194 2 PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 1. CUNARD, Nancy (ed.) Negro Anthology Made by Nancy Cunard 1931-1933. London: Nancy Cunard at Wishart & Co., 1934. -
“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. -
Jenny Holzer, Attempting to Evoke Thought in Society
Simple Truths By Elena, Raphaelle, Tamara and Zofia Introduction • A world without art would not only be dull, ideas and thoughts wouldn’t travel through society or provoke certain reactions on current events and public or private opinions. The intersection of arts and political activism are two fields defined by a shared focus of creating engagement that shifts boundaries, changes relationships and creates new paradigms. Many different artists denounce political issues in their artworks and aim to make large audiences more conscious of different political aspects. One particular artist that focuses on political art is Jenny Holzer, attempting to evoke thought in society. • Jenny Holzer is an American artist who focuses on differing perspectives on difficult political topics. Her work is primarily text-based, using mediums such as paper, billboards, and lights to display it in public spaces. • In order to make her art as accessible to the public, she intertwines aesthetic art with text to portray her political opinions from various points of view. The text strongly reinforces her message, while also leaving enough room for the work to be open to interpretation. Truisms, (1977– 79), among her best-known public works, is a series inspired by Holzer’s experience at Whitney Museum’s Independent Study Program. These form a series of statements, each one representing one individual’s ideology behind a political issue. When presented all together, the public is able to see multiple perspectives on multiple issues. Holzer’s goal in this was to create a less polarized and more tolerant view of our differing viewpoints, normally something that separates us and confines us to one way of thinking. -
Medieval Glues Upto 1600 CE Class Notes - SCA Estrella 23 Collegium, Feb 18, 2007 C
Medieval Glues Upto 1600 CE Class Notes - SCA Estrella 23 Collegium, Feb 18, 2007 C. M. Helm-Clark, Ph.D. Overview of Medieval Glues There are many glues which were used in period. Several glues and glue ingredients are as follows: Cheese glue wood natural must be made up and polymer made used immediately, sets up of globular permanently, subject to polypeptide attack by casein protein microorganisms in molecules damp conditions, stronger in thin coats, impervious when cured Hide Glue general all-around glue, natural rehydration undoes the sizing, vellum, paper, polymer made adhesive, stores forever wood, gilding mordant up of strands in the dried state, can ingredient of polypeptide make stronger bonds colloid protein than cheese glue but is molecules not impervious or permanent, brittle Wheatpaste vellum, paper, Natural Weak glue, edible, bookbinding polymer made subject to attack by up of gluten microorganisms or proteins water Gum Arabic Vellum, paper, pigment A true weak glue, edible binder, food binder, vegetable gum medicine binder Gum Vellum, paper, universal An oleoresin Weak glue, can be Ammoniac gilding mordant rehydrated to a tacky state, dries hard, is flexible Turpentine Vellum, paper, pigment An oleoresin Moderate glue, dries (real period binder, gilding mordant, hard, flexible when turpentine, not wood, wood filler young, may yellow or the modern cloud with age spirit turpentine) Plasters Stone, brick, tile, Calcined Moderate to strong ceramics, masonry filler, gypsum adhesive qualities, sets mordant ingredient compounds permanently Sugar, honey mordant ingredient, food hygroscopic Weak glue, can be and medicine binder sugars rehydrated to a tacky state, subject to mold Medieval Glues class notes, copyright 2007 by Catherine Helm-Clark. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
Visual Narratives of Heterosexual Female Sexuality.Docx
Running Head: Visual Narratives of Heterosexual Female Sexuality Visual Narratives of Heterosexual Female Sexuality By Angie Wallace Masters in Interdisciplinary Studies Southern Oregon University 2018 Visual Narratives of Heterosexual Female Sexuality 2 Table of Contents Abstract Page 3 Introduction Page 4 Research Questions Page 6 Literature Review Page 7 Methods Page 22 IRB Page 25 Results Page 25 Figures 1, 2, and 3 Page 30 - 31 Discussion Page 31 Research based Art Piece Page 37 Figures 4, 5, 6, and 7 Page 41 - 42 References Page 43 Visual Narratives of Heterosexual Female Sexuality 3 Abstract This paper explores the social construction of heterosexual female sexuality through visual social narratives in the form of advertisements and artistic photographs. The purpose of this study it to produce an art piece based on my findings. The problems I encountered during my research include my own bias and limited subjects. Since, I am a woman who identifies as heterosexual I have my own preconceived ideas along with personal experiences. In addition, the limited data set provides its own drawbacks. If I were to broaden my scope, the data may or may not have revealed other themes. That being said, for my purposes the themes that have emerged include the following; (1) the male gaze, (2) gender performance, (3) body as a commodity, and (4) sexual harassment. Through the process of visual ethnography and methodology, my design study is to analyze these images as a heterosexual female and combine this analysis with the literature. During this process, I have concluded that heterosexual female sexuality is contingent on how we recognize and interpret visual culture.