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HA1104 Current Issues in Fine Art II
Re-Performing Feminism
frieze, Issue 105 March 2007
Special issue on ‘feminism’
‘Why is feminism suddenly so hip right now’?
- History of feminist art- The ‘legacy’ of feminism:
• how is that legacy ‘dealt’ with today?
• how does it persists and informs contemporary art practice?
• why has it become increasingly visible in the last few years?
• What is your relationship to feminist movement and the art produced as part of its political activism?
• What does it mean to be a feminist in 2010?
• What does it mean to make feminist art?
• If you are a feminist does that mean that the art you make is by definition feminist?
Reflection
Carolee Schneemann, Eye/Body 1963
By the year 2000...our future student will be in touch with a continuous feminine creative history--often produced against impossible odds--from her present, to the Renaissance and beyond. In the year 2000 books and courses will only be called 'Man and His Image', 'Man and His Symbols', 'Art History of Man'....
Carolee Schneemann (1975)
Oriana Fox - Artist’s Statement:
I admit it, I want to be like and look like many of the women I see on TV and in the movies, yet I am highly critical of them. I want them to more accurately represent my self and the women I know and admire. I feel similarly about the feminist artists of the 1970s. I respect the way they sought to own their own image, to be defined from within instead of without, but the 70s was a long time ago, so I cannot fully embrace their ethos either. I have to find my own, and that is what I try to do in my practice. By taking varied sources from films and TV, I explore my own perceived reflection in the images I see day to day, re-enacting them and altering them to further define myself and my place in representation and the history of art.
“Appropriating gestures, language and concepts from the history of feminist performance art the event highlighted the legacy of the field’s forerunners and commented on how their work has been reinterpreted, subverted or perhaps even ignored by contemporary women’s performance practice”
Once More with Feeling, Tate Modern, 2009
Installation view of WACK! Art and the Feminist Revolution at The Geffen Contemporary at MOCA, 2007, ARTISTS (L–R): Rose English and Sally Potter, Magdalena Abakanowicz, Colette Whiten, Mira Schendel, Howardena Pindell, Nancy Spero
WACK! Art and the Feminist Revolution
(MOCA, LA, 2007)
Installation view of WACK! Art and the Feminist Revolution at The Geffen Contemporary at MOCA, 2007, photo by Brian Forrest. Installation: Ree MortonImage 9 of 24
Magdalena AbakanowiczMarina AbramovićCarla AccardiChantal AkermanHelena AlmeidaSonia AndradeEleanor AntinJudith F. BacaMary BauermeisterLynda BenglisBerwick Street Film Collective (Marc Karlin, Mary Kelly, James Scott, and Humphrey Trevelyan)Camille BillopsDara BirnbaumLouise BourgeoisTheresa Hak Kyung ChaJudy ChicagoLygia ClarkTee CorinneSheila Levrant de BrettevilleIole de FreitasNiki de Saint Phalle, Jean Tinguelyand Per Olof UltvedtJay DeFeoDisbandAssia DjebarRita DonaghKirsten DufourLili Dujourie
Mary Beth EdelsonRose EnglishVALIE EXPORTJacqueline FaheyLouise FishmanAudrey FlackIsa GenzkenNancy GrossmanBarbara HammerHarmony HammondMargaret HarrisonMary HeilmannLynn HershmanEva HesseSusan HillerRebecca HornAlexis HunterMako IdemitsuSanja IvekovićJoan JonasKirsten JustesenMary KellyJoyce KozloffFriedl KubelkaShigeko KubotaYayoi KusamaSuzanne LacySuzy LakeKetty La RoccaMaria LassnigLesbian Art Project
Lee LozanoLéa LublinAnna Maria Maiolino Mònica MayerAna MendietaAnnette MessagerMarta Minujà n and Richard SquiresNasreen MohamediLinda M. MontanoRee MortonLaura Mulvey and Peter WollenAlice NeelSenga NengudiAnn NewmarchLorraine O’GradyPauline OliverosYoko OnoORLANUlrike OttingerGina PaneCatalina ParraEwa PartumHowardena PindellAdrian PiperSylvia Plimack MangoldSally PotterYvonne RainerUrsula Reuter ChristiansenLis RhodesFaith Ringgold
Ulrike RosenbachMartha RoslerBetye SaarMiriam SchapiroMira SchendelCarolee SchneemannJoan SemmelBonnie SherkCindy ShermanKatharina SieverdingSylvia SleighAlexis SmithBarbara T. SmithMimi SmithJoan SnyderValerie SolanasAnnegret SoltauNancy SperoSpiderwoman TheaterLisa SteeleSturtevantCosey Fanni TuttiMierle Laderman UkelesCecilia VicuñaJune Wayne“Where We At” Black Women ArtistsColette WhitenFaith WildingHannah WilkeFrancesca Woodman
The Elizabeth A Sackler Center for Feminist Art
- At the Brooklyn Museum, New York- opened in 2007
Mission statement:
The Center's mission is to raise awareness of feminism's cultural contributions, to educate new generations about the meaning of feminist art, to maintain a dynamic and welcoming learning facility, and to present feminism in an approachable and relevant way
“Its goal is not only to showcase a large sampling of contemporary feminist art from a global perspective but also to move beyond the specifically Western brand of feminism that has been perceived as the dominant voice of feminist and artistic practice since the early 1970s.”
Global Feminisms: New Directions in Contemporary Art
Judy Chicago, The Dinner Party
Oriana Fox, still from Our Bodies, Ourselves 2003
Book published 1973
By collective of women
OBOS (Our Bodies Our Selves) or Boston Women's Health Book Collective
Oriana Fox, Carrie and Amanda (digital collage, 2003
Oriana Fox, still from Our Bodies, Ourselves 2003
In Our Bodies, Ourselves I play all four characters of the popular TV show Sex and the City, exchanging contemporary dress and interior design for that of the 1970s. The film begins with my protagonist sewing a Judy Chicago-esque vaginal quilt and hoping that her new boyfriend will call.
Ana Mendieta Silueta series, 1970s
Ana Mendieta Silueta series, 1970s
Ana Mendieta Silueta series, 1970s
Judy Chicago – early feminist works 1972-1974 – ‘central core’ imagery
Through The Flower Elizabeth in honor of Elizabeth from the Great Ladies
Inside this enclave I observed the transition from ‘first-generation’ Feminism – improvisatory, rooted in the art world, aesthetically pluralist no matter how ‘gynocentric’, and surprisingly optimistic no matter how angry (change had to come and therefore must be possible) – to ‘second-generation’ Feminism – theoretical, rooted in the academy, generally anti-pluralist and sceptical of the ‘naive’ enthusiasms of some of their elders (such as goddess cults and guerrilla tactics) and basically pessimistic. (‘Late capitalism’ could be critiqued, but its amorphous power could never be challenged.)
Robert Storr, ‘How as Feminism in the Art World Changed’? Frieze, special issue on Feminism, 2007
Mary Kelly, Post-
Partum Document: Documentation VI: Prewriting Alphabet Exerque & Diary,
1976-1977
Mary Kelly
Post-Partum Document: Documentation IV: Transitional Objects,
1976
Mary Kelly
Post-Partum Document: Documentation IAnalysed faecal stains and feeding charts (prototype)
1974
Barbara Kruger
Barbara Kruger, Untitled (Your body is a battleground), 1989
Judy Chicago, detail from The Dinner Party
Oriana Fox, still from Our Bodies, Ourselves 2003
CARRIE (voiceover): Like every woman consumed with a relationship problem, I needed a project to keep my mind from obsessing and my hands from dialing his number.
Bruce Nauman, Henry Moore, Bound to Fail, 1970
• Harold Bloom
• The Anxiety of Influence
• 1973
• ‘Oedipal’ struggle
Rachel Whiteread, Untitled (One Hundred Spaces), 1997
Robert Morris cubes installed at Green Gallery, NY 1965
Donald Judd Untitled 1971
Martha Rosler
Semiotics of the Kitchen 1975
http://www.ubu.com/film/rosler_semiotics.html
Vital Statistics New & Improved!Katherine Araniello
Martha Rosler Vital Statistics of a Citizen, Simply Obtained 1977
http://www.ubu.com/film/rosler_vital.html
Vital Statistics New & Improved!Katherine Araniello
Vital Statistics New & Improved!Katherine Araniello
Catherine Grant, ‘Reaching for the Moon: Replaying Feminist Art and Activism’:
‘Fans’ of Feminism:
‘The fan is a figure which seemed to allow for the passion, humour, aggression and attachment that I find in this contemporary artwork embracing both the ‘fanatical’ (the word fan derives from fanatic) and the dedicatedly scholarly.’
-a ‘rogue reader’
“Being a fan both means having an intense engagement with the object of fandom, but also a lack of fear in reworking the original material to take on whatever form is needed by the particular fan.” “...fans of feminism have reworked the tenets and beliefs of feminist art and activism to make them relevant to the contemporary art scene, in which you might watch Sex and the City avidly whilst reading Laura Mulvey and being entranced by Cindy Sherman.”
I AM a FAN of FEMINISM
Barbara Kruger
Barbara Kruger
Untitled (We Won’t Play Nature to Your Culture 1983
Barbara Kruger
Oriana Fox
Lorna Simpson Guarded Conditions, 1989
Annette MessagerMes voeux1989
Untitled Film Stills # 21, Cindy Sherman, 1978
