kusama pyjamas
Titled for Yayoi Kusama, who is the cat's pyjamas.
fuckyeahfeministartandliterature:
Hello, everyone! I just wanted to let you know that !Women Art Revolution is now on Netflix instant stream. Enjoy!
arrghh we don’t get netflix here! for those that do though…
Barbara Hammer. Double Strength, 1978. Four stages of a lesbian relationship explored in an experimental film starring performance artists Terry Sendgraff and Barbara Hammer on suspended trapezes and ropes. (via Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art: Feminist Art Base: Barbara Hammer)
Shape & Situate is a zine of posters made by artists and DIY creative folk from within Europe, each poster highlighting the (often hidden) history and lives of radical inspirational women and collectives from Europe, as a way of connecting us with the past and the present through a dynamic cultural (re-)articulation of these women’s lives.
via remember who you are: Shape & Situate: Posters Of Inspirational European Women. Issue 3 contributing artists and etsy at link
Marina Abramovic (via Lyssa humana)
At the first gallery for the “Not Ready To Make Nice” Guerrilla Girls exhibition, I found the large windows and the display of one of their most popular posters in a scale that matches the size of the windows really, really effective. Every single person who walked past the gallery looked at it, and I think that’s the least we can try to do with our art with people who are completely uninterested in it. An image is so, so powerful, and a mere visual imprint somewhere in the subconscious of these passers-by is the least an artist can hope for.
This is the back of the first poster. Their famous posters regarding all issues from gender discrimination to the environmental crisis are wheatpasted as they would have naturally been in the city. What really strikes me about their approach is how thorough it is. Their posters infiltrate billboards, bus advertisements, biennales, a regular neighborhood, books, magazines, etc. They pick very specific issues but devote so much effort to spread it via multiple mediums. The internet feels like the one thing they haven’t taken advantage of yet. Then again, most of these works were done in the 80s-90s. And we could also say (depending on your occupation), physical semiotics still play a bigger role in the lives of people who have to travel to work and back, and pass by a huge array of advertisements like the ones mentioned above.
I was really, really encouraged to see this piece because I feel like my Reality Check performance is pretty similar (I’m making huge changes to it - gotta thank myself for forcing myself through this day though I’m so tired). The Guerrilla Girls have extremely apt decision-making skills when it comes to word choice. “I’m not a feminist, but if I was, this is what I would complain about” reveals how so many people’s interests and concerns about gender equality overlap with that of feminists, yet these people don’t want to identify with the movement. The choice of words makes the art piece so much more approachable, and the anonymity allows people to fully vent their frustrations.
Their reason for wearing these masks is so simple but such a smart decision: by concealing their identities they keep their work “pure” (to quote one of them), because all criticisms of their work will solely be about the quality of the work, not personal attacks against the lives of each artist.
This is just plain hilarious.
I have two stickers of this design from shopping at their website!
And I have this book. It’s a really good book that thoroughly covers every imaginable stereotype of women, and reading this really allows me to put a name to so many things that felt so wrong but were so hard for me to define.
Misogyny is as old as time, and it’s time to overthrow it.
At the second venue with more feminist-oriented works.
“They could be anyone; they are everywhere.” This is so powerful.
The Guerrilla Girls have a truly international impact, that’s for sure. Not shown in this blog post are the posters/banners they’ve displayed in Brazil, Turkey, Italy, etc.
I wish so much that this would be exhibited just across from the AIC itself! Surely the Opera Theatre can spare some space for art. Then again, if I recall correctly, the Opera Theatre is in turn inscribed with the names of male musicians, so… zZz…
I have this poster!
I really enjoy the use of sarcasm here! The use of reverse psychology and taking advantage of terms charged with masculinity (speaking in the language of a sexist) contradicted by actual facts are just brilliant, brilliant techniques.
Same reverse psychology techniques at play here. This is for people who think that feminists have nothing left to fight for.
This is a wall containing favorite fan mail and hate mail typed out by the Guerrilla Girls, while note pads are also provided to allow viewers to add on to the wall.
Reverse reverse psychology?
Here are my contributions to both exhibitions:
Is it a coincidence that my main influences (Guerrilla Girls, Coke Talk) are all anonymous women?
(Source: likearedstar)
(via La Lettre de la Photographie)
‘Finding what he hides, 1993’ Karen Miranda-Rivadeneira: Other Stories series
via Karen Miranda-Rivadeneira: Other Stories
‘Mom healing me from my fear of iguanas, by taking me to the park and feeding them every weekend, en. 1994‘ Karen Miranda-Rivadeneira
According to my research, the act of remembering is an unstable and profoundly unreliable process. The more we “remember” an event the more we are likely to change it with time.
Departing from this thought, I began questioning the role of photography and its relationship to memory, specifically what it intends to preserve. Since 2008, I have been working on Other Stories / Historias Bravas, a project where I revisit events from my youth that were never recorded. In this project, I re-stage scenarios taken from my memory and with the collaboration of my immediate family I recreate these memories.
Although, staged, this project is not meant to convey a romanticized vision of my experiences; rather they are meant to provide a means for reflection and a search for truthfulness.
Croatian artist Sanja Ivekovic as a feminist, activist, and video pioneer will be introduced in MOMA in New York from December 18, 2011–March 26, 2012.
Part of the generation known as the Nova Umjetnička Praksa (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance. As the culturenet.hr informs “this exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Iveković’s celebrated series Double Life (1975–76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women’s magazines.” “(…)
After 1990—following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation—she focused on the transformation of reality from socialist to post-socialist political systems. Iveković offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society’s collective memory.”
(via An artist visualizes Israel as a non-democratic state (I))
“Children are a Joy” Sivan Hurvitz. Linked blog has her commentary on inspirations/reflections for several panels of work.
via BOMB Magazine: Martha Wilson by Britta Wheeler
A Portfolio of Models, 1974, Martha Wilson.
(via BOMB Magazine: Martha Wilson by Britta Wheeler)
A Portfolio of Models, 1974, Martha Wilson.
Sheila Levrant de Bretteville, Pink, 1973
I keep on going back and forth between origins of feminist art and more contemporary stuff. Heh.
She did this for an American Institute of Graphic Arts exhibition about colour. Hers was the only entry for the colour pink. So basically de Bretteville handed out pieces of pink paper to friends and to women on the street, asking them to describe what the colour meant to them. As you can guess, the colour was associated with stereotypical depictions of “femininity”. This has implications for art and graphic design that incorporates the colour pink for advertisement towards aimed audiences. She arranged women’s answers in a quilt-like manner. Many feminist artists in the ’70s incorporated traditional devalued women’s art such as knitting and quilting into their work to shake up the divide between “high” art and “low” art, as well as to display the value of this type of art.
