CAA News Today

CWA Picks: April 2021

posted by April 27, 2021

Committee on Women in the Arts celebrate a selection of events, exhibitions and calls for work and participation featuring feminist and womxn artists, and address issues about social justice and ethics from intersectional and transnational perspectives. To acknowledge that Covid-19 continues but also to begin envisioning the re-opening of public spaces, we have decided to feature both on-line and in-person events.

Gaia Fugazza, Blue Tits, 2020, Mineral pigment, beeswax, oil paint, watercolor on carved wood, 180 x 115 cm

Love Letters

April 10 to July 2, 2021 

On-line 

http://almanacprojects.com/public-programme/love-letters

An epistolary project developed by Basia Sliwinska and Astrid Korporall, Love Letters is a virtual platform that responds to the rise of gender-based violence around the globe and fosters feminist love across the national and cultural boundaries Covid-19 has made more severe. The October 2020 ruling by Poland’s Constitutional Tribunal that abortions in the case of fetal defects are unconstitutional is its animating occasion. Love Letters features the work of six artists–Gaia Fugazza, Małgorzata Markiewicz, Amanda Millis, Joanna Rajkowska, Viktoriia Tofan, and Katarzyna Zimna—who have created work to reflect on the fraught political landscape that gave rise to such a ruling. Proceeds from the sale of the artwork will benefit the All-Poland Women’s Strike (Ogólnopolski Strajk Kobiet: OSK). Composed by Sliwinska and Korporall, the letters that accompany the artwork featured in the on-line exhibition space attend lovingly to how they address the necessity of feminist solidarity in a broken, precarious world. 

 


 

Lorraine O’Grady: Both/And 

March 5 to July 18, 2021 

Brooklyn Museum of Art, Elizabeth A. Sackler Center for Feminist Art 

https://www.brooklynmuseum.org/exhibitions/lorraine_ogrady

Long overdue and much-anticipated, Both/and is Lorraine O’Grady’s first retrospective. Featuring four decades of artwork that spans performance art, conceptualism, and institutional critique, this exhibition highlights the feminist and decolonial commitments of O’Grady’s oeuvre, which is materially idiosyncratic but thematically consistent. Both/and foregrounds O’Grady’s challenge to fixed positions while also tracking how she has kept western modernity’s reliance upon and erasure of Blackness squarely in view. 

 


 

Born in Flames: Feminist Futures 

April 28 to September 12, 2021 

The Bronx Museum of the Arts 

http://www.bronxmuseum.org/exhibitions/born-in-flames-feminist-futures

This inter-generational group exhibition speculates on a damaged past for the possibilities of a joy-filled future. Taking its title from Lizzie Borden’s 1983 science fiction film that explored the unjust remainders of a socialist revolution, the spirited, phantasmatic, and highly physical artwork featured in Born in Flames seeks to imagine worlds beyond the entrenched logic of capitalist exploitation. Together the artwork declares that the figurations of women, and the oppressions they have carried in historical time, must be central to such hopeful gestures if they are going to take hold in future realities.

 


 

Memorializing the Natural Environment: Maya Lin in conversation

Thursday, May 6, 2021, 6–7 p.m.

Virtual Conversation

https://www.colby.edu/lunderinstitute/memorializing-the-natural-environment/ 

Artist and designer Maya Lin will be in conversation with Colby University faculty about the process of remembering all that environmental degradation is taking from the planet and how to utilize that archive to forestall further disasters. She will reflect on What is Missing? her multimedia project devoted to the global biodiversity crisis related to the disappearance of habitats. What is Missing? underscores Lin’s talent for yoking the microscopic together with the monumental and sculpting the landscape with heavy but delicate inscriptions of loss. 


 

Senga Nengudi: Topologies 

May 2-July 25, 2021 

Philadelphia Museum of Art 

https://philamuseum.org/calendar/exhibition/senga-nengudi-topologies

Chronicling the entirety of her oeuvre, Topologies offers an in-depth look into Nengundi’s artwork and its precise deployment of the opaque, distorted, and porous. Featuring her sculptures, environmental installations, and performances, and going back to her career’s beginnings in the 1970s, Topologies shows the various and inter-related ways this key figure of the Black American avant-garde suspended the body in ceremonial planes composed of fragile and tough materials as it awaits a more just ground. 


 

Family Tree Whakapapa: Elin, Madeleine, Sarah and Susanne Slavick 

April 21 to June 13, 2021

Long Gallery, The Pah Homestead, TSB Wallace Arts Centre

Auckland, New Zealand 

https://www.wallaceartstrust.org.nz/exhibitions/whakapapa

This exhibition brings together the artwork of four sisters living in different parts of the globe and focuses on the related and but distinct ways they engage with the arboreal imagination. Tangled into their photographs, paintings, life histories, and political commitments, the trees in their artwork are intricate lines, bold shapes, diffuse traces, and stylized patterns. Defying the ease with which the genealogical and botanical connect in the figure of the family tree, the Slavick sisters make it a thing of wonder: rooted in the ground and multiplying in our imaginations, family trees are botany and biology written with longing, hope, history, and loss. 

 


 

Lygia Pape: Tupinambá

April 24 to August 1, 2021 

Hauser and Wirth, Los Angeles

https://www.hauserwirth.com/hauser-wirth-exhibitions/31619-lygia-pape-tupinamba

This exhibition, Lygia Pape’s first solo show in Los Angeles, features her Tupinambá series, one of the final bodies of work created by this founding member of Brazil’s Neo-Concrete movement. Pape’s use of bright red artificial feathers is a central feature of Tupinambá. Sensuous and regal, they cover chairs, boxes, and balls and point to Pape’s sustained interest in the Indigenous people of Brazil. With her understated surrealism, Pape makes the objects look like dense fragments of far-away rituals. The Memória Tupinambá, a series of three balls covered with red feathers and punctuated with plastic body parts, suggests their sexualized violence: one holds out a hand streaked with blood, one shows a bloody foot, and the third displays two plastic breasts. 

 


 

Oh, I’m definitely a dessert person 

April 24 to May 28, 2021 

WHATIFTHEWORLD 

Western Cape, South Africa 

http://www.whatiftheworld.com/presentation/oh-im-definitely-a-dessert-person/

The I-phone plays multiple roles in Talia Ramkilawan’s charming pictures, which she makes by “rug hooking” bright pastel fabrics, wools, and hessian. It is clear from the accidental fragments, titillating hints of sex, selfie shots, and everyday domestic scenes (birthday parties) and objects (a cake, vases of flowers, a dildo), that Ramkilawan draws from her camera roll, but she also places I-phones in the images themselves. Complete with heart emojis, the phones transmit the unabashedly sweet touch of these images, their “hand-held” feel and hot-pink youth. Ramikilawan’s titles, talky poem-“texts” of one or two lines, crystallize the Black femme wit of her crafty depictions. 

Filed under: CWA Picks

CWA Picks February-March 2021

posted by March 12, 2021

February and March Picks from the Committee on Women in the Arts celebrate a selection of events, exhibitions, and calls for work and participation featuring feminist and womxn artists and address issues about social justice and ethics in intersectional and transnational perspectives.

Dancer Christ Walker in his portrayal of Laura Anderson Barbata’s Rolling Calf in Intervention: Indigo, part of the exhibition Laura Anderson Barbata: Transcommunality, Newcomb Art Museum of Tulane University. Photo by Rene Cervantes.

Laura Anderson Barbata: Transcommunality

January 16–October 2, 2021

Newcomb Art Museum of Tulane University, New Orleans, LA

Laura Anderson Barbata’s (b. 1958) socially engaged, activist, and environmentally sustainable practice is on view in a dynamic exhibition curated by Laura Blereau at the Newcomb Art Museum.  Transcommunality enriches bold concepts of global collaboration and cultural exchange, civil and indigenous rights, and human connection and belonging across geographical borders.  Anderson Barbata was born in Mexico City, Mexico, and works between Mexico and the United States.  This exhibition unites five projects and series across the Americas, showcasing a wide swath of media and community-based approaches such as street theater, arts education, printmaking and book making, textiles, wearable sculpture, photographs, and stilt dancing.  Among the works on display are paper making techniques and workshops utilizing Ye’Kuana Amazon wood printing blocks for body printing and printmaking in Venezuela (Amazonian moriche palm fiber); fabric costumes worn by stilt dancers and carnival performers, including Moko Jumbies in Trinidad and Tobago and the Brooklyn Jumbies of New York, West Africa, and the Caribbean, as well as the significant artisan culture of los Zancudos de Zaachila from Oaxaca, Mexico.  Transcommunality also documents Anderson Barbata’s extraordinary intervention and efforts to repatriate the body of Julia Pastrana, a nineteenth-century Mexican woman grotesquely exploited for her physical disabilities.  As Anderson Barbata avers, reciprocity fundamentally underscores her artistic work and approach.

 

 

Mildred Thompson: Throughlines, Assemblages and Works on Paper from the 1960s to the 1990s

February 18–March 27, 2021

Galerie LeLong & Co., New York

A selected survey of Mildred Thompson’s (1936–2003) mature practice into the 1990s, Throughlines explores the African American artist’s dynamic experimentation in found and manipulated wood, free-standing assemblages and sculptures, and dynamic utilisation of abstraction in works on paper and prints.

 

 

Laura Aguilar: Show and Tell

February 6–March 9, 2021

Leslie–Lohman Museum of Art, New York

The first comprehensive retrospective on Chicana artist Laura Aguilar (1959–2018), Show and Tell presents more than 70 photographs and videos spanning three decades.  The development of Aguilar’s performative, feminist, and queer  genres encompass candid portrayals of LGBTQ+ and Latinx communities; nude self-portraits serve as powerful investigations on the complicated colonial histories of racial and sexual injustice and personal expressions on vulnerability and beauty.

 

 

Renée Stout | Ghosts

January 21–May 8, 2021

Ulrich Museum of Art, Wichita, Kansas

This exhibition explores Renée Stout’s (b. 1958) print portfolio from 2012 titled Ghosts, currently in the collection of the Ulrich Museum of Art, and in dialogue with six Yoruba objects from present-day Nigeria in the Wichita State University’s Lowell D. Homes Museum of Anthropology.  Stout’s seminal artistic research into the histories of African American heritage and the African diaspora are demonstrated in Ghosts, haunting monotypes that touch upon syncretic belief systems and visual narratives of Haitian Voudou and American Voodoo and Hoodoo, especially as these religions are expressed in marginalized Black communities.

 

 

Amelia Toledo: 1958–2007

February 25–April 17, 2021

Nara Roesler, New York

The inaugural solo exhibition in the US of Brazilian multidisciplinary artist Amelia Toledo (1926–2017), the artist is best known for her constructive investigations that traverse the material boundaries of the natural world and landscape, and offer new definitions of ecological concretism through the technical and physical examination of shells, stones, and wood.  Toledo’s later Penetrables, on view, explore inhabitable space through hanging color fields as raw canvas and organic pigments.  Although associated in her career with many of the foremost postwar neo-concrete Brazilian artists, including Mira Schendel, Tomie Ohtake, Hélio Oiticica, and Lygia Pape, Toledo maintained a separate identity.  On her hands-on and observational approach to her practice, Toledo offered: “It’s not even just a question of difference processes; each material constructs itself, proposes itself in the form of certain consequences.”

 

 

Les Femmes Folles Presents: Feminists Connect

Launching March 2021

This curated online exhibition includes work by 40 international artists, artist statement and bios received in response to a call inviting participants to reflect on the theme Feminist Connect and the possibilities for the arts and feminist enquiry. Driven by feminist ethics of care, the curators of this online art exhibit, Sally Brown and Leslie C. Sotomayor, became actively invested in selecting artworks that engage through lived experiences and embodiments into conversations on larger social issues such as love, grief or invisibility. The curatorial process was dialogic and centered on co-creation of knowledge with care.

 

 

The Vagina Museum’s ‘Cliterature’ book club – Feminism, Interrupted

Thursday 22nd April 2021, 7:00 PM – 8:30 PM UK Time

Zoom

Cliterature, the Vagina Museum’s book club, welcomes everyone to engage in readings and discussions of fiction, non-fiction, essays and poetry. The April event focuses on a non-fiction book Feminism, Interrupted: Disrupting Power by Lola Olufemi, which calls to reclaim feminism from its neoliberal appropriations as a radical tool for fighting back against structural violence and injustices, including, among others, reproductive justice, transmisogyny and gendered Islamophobia.

 

 

Joanna Rajkowska. Rhizopolis

February 1st – June 6th 2021 

Zachęta – National Gallery of Art, Poland

Rhizopolis, a set design and an artistic installation, is not a phantasy. It welcomes us to a world of hypothetical future after an ecological catastrophe that is inevitable in the Antropocene. Imagining an underground city underneath a forest inhabited by refugees from the surface of Earth, Rajkowska calls into question our faith in continuous progress and civilizational development and expansion. In the context of the pandemic, Rhizopolis offers an opportunity to revisit survival scenarios and techniques and invites us to consider radical dependence and interconnectedness in which nature makes our lives possible.

 

 

Filed under: CWA Picks

CWA Picks: December 2020

posted by December 15, 2020

December CWA Picks

December Picks from the Committee on Women in the Arts celebrate a selection of events, exhibitions and calls for work and participation featuring feminist and womxn artists and addressing issues concerning social justice and ethics in intersectional and transnational perspectives.

 

Food Justice In Appalachia: Call For Content; An exhibit by WVU Libraries in partnership with the WVU Food Justice Lab and the WVU Center for Resilient Communities.

https://exhibits.lib.wvu.edu/gallery_foodjustice

The call (deadline on February 1st, 2021; exhibition launch in August 2021) invites submissions exploring concepts of food justice, food sovereignty and community food security. Selected works will be included in an exhibition, which focuses on ways in which the food system shapes landscapes, defines economic systems and informs cultural practices.

 

Curators Conversation: Curating the Digital — a Webinar hosted by Art Curator Grid and SALOON London on December 17th, 2020

https://www.eventbrite.pt/e/curators-conversation-curating-the-digital-tickets-129483736341

Curators Julia Greenway and Noelia Portela will be in conversation with SALOON London co-founder Mara-Johanna Kolmel to explore the online spheres and the digital realm in curatorial practices. SALOON London is a professional network for women in the arts with the objective of creating an open forum to exchange ideas, experiences and initiate collaborations.

 

Online exhibition accompanying On Transversality in Practice and Researchconference 9-11 December 2020, organised by PhD students from across the UK

https://ontransversality.wordpress.com/exhibition/

This exhibition presents the works of Maria Teresa Gavazzi, Emily Beaney, Stav B and Caio Amado Soares, and Niya B. who reflect on the issues addressed by the conference themes: interdisciplinarity, intersectionality and transnationalism in research praxis, from anti-racist, decolonial, feminist, and queer methodological perspectives.

 

Feminist Art Coalition (FAC)

https://feministartcoalition.org/

FAC, a platform for art projects informed by feminisms, encourages collaborations between arts institutions with the aim of promoting and advocating for social justice and structural change. A series of collaboratively conceived events and exhibitions planned for 2020 have been postponed to 2021 because of COVID-19 closures.

 

Our inheritance was left to us by no testament prelude exhibition to OnHannah Arendt: Eight Proposals for Exhibition; Richard Saulton Gallery, London

https://www.richardsaltoun.com/exhibitions/85-our-inheritance-was-left-to-us-by-no/installation_shots/

Richard Saulton Gallery launches its programme ‘On Hannah Arendt’ in January 2021 addressing the political philosopher’s 1968 publication Between Past and Future, in which Arendt questions the lost freedoms in the period post World War II and the threads of broken traditions. The group exhibition Our inheritance was left to us by no testament, a prelude to the launch, features the work of seven women artists from Eastern Europe, Alina Szapocznikow, Barbara Levittoux-Świderska, Renate Bertlmann, Běla Kolářová, Jagoda Buić, Jolanta Owidzka and Erna Rosenstein, that speak to possibilities in art without tradition.

 

 

 

Filed under: CWA Picks — Tags:

CWA Picks for November 2020

posted by November 13, 2020

November CWA Picks

November Picks from the Committee on Women in the Arts celebrate an array of exhibitions and public artworks featuring feminist and womxn artists in this transitional time.  As always, our global highlights are informed by shows and events that explore social justice issues and intersectional feminism.

© Eunice Golden 2006
“Metamorphosis #17” Acrylic on Canvas
48″ x 60″

  • The Shape Of Play: Sari Carel’s recent public art installation at Waterfront Park in Boston pushes the boundaries of modern art, sound art, childhood and play through this heavily researched and process oriented, interactive work. For more information on the piece, you can also visit here and here.
  • Eunice Golden: Metamorphosis: SAPAR Contemporary presents the gallery’s first exhibition devoted to renowned artist and radical feminist Eunice Golden’s (b. 1927, Brooklyn) late paintings and prints, and an opportunity to celebrate her enduring contributions to feminism and activism since the earliest years of the feminist art movement. The exhibition features her recent large-scale series, Metamorphosis (2003-2007) and Flora (2009), evoking her early sexual bodyscapes and exploring through gestural expanse of color, rapid brushwork, and hypnotic patterning, contemporary issues around ecological uncertainties and challenges. Through Nov. 28, 2020.
  • Feminist perspectives in artistic productions and art theories: The Artium Museum 2-day course directed by Directed by Xabier Arakistain, art curator, and Lourdes Méndez, professor of anthropology of art at the UPV / EHU, includes a variety of speakers around contributions of feminist artists and theorists of art and the theoretical and political problems that must be faced today in order to continue developing and disseminating art and knowledge free from androcentric and ethnocentric biases. Nov. 14-15, 2020.
  • Jo Ractliffe: DRIVES: Chicago Art Institute presents the first survey of South African photographer Jo Ractliffe (b. 1961), featuring more than 100 large scale color prints, video and documentary photographs spanning her career, including dreamlike photographs made in the 1990s of the port city of Durban and on a cross-country road trip, the unsettling installation N1 Incident/End of Time(1997/99), and much more. Through April 26, 2021.
  • Baltimore Museum of Art presents several current exhibitions centered on women artists and ideas. Perfect Power: Motherhood and African Art includes 40 representing the power of African mothers and maternal imagery, through Jan. 17, 2021. Candice Breitz: Too Long, Didn’t Read features two muiltichannel video installations by the South-African born artist on privilege, visibility and the fetishizing of celebrity, through Jan. 10, 2021. Shinique Smith: Grace Stands Beside, is a new deity-like figurative sculpture by the artist who was raised in Baltimore, using Baltimore resident’s donated fabric to exude, said the artist “a complex state of being that Black people and other who have endured tragic prejudice have embodied to survive and rise beyond,” through Jan. 3, 2021. SHAN Wallace: 410 is an immersive collaged environment installation by the Baltimore based artist SHAN Wallace, through Jan. 3, 2021. Other notable exhibits include: Katharina Grosse: Is It You?, Valerie Maynard: Lost and Found; Ana Mendieta: Blood Inside Outside; Howardena Pindell: Free, White and 21; Jo Small: Flying with Remnant Wings; Elissa Blount Moorhead and Bradford Young: Back and Song; all through Jan. 3, 2021.
Filed under: CWA Picks

In honor of Election Day, we present a roundtable discussion from the 108th CAA Annual Conference in Chicago on women and voter suppression. Sponsored by the Committee on Women in the Arts, this session took place on February 13, 2020.

Chairs: Sally Brown, West Virginia University; Liz Kim, Texas A&M University-Kingsville

Discussants: Karen Mary Davalos, University of Minnesota; Jo-Ann Morgan; Marshall Reese, of LigoranoReese, Independent Artists

This session considers how artists and scholars have explored voter suppression as a subject matter across historical and cultural boundaries with a view toward examining the present. In the US, voter suppression targets particularly women who are black, immigrant, elderly, young, low-income and disabled, keeping them from the polls. Since 2010, 25 states have placed new restrictions that make the exercise of fundamental voting rights harder. This change has been exacerbated by the 2013 Supreme Court ruling that struck down a key provision in the 1965 Voting Rights Act, enabling states to institute discriminatory voting laws. The legacy of Jim Crow laws persists through these recent shifts in policy, while disproportionally affecting growing voter groups such as Latino/a voters in the US. In these political times, historical lessons can be drawn from the past, in the ways women have collectively fought against political silencing. Our roundtable panelists address and illuminate how artists and activists work and have worked creatively to resist and fight voter suppression for women, as well as reflect on broader political suppression issues for women voters. From the Chicana feminist art of the 1970s, to the imagery of the revolutionary women of the Black Power Movement, to public art interventions in the Trump era, this session aims to take a broad and reflective approach to this politically urgent topic.

 

Filed under: CWA Picks

CWA Picks for October 2020

posted by October 15, 2020

October Picks from the Committee on Women in the Arts celebrate the return of major international museum surveys dedicated to the creativity and power of women artists throughout the centuries, drawing attention to the seventeenth-century Italian Baroque master Artemisia Gentileschi, Venezuela’s twentieth-century Concrete sculptor Gego, and the women of Surrealism. As always, our global highlights are informed by shows and events that explore social justice issues and intersectional feminism.

Cauleen Smith, Human_3.0 Reading List: Angela Davis. Women, Race, and Class, 2015 Graphite and acrylic on paper

One Million Roses for Angela Davis

October 10, 2020–January 24, 2021

Kunsthalle im Lipsiusbau, Dresden

Celebrating the singular life of Black activist and feminist Angela Davis, One Million Roses takes a closer look at Davis’s complex cultural relationship with East Germany almost fifty years after the launch of the postcard campaign, “A million roses for Angela,” in 1970-72, when she was held in prison under terrorism charges.  This exhibition builds upon the formative commitment to Davis’s revolutionary aims, ideologies, and actions that was supported by the GDR, where she was welcomed as a state guest after release. On display are works by contemporary international artists who acknowledge and promote Davis’s calls for hope and non-racist democracy.

Artemisia

Until January 24, 2021

The National Gallery, London

A major retrospective dedicated to the Baroque master Artemisia Gentileschi, following the artist’s career from Rome to Florence, Venice, Naples, and London; includes the artist’s recently discovered personal letters, and promotes virtual events unearthing Gentileschi’s dramatic life and tremendous production.

Gego

October 9, 2020–March 21, 2021

Guggenheim Museum, New York

The first major retrospective survey in New York dedicated to the career of Venezuelan artist Gertrud Goldschmidt, known as Gego (b. 1912, Hamburg, Germany), a pioneer of postwar geometric abstraction and kinetic art, whose early career as an architect and engineer galvanized new spatial modalities in sculpture, textile, print and drawing. 

Real and Imagined: Fabric Works and Video Animations by Heidi Kumao

September 15, 2020–December 4, 2020

Stamps Schools of Art & Design, Ann Arbor, MI

Heidi Kumao’s narrative fabric works and experimental animations are on view in this singular exhibition that explores the pervasive dynamics of sexual power, trauma, and incident. The title, “Real and Imagined,” underscores the contradictions of women’s voices in the public realm, inspired by testimonials and experiences from the #MeToo movement, when ‘truth’ and ‘memory’ are inevitably questioned or dismissed.  Kumao’s industrial felt works utilize interesting references to simple quotidian objects—chairs, roots, ladders—allowing narrative to unfold in subtle ways as the images and stories are constructed and abstractly revealed on the heavy felt surfaces.

Hommage à Valie Export

Curator Sabine Folie

September 30, 2020–January 10, 2021

LENTOS Kunstmuseum Linz

To honor Valie Export’s 80th birthday, LENTOS has organized an exhibition dedicated to the “history of the body,” a theme broadly negotiated throughout the artist’s early career and further explored in the context of the technological and digital age.  On view are early works from the 1970s and contemporary projects, including performative actions, conceptual photographs, and “re-enactments” of Old Masters.

Fantastic Women

July 25–November 8, 2020

Louisiana Museum of Modern Art, Humlebaek, in cooperation with Schirn Kunsthalle, Frankfurt

This presentation explores the contributions and positions of 34 women artists from Europe, the US, and Mexico who were identified with the art historical movement of Surrealism or connected to surrealistic activities beyond the status of muse or model.  Fantastic Women features well-known figures, such as Louise Bourgeois, Frida Kahlo, Leonora Carrington, and Meret Oppenheim, among other pivotal figures, such as Kay Sage, Leonor Fini and Toyen.

What Are You Voting For? A Virtual Exhibition

October 9–31, 2020

Woman Made Art Gallery, Chicago, IL

Jurors: Karen Gutfreund + Sherri Cornett | Gutfreund Cornett Art

In response to the November 2020 US elections, Woman Made Gallery (WMG) has organized a virtual exhibition of 37 “self-identified” women artists whose artworks address pressing topics about race, intersectionality, politics, privilege, health care, as well as other groundbreaking subjects.  Exhibiting artists include: Beth Costello, Alicia Decker, Jacqueline DesForges, Karen Fiorito, Lisa Freeman, Christine Giancola, Linda Gleitz, Leah Golberstein, Jae Green, Susan Hale, LucyJulia Hale, Edwina Jaques, Tulika Ladsariya, Beth Lakamp, Holly Ballard Martz, Sandy Mayo, Penny McElroy, Cristin Millett, Cherie M Redlinger, Sawyer Rose, Caren Helene Rudman, Gigi Salij, Sarah Schneiderman, Suzannah Schreckhise, Durba Sen, Sarah Sipling, Pauline Hudel Smith, Laurie Szujewska, Salma Taman, Millette Tapiador, Amy Usdin, Winnie van der Rijn, Mary Vaneecke, Michelle Victoria, Dominique Vitali, Kelsey Merreck Wagner, Maria Wolf.

Filed under: CWA Picks

CWA Picks for September 2020

posted by September 10, 2020

Chiara Fumai, The Book of Evil Spirits, 2015. Film still. On view at the Centre d’Art Contemporain Genève through January 3, 2021. Courtesy the Church of Chiara Fumai

September picks by the Committee on Women in the Arts include a range of online and in-person exhibitions and events featuring works of women artists breaking boundaries. This month we focus on practices that explore boundaries, whether material, conceptual or methodological, and which performatively address space. Often, threshold spaces, literal and metaphorical, are interrogated in order to further explore the potential of the arts in creating change and claiming an equal and just society.

September 4 – 27, 2020
Woman Made Gallery, Chicago, Illinois

A virtual exhibit with works by 120 artists from the United States, Austria, Canada, Great Britain, Greece, Italy, Nigeria, and Turkey and in a variety of media, including painting, drawing, print-making, sculpture, photography, digital works and video, exploring the concept of loss.

September 7 – October 15, 2020
Richard Saltoun, online event

An online exhibition featuring a range of photographic works produced by Jo Spence, including her early commercial works as well as activist, feminist and social photography.

September 5, 2020 – January 7, 2021
Fondazione Berengo, Venice, Italy

An exhibition featuring works of art in glass produced by over sixty contemporary female artists from Europe, the United States, Latin America, Iran, and South Korea. Held in the heart of Murano in the Fondazione Berengo Art Space, an old glass furnace, it references and honors the history of the island and its relationship with glass production and its innovation. The works in the exhibition reference potentialities of glass and its transparency as a metaphor for the future healed from the scars from history.

November 4, 2020 – January 3, 2021
Centre d’Art Contemporain Genève, Geneva, Switzerland

The exhibition presents the first retrospective of Chiara Fumai’s works in which the artist developed the language of performance and made a significant contribution to the feminist aesthetics in the 21st century. Producing uncomfortable situations and environments through the use of concepts of boredom, threat, offense, revolt, vandalism and violence, she explored her ideals of anarchist feminism.

October 2, 2020 – January 3, 2021
Cabaret Voltaire, Zürich, Switzerland

The exhibition features the installation to the operetta which has been developed by Agnes Scherer since 2015. The production will be animated by the artist with Tobias Textor, Soya Arakawa and Claudia Barth at the opening on October 2nd, and on December 8th and 10th. Scherer’s operetta draws inspiration from theatre forms and versatile formats of presentation to activate work of art and give it a magical power.

September 23, 2020 – January 3, 2021
Fondation Louis Vuitton, Paris, France

After being closed due to the COVID-19 health emergency, the Fondation Louis Vuitton reopens on September 23rd with the exhibition featuring 170 works by Cindy Sherman produced between 1975 and 2020, including very recent and unseen series. To coincide with the retrospective, the Fondation will also present a selection of works from its Collection brought together under the title “Crossing Views.” Chosen together with Cindy Sherman and echoing her work, the artworks focus on the theme of the portrait and its interpretations in different mediums and disciplines.

Filed under: CWA Picks

CWA Picks for August 2020

posted by August 25, 2020

Participants in the 100 Years | 100 Women initiative, left to right: Paola Prestini (National Sawdust), Lisa Coleman (NYU), Ciaran Escoffery (Juilliard), Ellyn Toscano (NYU), Warrington Hudlin (Museum of the Moving Image), Deborah Willis (NYU), Kemi Ilesanmi (Laundromat Project), Avery Willis Hoffman (Park Avenue Armory), Jonathan McCrory (National Black Theatre), Marie Cisco (The Apollo), Cheri Stokes (Urban Bush Women), Mia Yoo (La MaMa), Amy Rox Surratt (La MaMa), Rebecca Robertson (Park Avenue Armory). Not pictured: Sade Lythcott (National Black Theatre) and Suhaly Bautista-Carolina (The Metropolitan Museum of Art).

August picks by the Committee on Women in the Arts include virtual exhibitions and programs, gallery exhibitions, a new podcast series, and a call for papers. This month, we recognize the US suffrage centennial, while acknowledging  the reality of continued voter suppression tactics. The Feminist Art Coalition documents an extensive list of exhibitions worldwide dedicated to women in conjunction with this anniversary. 

  • Strength in Suffrage: Tracing one hundred years and one hundred stories of women’s history, a live broadcast, August 26th at 7pm (CDT), featuring artists Ginny Sykes on her photography project and Carron Little performing poetry from her Spare Rib Revisited public engagement project. A Q&A follows with both artists. Co-sponsored by the Chicago Women’s History Center, this virtual event addresses individual emancipation of one hundred women through image and one hundred years of lived experience transformed into lyrical poetry. [Link]  
  • Meaning of Life: Performance and artist discussion by Out of Site Chicago with Irina Danilova. In collaboration with the Ukrainian Museum of Modern Art, the artist discussion, August 29th, will be moderated by Joanna Matuszak, a scholar in Post-Soviet Performance Art avant-garde practices; performance, August 31st, both available online. [Link]
  • 100 Years | 100 Women Project Archive: a collaborative and ongoing collection of work by students, activists, artists, scholars, and community leaders, around the complex legacy of the 19th amendment to the US Constitution. [Link]  
  • Between You and Me at John Michael Kohler Arts Center, Sheboygan, Wisconsin (August 5, 2020 – January 24, 2021): group show of contemporary artists whose work featuring everyday objects engages in acts of connection and care, part of the Center’s On Being Here (and There) series of exhibitions highlighting the roles cultural organizations and artists perform as community members, potentially divided by public discourse or isolation. Exhibition website offers an interactive online zine and printable postcards. [Link]
  • The War Outside My Door, virtual film screening, Evanstan Experimental Film Showcase (August 13, 2020): a film by Kristin Anahit Cass, from The New Freedom Fighters: Women And Nonviolent Resistance project, which explores hope and determination in a province of war-torn Tavush to bring about peace during a global pandemic. [Link]
  • Barbara London Calling: a new podcast series by the founding and now emeritus video and media curator at Museum of Modern Art New York and author of VIDEO ART: The First Fifty Years (Phaidon Press, 2020), just launched a podcast featuring interviews with twelve artists working with media technology. [Link]
  • Margaret Mee: Portraits of Plants, an online exhibit by Dembarton Oaks Library and Collection in Washington, DC, features paintings of Amazonian flora by the artist, explorer, and environmentalist Margaret Mee (1909–1988) from the rare book collection, along with a devoted section, Visualizing Knowledge, around the role of women artists, botanical knowledge and aesthetics from the early 17th through the mid-19th centuries. [Link]
  • A Studio of Her Own: Women Artists from the Collection is an online and gallery exhibition by Brigham Young University Museum of Art, featuring 112 works by 60 artists in various styles and types of art, including painting, textiles, prints, photographs, mixed media, and digital work. Available through September 12, 2020. [Link]
  • Return to Nature: an exhibition by the National Museum of Women in the Arts (NMWA) featuring twenty photographs by eleven artists from the collection themed around the outdoors, on view through January 3, 2021. [Link]
  • Call for papers: Reclaim: Narratives of African Women Artists, a symposium by AWARE association : Archives of Women Artists, Research and Exhibitions in the framework of the Africa2020 Season, April 15-16, 2021, at the École du Louvre, Paris. The event enters into the programs of the pan-African and multidisciplinary project Africa2020 taking place in France from December 2020 to mid-July 2021, at an invitation by N’Goné Fall, General Commissioner, to look at and understand the world from an African perspective. Deadline: October 15, 2020. [Link] 
  • Undefeated: Canvas(s)ing the Politics Around Voter Suppression Since Women’s Suffrage by West Virginia University Libraries, online exhibit including artwork and educational content on view now, with a print exhibit forthcoming in the fall. [Link]
Filed under: CWA Picks

CWA Picks for July 2020

posted by July 28, 2020

Sonya Kelliher-Combs (Native American, b. 1969) Mark, Polar Bear, 2019. Acrylic polymer, polar bear fur, fabric flag, metal brackets, 40 x 65 in. © 2019 Sonya Kelliher-Combs. Courtesy of the artist and Minus Space.

In response to COVID-19, artists, institutions, and organizations have initiated virtual exhibitions, presentations, screenings, and curated newsletters, among other innovative approaches, welcoming the public to online platforms and opening dialogues on a range of topics. May and June 2020 CWA Picks presented a number of initiatives that demonstrated ways in which social media channels and websites can be repurposed in light of social distancing measures currently in place; these Picks emphasized the social role of the arts as a healing positive force during these challenging times. As protests about systemic racism and structural injustices raged globally, museums and institutions were inclined to acknowledge their fundamental accountability and engagement in the misrepresentation or excision of Black and Indigenous histories from white imperialist and colonial narratives, including the prevalent or implicit use of racist language and practices. As the world witnesses and participates in “good trouble” and social unrest, our July Picks cover a range of online and in-person exhibitions and events and strike a balance between feminist ecologies of care and political activism. At this unprecedented historical juncture, some art spaces have opened their doors to audiences and slowly resumed activities, enforcing precautions and timed visits:  

  • ecofeminism(s) curated by Monika Fabijanska at Thomas Erben Gallery (7.19.20-7.24.20) takes us on a visual journey of the pioneering environmental art works of the 1970s and 80s through the present. Countering patriarchal and corporate structures and philosophies, many artists engage scientific and analytic approaches to experimental practices, utilizing photographic documentation, archives, time-based media, and ritual performances. Advancing principles of spiritual feminism, feminist metaphors of the Great Goddess and Cosmic Mother, and anti-nuclear activism, among other social and technological positions, the early ecofeminists underscore earth’s fragility and vulnerability—thinly veiling our fears and prophetically imagining our current global crises and pandemic—yet glimmers of care, community, and agency strikingly emerge.  As an intergenerational show presenting contemporary women artists making ecological art, Fabijanska proposes, “What makes today’s female environmental artists ‘ecofeminists’?” Artists include Andrea Bowers, Helène AylonEliza Evans, Sonya Kelliher-Combs, Hanae Utamura, Betsy Damon, Aviva Rahmani, Jessica Segall, Lynn Hershman Leeson, Bilge Friedlaender, Carla Maldonado, Mary Mattingly, Cecilia Vicuña, Barbara Kruger, and Agnes Denes. Public programming with Zoom conversations between artists, art historians, and critics: July 8, July 15, and July 22.  
  • Earthkeeping, Earthshaking – art, feminisms and ecology (Earthkeeping/Earthshaking – arte, feminismos e ecologia), curated by Giulia Lamoni and Vanessa Badagliacca at Galerias Municipais (Galeria Quadrumin Lisbon (7.25.20-10.4.20) takes its title from the thirteenth issue of the pioneering US feminist art magazine called Heresies (1981) published by the feminist collective. Lucy Lippard, Ana Mendieta, and Faith Wilding, among other contributors to this issueraised complex points around the following question: ‘What can women do about the disastrous direction the world is taking?’ Curators Lamoni and Badagliacca return to this pressing question in a global 21st-century context by reframing ideas of capitalism, colonialism, and current environmental pressures, further exploring a Portuguese perspective. Earthkeeping, Earthshaking presents radical feminist artists from the 1970s through the present day:  Alexandra do Carmo, Alicia Barney, Ana Mendieta, Bonnie Ora Sherk, Cecilia Vicuña, Clara Menéres, Emilia Nadal, Faith Wilding, Gabriela AlbergariaGioconda Belli, Graça Pereira Coutinho, Irene Buarque, Laura Grisi, Lourdes Castro. Maren Hassinger, Maria José Oliveira, Mónica de Miranda, Rui Horta Pereira, Teresinha SoaresUriel Orlow. 
  • AWARE (Archives of Women Artists Research & Exhibitions) has launched the podcast Woman House in response to the pandemic. Each episode invites a female narrator to read stories and texts by women writers on the broad theme of confinement. For example, hear Virginia Woolf’s To the Lighthouse read by Julie WolkensteinCéleste Albaret’s Monsieur Proust read by Jeanne Balibar; and Marguerite Dumas’s Writing read by Camille Morineau 
  • Virtual Views: Faith Ringgold at MoMA explores Ringgold’s extraordinary position in the sixties as an African-American woman painter and offers personal commentary about cultural identity and documentation during the civil rights movement. Ringgold’s American People Series #20: Die, a masterpiece from the museum collection, visualizes the realities of race, police brutality, and violence, and makes direct references to Picasso’s Guernica 
  • Not Yet Written Stories is an online archival repository of avant-garde women artist practices (documentation, exhibitions, conferences, publications), supported by workshops and conferences.  Managed by the SCCA-Ljubljana Center for Contemporary ArtsArton Foundation, Warsaw, and Latvian Center for Contemporary Art (Riga), Office for Photography, Zagreb 
  • Whitechapel Gallery offers an instructional list of audio resources (podcasts and audiobooks) on Black Lives Matter. 
  • Carla Repice: The White Problem Redux, an online exhibition at Equity Gallery, highlights the “optics of whiteness and the ways in which white supremacy virally replicates itself in visual culture,” according to the accompanying online essay by Ronika McClain.  Repice’s intimate, gestural figurative paintings unveil quick glimpses into childhood, focused sharply on youth and education as primary source material for the formulation of implicit racism, symbols, and narratives. Public programming includes a series of poetry readings by Black writers, organized by poet Maya Pindyck.
Filed under: CWA Picks

CWA Picks for June 2020

posted by June 04, 2020

From the series Cutbacks by Maria Kapajeva, 2017. Courtesy the artist and the Gallery of Photography Ireland.

In response to COVID-19, artists, curators, institutions and organizations have initiated virtual exhibitions, presentations, screenings, and curated newsletters, among other innovative approaches, welcoming the public to online platforms and opening dialogues on a range of topics. May and June 2020 CWA Picks present a number of initiatives that not only demonstrate ways in which social media channels and websites can be repurposed in light of social distancing measures currently in place; but most importantly emphasize the social role of the arts being a healing positive force in these unprecedented challenging times. June Picks focus on the continued presence and significance of feminist art both independently and in conversation with each other, in the context of our current virtual living circumstance.  

Filed under: CWA Picks