Support Hyperallergic’s independent arts journalism.
In 1977, photographer and actress Cynthia MacAdams published Emergence, a book of black-and-white photographs of female activists, artists, and actresses including Judy Chicago, Lily Tomlin, Jane Fonda, and Michelle Phillips of the Mamas and the Papas. “I looked for women who could say, ‘Fuck off,’ if they didn’t agree with you,” MacAdams wrote in an artist statement accompanying the book’s release, “for women who had strength and softness in their eyes and a directness in the way they dealt with their life.” Although some critics of the time dismissed the book as simply a “celebrity album,” as did the New York Times, and its overwhelming focus on white women is no doubt problematic, it still stands as a meaningful document of second-wave feminism, warts and all.
The new documentary Feminists: What Were They Thinking? looks back at the book’s legacy, catching up with some of its subjects, as well as new feminist voices, to see how things have changed and what has frustratingly remained the same. Next Tuesday’s screening at the Skirball Cultural Center will be followed by a discussion with the director Johanna Demetrakas — whose previous films focused on feminist installation Womanhouse and Judy Chicago — composer, singer, and choreographer Meredith Monk; and Funmilola Fagbamila, professor of Pan African Studies at Cal State LA, and one of the founders of Black Lives Matter.
When: Tuesday, February 26, 7:30pm ($15 general / $10 members)
Where: Skirball Cultural Center (
More info at Skirball Cultural Center.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.