It made immediate sense to me that an artist who had cut her teeth making video works was able to transpose their sense of social commentary onto her formal works.
Brooklyn’s Interference Archive is showcasing the work of the women who occupied the area surrounding England’s cruise missile installation, reshaping British public opinion and attracting international attention to the nuclear arms race.
Very recently I was told that a certain art magazine editor, who had deleted the feminist critique from a review I had written, “can only take so much feminism.”
One of the most important tools for helping feminism reach a wide audience in the 1960s and ’70s was the consciousness-raising (CR) group.
Egyptian feminist activist Aliaa Magda Elmahdy made a statement against the Islamic State (IS) this past weekend with the release of an explicit photograph on her Facebook page.
LOS ANGELES – Too many documentaries on architecture feature the same faces, and they’re mostly male. Same goes for panel discussions, lectures, and exhibits. The new documentary Coast Modern does a better job, yet there’s still far to go.
CHICAGO — What does it mean, bodily, physically, emotionally, mentally, and perhaps spiritually, to be what Simone de Beauvoir deemed “the second sex,” to be a woman and, moreover, to be a mother? These are questions that Chelsea Knight explores in her latest video work “The Breath We Took” (2013), now on view at Aspect Ratio.
This past weekend I joined the audience for the day of panel discussions at the Brooklyn Museum organized by The Feminist Art Project as part of the annual College Art Association Conference. I was only able to stay for the first three and a half panels, in a day that included five. But in those three and a half panels, a clear through-line started to emerge, at least from my perspective. That through-line involved the idea of creating collective histories, of asserting a history that complicates singular narratives, and that makes it clear that whole communities of differing experience and perspective participate in the making and supporting of the arts.
World of Warcraft (WoW) has a massive following: in 2011, some 10 million users participated in the online role-playing game. And according to a New York Times article from last year, women comprise an increasing numbers of those players and of online gamers in general: they are, apparently, one the industry’s fastest growing demographics.
I’ve had countless people express strong feelings against modern and contemporary art, as if “art” were a dirty word. (As a more high-profile example, filmmaker Werner Herzog’s declaration of despising art comes to mind.) But equally as problematic is the art world’s mocking response to the naysayers: The unease of many people is met with “That’s because you just don’t get it.”
The first survey of Chinese installation artist Lin Tianmiao at Asia Society, called Bound Unbound, could not have a more fitting title. The artist’s sartorial sculptures, grotesque bodies, and fibrous compositions illustrate an artist bound by cultural convention creating art unbound in technique and concept.
LOS ANGELES — Most artist retrospectives occur decades after an artist’s career really takes off, once their name has been recognized in the annals of art world lore. But long time collaborators Chan and Mann — Audrey Chan and Elana Mann, respectively — have organized their own retrospective to recognize their “seven year itch” of collaboration and “historicize now.”