Monday, September 7, 2015

1970's

visual artists
a sampling

Ana Mendeita, Cuban born, 1948-1985
Facial Hair Transplant, series  1972+
Performance, multi-media artist known for discourse surrounding the body, gender identity, nature/culture


Ana Mendieta performance art


Ana Mendieta, Silueta series, 1973-80


Carolee Schneemann (b.1939, USA)Interior Scroll, performance/happening, 1975
above, Up to and Including Her Limits, 1975
Performance artist known for themes surrounding the body, sexuality + gender identity.

Carolee Schneemann Up to and Including Her Limits, Blue, 1973



Linda NochlinWhy Have there Been no Great Women Artists? excerpt 147-158 The Great Artist myth

"But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and, above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education- education understood to include everything that happens to us from the moment we enter this world of meaningful symbols, signs, and signals. The miracle is, in fact, that given the overwhelming odds against women, or blacks, that so many of both have managed to achieve so much sheer excellence, in those bailiwicks of white masculine prerogative like science, politics, or the arts."

"The supernatural powers of the artist as imitator, his control of strong, possibly dangerous powers, have functioned historically to set him off from others as a godlike creator, one who creates Being out of nothing. As is so often the case, such stories, which probably have some truth in them, tend both to reflect and perpetuate the attitudes they subsume. - re: early artistic manifestations."

Margaret Harrison, The Little Woman at Home, series, 1971
Harrison participated in the first Women's Liberation Movement group exhibition at the Woodstock Gallery, London, UK 1971. In their stereotypical imagery they are overtly comical, often transposing the female onto a male subject, and/or Super Hero


Womanhouse January 30 – February 28, 1972 a feminist installation and performance space organized by Judy Chicago, Faith Wilding and Miriam Schapiro. They were co-founders of the California Institute of the Arts (CalArts) Feminist Art Program (founded in 1970).  Womanhouse was a collaboration between Schapiro, Chicago and their students as well as local artists of the community.  The goal: to use consciousness-raising techniques to generate the content of the exhibition. Only women were allowed to vie the exhibition on its opening day. During the exhibitions duration of a month 10,000 visitors moved through Womanhouse. 

video > Womanhouse by Johanna Demetrakas

Womanhouse, CalArts, 1972, Kitchen



Linen Closet

Menstruation Room, 1972

Judy Chicago, The Dinner Party, 1979 now housed permanently in the Elizabeth A. Sackler Center for Feminist Art Center of the Brooklyn Museum of Art in NYC 


Judy Chicago, The Dinner Party, 1979


The Dinner Party is one of the most well-known pieces of Feminist art in existence and is permanently housed at the Center for Feminist Art at the Brooklyn Museum. The installation consists of a large banquet table with place settings for thirty-nine notable women from history and mythology. The settings have gold ceramic chalices and porcelain plates painted with butterfly- and vulva-inspired designs. In addition to the thirty-nine settings, there are the names of 999 other women painted on the tiles below the triangular table. The Dinner Party participates in the feminist revision of history, initiated during the 1970s, in which feminists worked to re-discover lost role models for women, re-writing the past that had previously only included male voices. In the combination of intricately wrought textiles, tile, and porcelain, Chicago reclaimed the realm of "high art" to include what had traditionally been relegated to the lower status of "women's work." Consisting of painted porcelain plates, silverware, chalices, fabric, tiles, now housed at the Brooklyn Museum.
RE: http://www.theartstory.org/movement-feminist-art.htm

Susan B Anthony's place setting

Judy Chicago + many assistants worked on the creation of The Dinner Party

Joan Semmel, Intimacy-Autonomy, 50 x 98 in. 1974

Joan Semmel, Recline, 2005
1975 works + -          



Nancy Spero, 1926 - 2009
Spero's Rice paper prints, details from interior installations 

Nancy Spero, Dildo Dancer, 1975





Nancy Spero, War Series, 1966  monotypes + watercolor
Nancy Spero, War Series, 1966


video > The "F" Bomb a Documentary Published on Jan 11, 2015 18:46



A.I.R. was the first all female cooperative gallery in the United States. Founded in 1972 with the objective of providing a professional and permanent exhibition space for women artists during a time in which the works shown at commercial galleries in New York City were almost exclusively by male artists. The gallery was originally located in SoHo at 97 Wooster Street SoHo at 97 Wooster Street, then to West 25th St., and later to 111 Front Street in the DUMBO neighborhood of Brooklyn until 2015. In May 2015, A.I.R. Gallery moved to its current location at 155 Plymouth St, Brooklyn, NY 11201.
A.I.R. is a non-profit organization that aims to show the diversity and artistic talent of women, to teach, to challenge stereotypes of female artists, and to subvert the historically male-dominated commercial gallery scene, with the overall hope to serve as an example for other artists who wish to realize their own art cooperative endeavors.  
Go to > http://airgallery.org
Feminist artist Suzanne Lacy declared, the goal of Feminist art was to "influence cultural attitudes and transform stereotypes." 

Miriam Schaprio in her NYC studio 1970s

Miriam Schapiro1970s era(1923 - 2015, Canadian/USA) Pattern and Decoration movement, Schapiro began her career working alongside second-generation Abstract Expressionists in New York

Miriam Schaprio, computer-generated painting, OX (1968), Minimalist 
Miriam Schaprio obituary 2015

Miriam Schaprio + Sherry Brode Womanhouse

Miriam Schapiro, Agony in the Garden, 1974

Miriam Schapiro, Double Rose, 1975
Miriam Schapiro, The Beauty of Summer, 1973-74, Acrylic + fabric on canvas, 50 x 70"

Miriam Schapiro, Anonymous was a Woman, 1976 collage/acrylic

Miriam Schapiro, Connection, 1978


Faith Ringgold, b. 1930, Harlem, NYC


Ringgold, Echoes of Harlem, 

Faith Ringgold, Picasso's Studio, Sleeping Under Statues, 1991

Pablo Picasso, Les Demoiselles d'Avignon, 1907

Independent Artists' Flag Show, poster, 55 Washington Square, NYC

Faith Ringgold, "Black Light Series #10: Flag For the Moon: Die N*****
", 1969

Ten Unconventional Flags that make us Proud to Be American


Valie Export . Performance . Touch Cinema, 1968-1972




Martha Rosler
Eva Hesse, 1936-1970, Germany

Eva Hesse, Contingent, 1968-1970, latex, cheese cloth, Fiberglas
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Eva Hesse. Right After, 1969



Martha Rosler (b. 1943, NYC)

Martha Rosler, Semiotics of the Kitchen, 1975 film


Martha Rosler, House Beautiful, Red Stripe Kitchen, 1967+



Martha Rosler, House Beautiful, Bringing the War Home, 1967