TV Recommendations From the Studio

Busy, busy in the studio. I'll have some images of new work to post early next week. In the meantime, I thought I would recommend a couple of things I've seen on TV recently.

The first is a new HBO documentary, Gloria Steinem, in her own words.  This is an hour-long program that sums up Gloria's life and career with lots of clips, interviews, images and commentary. She has had a full life and been a leader in the so-called second wave of feminism. (I don't really get why feminism has to be divided into waves, but from today's perspective, waves differentiate various efforts and timelines in the movement.)

It's surprising how much I had forgotten about what Gloria had done to work for women's political progress and about the women's liberation movement itself. The gains that women have made have been of very recent history and I guess we all tend to forget unless we are looking back. I guess I focus more on the lack of progress, rather than the gains. For example, one interview showed Gloria with Bella Abzug where they were both saying that they fully expected women candidates for president and vice president to be totally the norm in thirty years. What a disappointment that has been, as has the minimal number of women in Congress, in high-level jobs in business and achieving parity of pay - to name just a few areas where quantifiable inequality still persists.

Seeing women of many ages marching to achieve abortion rights really brought home to me how important that achievement was because previously abortion was dangerously illegal. Gloria herself had an abortion and publicly admitted that as part of the abortion rights movement. That fact was thought to be a shameful admission for a young, unmarried woman at the time.

The current war on women by the Republican Party is trying to put us back to that era where unmarried girls don't have (or don't admit to having) sex, where birth control is denied or unavailable, where abortion is murder and therefore illegal, where women are subordinate to men, where only hetero sex is acceptable, where the bible is literal truth and science is just another wrinkle in the political game.

Gloria, we need legions of you to fight the same fights over and over again! Can't we ever just move beyond patriarchy and get real for once?

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Fair Game: 2010 movie about Joe Wilson and Valerie Plame starring Sean Penn and Naomi Watts

Next is Fair Game, a movie we saw on demand about the outing of Valerie Plame's identity as an undercover CIA agent by the Bush administration. This was a fast-paced story with good acting and a plot that rang true, although movies always take some liberties for dramatic effect. In actuality, Cheney's righthand guy, Scooter Libby, took the fall for his disclosure of Plame's name and its subsequent publication in the Washington Post. (Of course his pardon was nearly instantaneous.)

As much as I hate recalling anything about the Bush administration, I do remember this happening. It was part of the inexorable march to war on Iraq that Bush-Cheney undertook. Now the odd thing is that if you Google this movie, up will pop a number of websites that debunk this movie and claim that it's all a load of crap, that the movie exaggerates Plame's and Wilson's stories and that even deny that Bush-Cheney lied about the reasons for going to war. But wait a minute, I was there. I know they lied about the invisible Weapons of Mass Destruction, they invented suspicious actions and imports of supposed tubes and uranium and scientists and whatever else it took to make it seem plausible that Saddam (the Madman) was about to bomb us off the face of the earth (or if not us, at least Israel).

So I say that those websites that debunk this movie are still spinning the lies on behalf of Bush-Cheney. I believe the movie (with allowances for glamour, simplicity and dramatic impact) and I enjoyed the hell out of seeing Cheney depicted as a devious Dr. Strangelove-type and Bush (in actual clips) as the dumbass that he was. Besides, you usually cannot go wrong with a Sean Penn movie and Naomi Watts is both beautiful and a good actor. Here's a review by Roger Ebert that has a realistic take on it.

Icons - Part Two

I saw the work of Annette Messager and Lorna Simpson at the Museum of Modern Art in Pictures by Women: A History of Modern Photography, still on view until March 2011. This was an extensive show that brought together many well-known photographs from photography's early history to the present. I chose to write about these two works because they combine sculptural elements with photography and the works are driven by feminist considerations such as identity and women's roles in society.


Annette Messager

Annette Messager, My Vows, 1988-91, photographs, colored graphite on paper, string, black tape and pushpins over black paper or black synthetic polymer paint.

Messager is a French artist, born in 1943, best known for her installations rather than for photography alone. She works in various mediums including found stuffed animals, puppets, textiles and photography of men and women. The striking installation of the small photographs in My Vows is what attracted me to the work. The string pushpinned to the wall that suspends the photos from above is such an active part of the work and reminded me of a chandelier.

Side view of the work

Perhaps you can see better in this photo that the small photos overlap against the wall and are formed into a circle by the length of the hanging strings.

The individual photos are body parts and repeated words written in colored pencil. Two of the words that I could decipher were (in French) "silence" and "pain."

A New York Times review of Messager's work from 2007 states that Messager's intention with her work is "to free women from the roles assigned to them by men, by the marketplace, and by society. And she tries to do so through satire and caricature, using the images and materials of everyday life." 

An earlier exhibition of her work at MoMA stated that through fragmentation of images and language, Messager explores fictional storytelling that refers to the dialogue between individual and collective identity. Her work "forcefully illustrates the idea that all things -- a child's beloved toy, a photograph, a piece of embroidery, a word with seemingly unambiguous meaning -- can be transformed into objects of potent expression."

Messager shows mainly in Europe but with Marian Goodman Gallery in New York.

Lorna Simpson

Lorna Simpson, Wigs (Portfolio), 1994: portfolio of 21 lithographs on felt, with 17 lithographed felt text panels.

This was another striking piece in the show that drew me to it because of the smooth, creamy felt panels with the interesting portrayal of wigs. (The whole piece is maybe 4-5' tall by 10' wide. Each one of the wigs is roughly life size as you'll see in a later image.)  

I have long been interested in hair as a cultural element, particularly for women, and have made work about it and from it myself. Additionally, I surmised that Lorna Simpson, whom I knew to be African American, had even more issues regarding hair and culture. 

Lorna Simpson is American, born 1960, and a photographer who has usually combined her photographs with text. Working mostly in large-format studio photographs, she has chosen textual fragments that allow free association of the images with racial and sexual issues. That is, reading the text loads the images with content and associations that change the viewer's perceptions of the images.

Some of the wigs pictured in this portfolio appear to be made from Black hair and some from White hair. The text alludes to the wigs as a means of disguise, sexual attraction and an aid to crossing over gender, class and racial boundaries.

However, in this work, I found the text to be less important than the images of the wigs and their geometric arrangement on the felt panels.

In fact, I thought that the text ranged over so much territory that it was difficult to interpret Simpson's intention with this work. I actually think that the two little text panels above express her mixed feelings about it all. They say, "strong desire to decipher" and "strong desire to blur."

Perhaps it's true that hair has so many associations connected to it that it's impossible to make a succinct statement about it all.

This is the shot I really liked with the viewer in front of the work looking like she stepped right out of it.

Simpson has had a distinguished career that includes a 20-year retrospective at the Whitney in 2007, being collected by the National Gallery, MoMA, the Whitney and other top-rung museums. She also has the distinction of being the first African-American woman to exhibit at the Venice Bienniale - disappointingly not until 1997. You can see more of Simpson's work here.

I See Some Icons and Call Their Name: Part One

I was undecided about raising the specter of "Feminist Art" in this post. Originally I was just going to say "Icons of Art," but then I started doing a little research on the artists who made the works and saw how strongly they were all linked to feminism in one way or another. So I'm just going to grab the bull by the horns and spit out Feminism. (And not in a bad way.)

Detail from "Some Living American Women Artists"

I'm not calling the works in this post "feminist art" because I don't want to limit them that way. I will say that they are related to or inspired by ideas that arose from the original feminist movement. However, Mary Beth Edelson's "Some Living American Women Artists" is probably the poster child for feminism because it challenged male authority in religion and art at the same time. Edelson also dared to mess with the sacrosanct image of The Last Supper (appropriation of the masterpiece) and paste the head of Georgia O'Keefe atop the body of Jesus Christ. (By the way, I made these images even bigger than usual, so if you click on them, they'll open larger and I hope you can see more.)

This work, created in 1972, before PhotoShop, in the cut-and-paste era, is included in "Pictures by Women: A History of Modern Photography" at the Museum of Modern Art, New York (May 7, 2010–March 21, 2011). As an object, it has aged well in that it's become even more interestingly unusual since we don't get to see such rough-looking collage today with little, hand-cut, typewritten labels and such a variety of image sizes and colors. Even its overall size seems to date it in that it's not monumental. What I'm getting at is that it really looks handmade and like a relic of the feminist movement that has survived for 38 years. It looks like an icon.

Detail of left side showing Helen Frankenthaler, June Wayne, Alma Thomas and Lee Krasner (all that I can read in my photo)

Detail of center showing Georgia O'Keefe, Louise Nevelson and  M.C. Richards

Detail of right side showing Louise Bourgeois, Lila Katzen and Yoko Ono

Perhaps you may view this work as just an interesting historical piece and record of feminist objectives of the era, however, on Mary Beth Edelson's website, an essay  by Linda S. Aleci relates a 1995 controversy about a poster of the work that hung in a women's center at Franklin and Marshall College. There eight faculty members complained that the work was an "affront to Christian sensitivities" and called for censure of the women's center and its executive board. The debate was revived at Franklin and Marshall in 2000 when Edelson's works were exhibited at the college art museum. The claim was made that Edelson's collage was '“a work of art that makes a point about women artists at the expense of Christianity's most sacred symbols“–an interpretation that coyly sidesteps the theologically problematic inference that a reproduction of Leonardo's fresco constitutes the ontological manifestation of the Last Supper."

During the exchange of protesters and defenders of the work at the college's women's center, one critic charged that Edelson's "offence" could be compared to "acts of defacement like 'putting a pig's head over the picture of Martin Luther King, Jr.'" Continuing with a quote from the essay:

To assert that the remaking of a figure in the image of a woman is comparable to remaking a figure in the image of a pig, an animal associated with filth, is to describe women as profane, unclean, degrading creatures. From this one understands the truth of Some Living American Women Artists: it is indeed the entity Woman–embodied in the faces of actual women–that continues to be regarded with horror. And it is a timely reminder. One month after the controversy first erupted at F&M, the Vatican's Congregation for the Doctrine of the Faith issued a statement upholding the ban against the ordination of women as priests as infallible doctrine.

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Slight Tangent

I had never heard of Franklin and Marshall College, but it's a small liberal arts college located in Lancaster, PA. I thought from the description of the controversy that it might be a Christian school or bible college, but No. Here is its mission statement

Franklin & Marshall College is a residential college dedicated to excellence in undergraduate liberal education. Its aims are to inspire in young people of high promise and diverse backgrounds a genuine and enduring love for learning, to teach them to read, write, and think critically, to instill in them the capacity for both independent and collaborative action, and to educate them to explore and understand the natural, social and cultural worlds in which they live. In so doing, the College seeks to foster in its students qualities of intellect, creativity, and character, that they may live fulfilling lives and contribute meaningfully to their occupations, their communities, and their world.

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When I was in art school in the 1980s, I was heavily involved in feminism, paganism, and any other -ism I could get my hands on. I loved the work of Mary Beth Edelson, who was mainly doing performance at that time and worshipping the Mother Goddess and the eternal feminine through her own body. Today Edelson is in her late 70s and apparently still going strong. Here's a link to her website that shows the timeline of her life juxtaposed with cultural and political events. You can also see the various bodies of artwork that she has made.

Edelson was instrumentally involved in creating "WACK! Art and the Feminist Revolution," a traveling show at P.S. 1 in New York in 2008 and the Museum of Contemporary Art in Los Angeles in 2007. This show surveyed "feminist art" from 1965-1980 and was well received for the quality of the work chosen. (A contemporaneous exhibition of "feminist art" called "Global Feminisms" also appeared in 2007. I saw it at Wellesley College and was less than enthusiastic about the work in this show that seemed stripped of all its passion, humor and enthusiastic embrace of making a new place for women in the world.) An interview with Edelson in the spring 2008 P.S. 1 newspaper gets her talking about her past and the future of feminism.

A face I recognized - a young Lee Bontecou at the bottom left

Edelson had trouble with spelling Bonticou's name (no. 13)

How did Edelson choose the artists to include in her last supper? She says that she did not personally know these artists and the selections were "fairly arbitrary" in that they were not political associations but chosen to show diversity of race and artistic mediums. "The border included every photograph of a woman artist that I could find, with most of the 82 photographs coming directly from the artists themselves." (from the essay on Edelson's website) As for Georgia O'Keefe being chosen for the Christ spot, Edelson thought that because of her artistic success and recognition, O'Keefe deserved to be honored with the central placement.

Edelson's famous work still seems totally relevant today - not only are women artists still fighting for representation and recognition but religious bigotry is rearing up all over the place. Religious fears and fundamentalism are driving new and more vehement protests against diversity of any kind, and if Edelson were to create this work today, she would probably engender picketing by right-wing zealots similar to those at Franklin and Marshall College. It's a weird world we're living in where lies and accusations become accepted as fact purely because they're asserted and repeated often enough to become the norm. Have a look at a little different view of things by Mira Schor.

Addendum
Please don't get me wrong: I am not opposed to feminism but I am opposed to "feminist art." I think that term is dismissive and ghettoizing. The term "feminism" has had a bad rap for the past few years, similar to the word "Liberalism." I'm claiming them both as describing my beliefs.

Following definitions via dictionary.com
fem·i·nism   [fem-uh-niz-uhm] –noun
1.the doctrine advocating social, political, and all other rights of women equal to those of men.
2.(sometimes initial capital letter) an organized movement for the attainment of such rights for women.
3.feminine character.

World English Dictionary
feminism - a doctrine or movement that advocates equal rights for women

Collins English Dictionary - Complete & Unabridged 10th Edition
Word Origin & History
feminism
1851, at first, "state of being feminine;" sense of "advocacy of women's rights" is 1895.
Online Etymology Dictionary, © 2010 Douglas Harper

lib·er·al·ism   [lib-er-uh-liz-uhm, lib-ruh-] –noun
1.the quality or state of being liberal, as in behavior or attitude.
2.a political or social philosophy advocating the freedom of the individual, parliamentary systems of government, nonviolent modification of political, social, or economic institutions to assure unrestricted development in all spheres of human endeavor, and governmental guarantees of individual rights and civil liberties.
3.(sometimes initial capital letter) the principles and practices of a liberal party in politics.
4.a movement in modern Protestantism that emphasizes freedom from tradition and authority, the adjustment of religious beliefs to scientific conceptions, and the development of spiritual capacities.