Archive for September, 2010

Sep 06 2010

Hannah Wilke @ The Jewish Museum

Published by news under artist news,museums

Shifting the Gaze: Painting and Feminism

September 12, 2010 – January 30, 2011

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Venus Pareve, 1982-84, painted plaster of Paris, each: 9 7/8 x 5 3/16 x 3 5/16 in. (25.1 x 13.2 x 8.4 cm), The Jewish Museum, New York. Copyright © Hannah Wilke Collection and Archive © Marsie, Emanuelle, Damon and Andrew Scharlatt

Over the past fifty years, feminists have defied an art world dominated by men, deploying direct action and theory while making fundamental changes in their everyday lives. Shifting the Gaze: Painting and Feminism explores the widespread influence of feminist practice on the styles and methods of painting from the 1960s to the present. The provocative paintings on view here embody the tension between individual expression and collective politics, between a traditional medium and radical action.

While not a survey of Jewish feminist art, Shifting the Gaze is drawn primarily from the collection of The Jewish Museum, and features seven new acquisitions from the past three years. Some art historians have argued that Jewish
feminists are particularly attuned to sexuality, radical politics, and injustice because of Jewish involvement in modernism and leftist politics. Indeed, Jewish painters have played decisive roles in founding and sustaining major feminist theories and art collectives. This exhibition explores how social revolutions take place not only in the realm of ideas and politics, but in style and form.

Shifting the Gaze is organized into six sections: self-expression, the body, decoration, politics, writing, and satire. These topics reflect the variety of styles and forms that individual painters, often working within activist groups, created to challenge viewers to rethink memory, home, art history, and ritual, and to confront
anti-Semitism. Some of the paintings address issues specific to women artists, such as the representation of the body or the legitimacy of craft and decorative arts, while others address social issues that galvanized radical protest. As seen in these works, feminist painting generated new ideas and challenged old ones, shifting the gaze to encompass women’s history, experience, and material culture.

Since the 1980s, The Jewish Museum has supported the work of feminist artists through acquisitions and exhibitions in all media. To offer a historical framework for Shifting the Gaze, the curatorial staff is creating a list of over 550 women artists, from Renaissance Italian weavers to contemporary video artists, who have been represented in special exhibitions at the museum since 1947.

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Sep 04 2010

Tom Marioni @ The Hammer

Published by news under artist news,museums,Tom Marioni

August 28 – October 3, 2010

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Installation view. Collection of San Francisco Museum of Modern Art.

Hammer Projects: Tom Marioni
By Corrina Peipon

In 1970 Tom Marioni was invited to make an exhibition at the Oakland Museum of California. He asked sixteen friends to come to the museum on a Monday evening, when it was closed. The curator brought enough beer to go around, and everyone “drank and had a good time.”  The empty beer bottles, tables, and chairs were left in situ for the run of the exhibition. Rather than a performance, The Act of Drinking Beer with Friends Is the Highest Form of Art (1970) consisted of an action and its evidence. “Since I didn’t want to subject my friends to being performers, the public was not invited. . . . It was an important work for me, because it defined Action rather than Object as art. And drinking beer was one of the things I learned in art school.”  At the start of the same year, Marioni had founded the Museum of Conceptual Art (MOCA) in San Francisco, where he presented work by artists—including himself, under the pseudonym Allan Fish—experimenting with new art forms, such as conceptual art, sound art, performance and action art, installation, and video. Open to the public as a nonprofit, membership-driven museum, MOCA presented pioneering exhibitions and projects until 1984. In 1976 Marioni started Café Society, a Wednesday afternoon social club that met at Breen’s Bar, down the street from MOCA, where invited guests assembled to drink beer and talk about art. Evolving out of The Act of Drinking Beer, Café Society was a social artwork that brought people together under contrived circumstances to interact freely. Café Society has continued over the years in various iterations, including video screenings with free beer at MOCA and Marioni’s ongoing weekly Wednesday salons at his studio.

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Tom Marioni drawing the circle in the Guggenheim

Organized by Anne Ellegood, Hammer senior curator.

more links:

ArtForum

Los Angeles Times

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