Posts Tagged ‘Carolee Schneemann’

Summer Session – Women’s Work at Smith College Museum of Art

Mierle Laderman Ukeles. Dressing to Go Out/Undressing to Go In, 1973 (printed 1998); 95 black-and-white photographs mounted on foamcore with chain and dustrag; 57-5/16 x 44-7/16 in. Courtesy of Smith College Art Museum, purchased with the Judith Plesser Targan, class of 1953, Fund.

Continuing our labor-themed Summer Session, today we bring you Lia Wilson’s thoughtful, thorough review of Women’s Work: Feminist Art From the Collection at Smith College Museum of Art. This article was originally published on October 29, 2015.   The exhibition Women’s Work is constructed within a historical frame. All of the included artists are introduced as individuals prominent in second-wave feminism, defined as a past[…..]

From the Archives – Women’s Work at Smith College Museum of Art

Carolee Schneeman. Eye Body #1, 1963–79; gelatin-silver print with hand coloring and scratching; 14 in x 11 1/2 in. Courtesy of Smith College Art Museum, purchased with the Judith Plesser Targan, class of 1953, Fund.

We were delighted to see art-world activists the Guerrilla Girls on the Late Show with Stephen Colbert to promote their exhibition at the Walker, which opened last week (on view until December 31, 2016). To round out the historical context of second-wave feminism from which the Guerrilla Girls emerged, today we bring you Lia Wilson’s review of Women’s Work: Feminist Art From the Collection at[…..]

Women’s Work at Smith College Museum of Art

Guerilla Girls. The Advantages of Being a Woman Artist from Guerilla Girls, Most Wanted, 1985–2006, 1988; lithograph printed in black on paper, 17 x 22-1/8 in. Courtesy of Smith College Art Museum, purchased with the gift of the Fred Bergfors and Margaret Sandberg Foundation.

The exhibition Women’s Work is constructed within a historical frame. All of the included artists are introduced as individuals prominent in second-wave feminism, defined as a past era from the 1960s through the 1980s, a period with a beginning and an end. It cannot be denied that a great deal has changed in both feminist thought and social mores since then. Third-wave feminism called out[…..]

Women in Performance: Rigorous Ecstasy – Language & Performance, Part I

Carolee Schneemann. Correspondence Course (triptych), 1980/1983, self-shot silver prints mounted on silk-screened text; 30 x 20 inches. Courtesy of the Artist and PPOW Gallery, New York. © Carolee Schneemann.

Today from our friends at Art Practical, we bring you the first installment of the new column “Women in Performance,” which kicks off with an interview between author Jarrett Earnest and artist Carolee Schneemann. To quote from the column’s introduction: “Impelled by painting, Schneemann has plumbed the history of images, embodiment, and language since the 1950s, creating pioneering performances, films, installations, sculptures, and drawings. This two-part interview focuses[…..]