Global Feminisms za otkrivaneto na Elisabeth A Sackler Center for Feminist Art v Brooklyn Museum, NY

Do kraia na Juni vse oste moze da se vidi izlozbata
Global Feminisms,

syzdadena za otkrivaneto na Elisabeth A Sackler Center
for Feminist Art v Brooklyn Museum, NY, v koiato
uchastvam s rabotata si “Praznuvane na sledvastia mig”
1999. Izlozbata ste putuva po USA v sledvastite 2
godini.

Po-dolu ima kratuk announce, link kym saita na muzeia
I po-obshiren press release.

Borynana Rossa

http://www.brooklynmuseum.org/exhibitions/global_feminisms/

Exhibition checklist
http://www.brooklynmuseum.org/exhibitions/global_feminisms/check_list_revised.pdf

March 23–July 1, 2007
Elizabeth A. Sackler Center for Feminist Art and
Morris A. and Meyer Schapiro Wing, 4th Floor
In celebration of the opening of the Elizabeth A.
Sackler Center for Feminist Art, the Museum presents
Global Feminisms, the first international exhibition
exclusively dedicated to feminist art from 1990 to the
present. The show consists of work by approximately
eighty women artists from around the world and
includes work in all media—painting, sculpture,
photography, film, video, installation, and
performance. Its goal is not only to showcase a large
sampling of contemporary feminist art from a global
perspective but also to move beyond the specifically
Western brand of feminism that has been perceived as
the dominant voice of feminist and artistic practice
since the early 1970s.This exhibition is arranged
thematically and features the work of important
emerging and mid-career artists.
The Brooklyn Museum presents exhibitions that give
voice to diverse points of view. Global Feminisms
contains challenging subject matter that some visitors
may find disturbing or offensive. Children 17 and
under must be accompanied by an adult. Discretion is
advised.
This exhibition is co-curated by Maura Reilly, Ph.D.,
Curator of the Elizabeth A. Sackler Center for
Feminist Art, Brooklyn Museum, and Linda Nochlin,
Ph.D., Lila Acheson Wallace Professor of Modern Art,
Institute of Fine Arts, New York University.


For Immediate Release

October 2006
Press Contact: Anne Edgar, Anne Edgar Associates,
(646) 336-7230, anne@anneedgar.com
Sally Williams, Public Information Office, Brooklyn
Museum, (718) 638-5000, ext. 331

Ground-breaking International Survey Inaugurates
Elizabeth A. Sackler Center for Feminist Art at the
Brooklyn Museum
Brooklyn, NY — Global Feminisms, a large-scale
international survey of contemporary art, will
inaugurate a
major new exhibition and study center devoted to art
created from a feminist perspective. Signaling an
intent
to take the study of new, often-critical visual
expressions in new directions, the Elizabeth A.
Sackler Center
for Feminist Art at the Brooklyn Museum, the first
facility of its kind in the United States, ventures
far beyond
American and European borders for the inauguration
presentation.
On view from March 23 through July 1, 2007, the
exhibition has been made possible, in part, through
the
generous support of the Altria Group, Inc.
Global Feminisms assembles works in a range of media
by more than 100 women artists, most of whom are
under 40 and two-thirds of whom have never before
presented work in New York. Some 50 countries are
represented, including a good number that seldom
figure in the contemporary art discourse, such as
Sierra
Leone, Kenya, Russia, Yugoslavia, Costa Rica,
Afghanistan, Indonesia and Taiwan.
The joint enterprise of two scholars, Maura Reilly,
Curator of the new Center, and Linda Nochlin, Lila
Acheson
Wallace Professor of Modern Art at the New York
University Institute of Fine Arts, the survey
coincides with
the 30th anniversary of the first major exhibition to
explore the role of women in the history of Western
art.
Organized by Dr. Nochlin, with Ann Sutherland Harris,
Women Artists: 1550-1950 was presented at the Brooklyn
Museum in 1977.

“In Global Feminisms, we are attempting to construct a
definition of ‘feminist’ art that is as broad and
flexible
as possible,” says Reilly. “Linda and I kept asking
what it means to be a feminist in radically different
cultural,
political, and class situations. And we found not one
definition, but many; hence, the term ‘feminisms.’”
“Since Woman Artists opened in San Francisco 30 years
ago, gender studies has penetrated all ways of looking
at art. So even though it is true that many aspects of
society have not changed much, or enough, in
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the intervening years, it is also true that,
consciously or unconsciously, people now make work
that was
impossible before feminism,” says Dr. Nochlin.

Life Cycles / Identities / Politics / Emotions

Despite real differences in the life situations and
preoccupations of the artists, several threads of
thought
emerge as themes in Global Feminisms. One is an
interest in Life Cycles that transforms rather
sclerotic
conventional conceptions of a woman’s life into visual
experiences that more closely mirror life as it is
lived—and dreamed—today. Among the works featured in
this section is a huge photograph by the London-
based artist Melanie Manchot, featuring the artist’s
mother nude from the waist up, and laughing against a
background of sky so blue it could grace a Hallmark
card. In another work, a large-scale color photograph,
the
California-based artist Catherine Opie displays
herself as she is, a woman whose appearance is far
from the
Madison Avenue ideal, nursing her son in a portrait of
vulnerability and strength as guileless and true as
any
example of the Christian “mother and child” iconology
in art history.

Dr. Reilly and Dr. Nochlin also found artists around
the world exploring Identities, whether it be racial
identity,
gender identity, or concern with the concept of self.
In this section, viewers will find a number of artists
skewering notions of exoticism with deliciously
hyperbolic send-ups of, for example, the contented
Spanish
peasant woman (Pilar Albarracнn of Madrid); the butch
lesbian in a never-ending ritual of binding (Mary
Coble,
Washington D.C.); and the hot, hip Asian chick doing
karaoke as performed and documented for video by
Taiwanese-born artist Hsia-Fei Chang. Mequitta Ahuja
of Chicago is represented by a huge oil-on-canvas
entitled Boogie Woogie (2005) in which an African
tribal dancer, a blue-eyed, bearded black man-woman,
seems to charge across the picture plane
full-tilt—breasts, horns, tail and all.

Nowhere can the incalculable differences among women
be grasped more clearly than in the section focusing
on the recurring theme of Politics. Regina Josй
Galindo is seen trailing a bloody footprint with each
step as she
walks from the Court of Constitutionality to the
National Palace in Guatemala City, in memory of
murdered
Guatemalan women, in her performance videotape, Who
Can Erase the Prints? (2003). Irani artist Parastou
Forouhar’s digital wallpaper is seen to be filled with
sketches of figures performing different actions, as
lively as
those to be found in a Ukiyo-E woodblock; yet closer
inspection reveals that these men and women are being
acted upon, tortured in a variety of horrible ways.
And Tania Bruguera, who lives in Cuba and the U.S.,
asks the
viewer to consider the meaning of a Cuban flag woven
of hair from countless anonymous Cubans. She entitled
the 1995/96 work, “Estadistica (Statistic).”

Another theme in Global Feminisms is Emotions.
Japanese artist Ryoko Suzuki contributes a mural-sized
installation of three photographs in which her face is
bound tightly by pig’s intestines—bullied into a kind
of
mute, anonymous submission. Bulgarian artist Boryana
Rossa is among a number of artists represented in
this section who wields a wicked humor, appropriating
cultural clichйs about women’s histrionic emotions and
blasting away at these assumptions, as in her video
Celebrating the Next Twinkling (1999).. In another
work, a
2004 video by Polish artist Anna Baumgart whose title
translates as “ecstatic, hysteric and saintly ladies,”
the
female protagonists are shown performing psychological
and physical pathologies.


Among the other artists represented in Global
Feminisms are Arahmaiani (Indonesia), Pilar Albarracнn
(Spain), Rebecca Belmore (Canada), Tania Bruguera
(Cuba), Lee Bul (Korea), Tracey Moffatt (Australia),
Priscilla Monge (Costa Rica), Ingrid Mwangi (Kenya),
Patricia Piccinini (Sierra Leone), Jenny Saville
(U.K.), Shahzia Sikander (Pakistan), Sissi (Italy),
Milica Tomic (Yugoslavia), Adriana Varejгo (Brazil),
and
Miwa Yanagi (Japan). The wide range of media employed
in the exhibition includes painting, sculpture,
photography, works on paper, installation, video, and
performance. Elizabeth A. Sackler Center for Feminist
Art
Global Feminisms inaugurates The Elizabeth A. Sackler
Center for Feminist Art, which was established in
2003 through funding from The Elizabeth A. Sackler
Foundation. The Center’s 8,300 sq. ft. facility on the
Museum’s fourth floor has been designed by one of the
nation’s leading architects, Susan T. Rodriguez of
Polshek Partnership Architects.

Along with the opening of Global Feminisms, an icon of
contemporary art returns to the public stage in
March: Judy Chicago’s The Dinner Party is to be a
permanent centerpiece of the Center. Also on view,
organized by Edward Bleiberg, Curator of Egyptian Art,
in collaboration with Dr. Reilly, is Pharaohs, Queens,
and Goddesses, an exhibition drawn from the Museum’s
renowned Egyptian collection to illuminate the role of
women in Egyptian art and life.

Catalogue and Programs

A fully illustrated catalogue published by Merrell
will accompany the exhibition. Reflecting the global
reach
of the exhibition, the catalogue will feature essays
by Reilly, Nochlin; N’Gonй Fall, an independent
curator
born and raised in Senegal; Geeta Kapur, an
independent art critic and curator in Delhi; Elisabeth
Lebovici,
Paris-based independent scholar and an art critic;
Charlotta Kotik, John and Barbara Vogelstein Curator
of Contemporary Art at the Brooklyn Museum; Joan Kee,
independent critic, curator, and art historian
specializing in modern and contemporary art of East
Asia; Michiko Kasahara, Chief Curator of the Tokyo
Metropolitan Museum of Photography; and Virginia Pйrez
Ratton, Director of the TEOR/йTica art project in
San Jose, Costa Rica.

Organizers

Maura Reilly, Ph.D. is the Curator of the Elizabeth A.
Sackler Center for Feminist Art. Prior to assuming
this
position in 2003, Dr. Reilly taught art history and
women’s studies at Tufts University, as well as
courses at
Pratt Institute, Vassar College, and the Institute of
Fine Arts, New York University, where she received her
Ph. D.
Global Feminisms co-curator Linda Nochlin, Ph.D. is
currently the Lila Acheson Wallace Professor of Modern
Art at the Institute of Fine Arts, New York
University. Previously she held positions at Yale
University, The
CUNY Graduate Center, and Vassar College. She is the
author of numerous acclaimed books and articles
and has lectured widely, including the Norton Lectures
at Harvard University.


Public Programs
A schedule of public programs related to Global
Feminisms will be released closer to the opening date.

GENERAL INFORMATION
Admission:
Contribution $8; students with valid I.D. and older
adults $4. Free to Members and children under 12
accompanied by an adult. Group tours or visits must
be arranged in advance by calling extension 234.
Directions:
Subway: Seventh Avenue express (2 or 3) to Eastern
Parkway/Brooklyn Museum stop; Lexington Avenue
express (4 or 5) to Nevins Street, cross platform and
transfer to the 2 or 3. Bus: B71, B41, B69, B48.
On-site parking available.
Museum Hours:
Wednesday through Friday, 10 a.m. to
5 p.m.; First Saturday of each month,
11 a.m. to 11 p.m.; all other Saturdays,
11 a.m. to 6 p.m.; Sunday, 11 a.m. to
6 p.m. Closed Thanksgiving, Christmas,
and New Year’s Day.