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X-WR-CALNAME:The Feminist Art Project
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X-WR-CALDESC:Events for The Feminist Art Project
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DTSTART;TZID=America/Puerto_Rico:20241017T190000
DTEND;TZID=America/Puerto_Rico:20250315T170000
DTSTAMP:20260423T042251
CREATED:20241019T132528Z
LAST-MODIFIED:20241024T193104Z
UID:10000393-1729191600-1742058000@thefeministartproject.org
SUMMARY:DIVERSE. Poetics of Nature.
DESCRIPTION:“Diverse. Poetics of Nature is an exhibition that reveals my enormous admiration and respect for nature\, for its intuitive and spontaneous frankness. In times when everything tends to be the result of a construction: images\, what we say\, perceptions… the only thing that remains real and true\, is nature.” \n Jeannette Betancourt
URL:https://thefeministartproject.org/event/diverse-poetics-of-nature/
LOCATION:Universidad Ana G. Méndez – Recinto de Gurabo\, 6XRV+Q6H\, Rio Grande Road\, Juncos\, Gurabo 00777\, Puerto Rico\, Gurabo\, Puerto Rico
CATEGORIES:Artist Talk,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/jb-expo-e1729344321660.jpeg
ORGANIZER;CN="Museum of the Ana G. Mendez University":MAILTO:museo-gu@uagm.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Mexico_City:20241122T180000
DTEND;TZID=America/Mexico_City:20250217T200000
DTSTAMP:20260423T042251
CREATED:20241122T142305Z
LAST-MODIFIED:20241122T142305Z
UID:10000401-1732298400-1739822400@thefeministartproject.org
SUMMARY:From the summit the clouds
DESCRIPTION:This is a multisensorial installation by Mexican artist and curator Elizabeth Ross. \nThe artist primarily used Xuan paper and inks to create an emotional\, artistic\, and gestural diary\, a response to the intense emotions evoked by the ongoing events in West Asia. Sound\, video\, and aroma create a singular experience. \nThe curator Iris lam Chen ends her presentation text with this paragraph: All the works highlight the complementary contrast between the angry and sanguine nature of the Latin American vocal denunciation that demands a reaction\, and the melancholic and phlegmatic nature of the Chinese culture that prays for the honor of the fallen from silence and ritual. This intercultural mix is ​​inexorable in Elizabeth’s work and a constant in the present exhibition.
URL:https://thefeministartproject.org/event/from-the-summit-the-clouds/
LOCATION:Jardín Borda Cultural Center\,\, Av. Morelos 271\, Cuernavaca Centro\, Centro\, 62000 Cuernavaca\, Morelos\, Mexico
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/11/inva-e1732285372399.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250123T180000
DTEND;TZID=America/New_York:20250307T170000
DTSTAMP:20260423T042251
CREATED:20250202T155434Z
LAST-MODIFIED:20250202T155434Z
UID:10000790-1737655200-1741366800@thefeministartproject.org
SUMMARY:Tacit Knowledge:  Paper as Practice in the Dieu Donné West Bay View Foundation Fellowship Program
DESCRIPTION:Tacit Knowledge:\nPaper as Practice in the Dieu Donné West Bay View Foundation Fellowship Program\nJanuary 23 – March 7\, 2025 \nEFA Studios\n323 West 39th St.\, New York\, NY\, 3rd Floor\nHours: Tue–Fri\, 12–5 pm \nAnna Hendrick Karpatkin Benjamin\nKatharine L. DeLamater\nCandy Alexandra González\nJaz Graf\nLauren Krukowski\nSR Lejeune\nAnela Ming-Yue Oh \nCurated by Eliana Blechman \nContemporary papermaking draws on generations of knowledge about fibers\, waters\, and motions of the body. There is ritual in the processes of preparing pulp\, pulling sheets\, and pressing and drying paper between or upon boards. The practice of papermaking is learned as much through an inherent\, tacit understanding within the body as it is through overt instruction. Working with pulp is a tactile exercise – one through which artists imbue meaning and history into their materials and art. \nTacit Knowledge celebrates seven years of Dieu Donné’s West Bay View Foundation Fellowship\, an immersive studio mentorship for emerging papermakers to expand and enrich their artistic practices at Dieu Donné’s papermaking studios in Brooklyn\, NY. Artists and papermakers Anna Hendrick Karpatkin Benjamin\, Katharine L. DeLamater\, Candy Alexandra González\, Jaz Graf\, Lauren Krukowski\, SR Lejeune\, and Anela Ming-Yue Oh each spent three to six months in the Dieu Donné papermaking studios\, fully immersing themselves in the art of papermaking\, supporting artists and projects coming through the studio\, and learning to hone their techniques and develop their own practices. Their fellowships culminated in dedicated professional studio days for each artist to each create new bodies of artwork in handmade paper. Their resulting artworks pull from personal\, social\, and historical experience\, and explore ritual\, identity\, heritage\, and environment\, mining both inherited and privatized forms of knowledge. \nFor all press inquiries\, please contact Emma Hill at ehill@dieudonne.org. \nFor more info please visit:  https://www.studios-efanyc.org/exhibitions \n 
URL:https://thefeministartproject.org/event/tacit-knowledge-paper-as-practice-in-the-dieu-donne-west-bay-view-foundation-fellowship-program/
LOCATION:Elizabeth Foundation for the Arts\, EFA Studios - 323 West 39th St.\, 3rd Floor\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/02/GRAF_Jaz-firemanuscript-e1738511662831.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250206T200000
DTEND;TZID=America/New_York:20250223T205500
DTSTAMP:20260423T042251
CREATED:20250116T211816Z
LAST-MODIFIED:20250117T190434Z
UID:10000789-1738872000-1740344100@thefeministartproject.org
SUMMARY:No Reservation
DESCRIPTION:TFAP NYC invites you to No Reservation. \nNO RESERVATION covers the journey of diverse global goddesses – African\, Asian\, Indigenous\, and Middle Eastern – who crash a dinner party in celebration of false gods of present-day power and persuasion.\nThese goddesses have been underground for centuries but now rise up\, sensing the urgency of their presence ‘at the table.’ This multidisciplinary performance piece was co-created with diverse women artists and moves forward from second wave feminist artists who took on the patriarchy through works like The Dinner Party\, by Judy Chicago\, Some Living American Women Artists/Last Supper by Mary Beth Edelson and the dinner scene in Top Girls by Caryl Churchill. \nWill you join us at the table?\nFEBRUARY 6 – 23\, 2025\nRunning Time: 55 minutes\nThursdays to Saturdays: Starts at 8:00pm\nSundays: Starts at 4:00pm \nLA MAMA: DOWNSTAIRS THEATER\n66 EAST 4TH STREET\, BASEMENT LEVEL\, New York\, NY 10003 \nTickets:\nAdults: $30\nStudents/Seniors: $25\nFirst 10 tickets are $10 (limit 2 per person)\nTicket prices are inclusive of all fees.
URL:https://thefeministartproject.org/event/no-reservation/
LOCATION:LA MAMA\, 66 East 4th Street\, New York\, NY\, 10003\, United States
CATEGORIES:Performance
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/01/No-Reservation.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250214T130000
DTEND;TZID=America/New_York:20250214T140000
DTSTAMP:20260423T042251
CREATED:20241221T194355Z
LAST-MODIFIED:20241221T200015Z
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SUMMARY:TFAP@CAA 2025 | SOCIAL MIXER
DESCRIPTION:TFAP@CAA 2025 Social Mixer\nFriday\, February 14\, 2025\n1:00pm – 2:00pm\nHilton Midtown\, NYC (in-person)\n2nd Floor\, Morgan Suite\n*CAA Conference Registration Required*\n \nCollege Art Association 113th Annual Conference | New York City\, February 12–15\, 2025 \nJoin the WCA TFAP caucus during our Affiliated Society business meeting slot for a social mixer. Connect with friends and colleagues\, meet new people\, and learn about TFAP!
URL:https://thefeministartproject.org/event/tfapcaa-2025-social-mixer/
LOCATION:Hilton Midtown\, NYC\, 1335 6th Avenue\, New York\, NY\, 10019\, United States
CATEGORIES:Meeting
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/CAA-113-logo-e1729340357565.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250214T163000
DTEND;TZID=America/New_York:20250214T180000
DTSTAMP:20260423T042251
CREATED:20241005T162711Z
LAST-MODIFIED:20250126T185155Z
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SUMMARY:TFAP@CAA 2025 Affiliated Society Session | GODDESS REDUX: FEMINISM AND SPIRITUALITY IN CONTEMPORARY ART
DESCRIPTION:TFAP@CAA 2025 Affiliated Society Session\nGoddess Redux: Feminism and Spirituality in Contemporary Art\nChairs\nConnie Tell\, The Feminist Art Project\nKathleen Wentrack\, The City University of New York\, Queensborough CC\nFriday\, February 14\, 2025\, 4:30-6:00pm\nRegent\, 2nd floor\n*CAA Conference Registration Required*\n \nCollege Art Association 113th Annual Conference | New York City\, February 12–15\, 2025 \nIn a 1988 lecture\, Mary Beth Edelson stated\, “Goddess was always a metaphor for me for radical change and change of consciousness and for challenging the daily experience of what is thought of as acceptable social codes while opening other realms of experience.” Edelson was indicative of 1960s and 1970s feminist artists who looked to ancient matriarchal cultures and goddess imagery as alternative symbols and mythological frameworks to challenge and undermine patriarchal systems of oppression. By the 1980s this work was denounced and labeled essentialist. The aughts began a series of survey exhibitions on feminist art which included a renewed appreciation and deeper analysis of the complexity of this work and exposed these artists to a younger generation who took the concept of the goddess and spirituality in new directions. This is evidenced in several recent exhibitions such as The Female Side of God (Frankfurt\, 2020)\, Feminine Power: The Divine to the Demonic (London\, 2022)\, and The Goddess\, the Deity\, the Cyborg (Cambridge\, 2024). What is striking about this newer work is the breadth of examination of ideas of spirituality in artistic expression that includes a diversity of goddess references\, transcultural goddesses\, figures of power both benevolent and destructive\, gender fluid deities\, and transformational rituals of pleasure and healing. This panel will investigate new manifestations of goddesses and spirituality in contemporary art with a special consideration given to strategies that subvert constructs of power. \nPanelists:\n“Roots of Resistance: The Woman-Tree\, Political Artivism\, and Feminist Spirituality in Ibero-American Art”\nDiana Angoso De Guzmán\, Universidad Complutense de Madrid\nThis study explores the resurgence of the Woman-Tree archetype in contemporary Ibero-American art through the lens of ecofeminism\, tracing its evolution from ancient symbols to modern artistic expressions. E.O. James identifies the Tree of Life as an embodiment of the Great Goddess\, symbolizing fertility\, regeneration\, and the feminine principle across various religious traditions. This archetype reappears in the work of Ibero-American artists such as Fina Miralles\, Ana Mendieta\, Cecilia Vicuña\, and more recently\, Lucía Loren.\nFocusing on performances from the 1970s\, Miralles’s “Dona Arbre\,” Mendieta’s “Tree of Life\,” and Vicuña’s works\, which integrate indigenous knowledge and ecological wisdom\, illustrate how these artists use the Woman-Tree theme to challenge patriarchal structures and advocate for ecological and feminist ideals. Vicuña’s art\, deeply informed by indigenous cosmologies\, addresses themes of nature and spiritual interconnectedness\, reinforcing the archetype’s role in contemporary feminist and environmental discourse. Their works are contextualized within the political landscapes of Franco’s Spain and Pinochet’s Chile.\nAdditionally\, the research highlights the growing body of Spanish-language ecofeminist scholarship\, featuring contributions from Alicia Puleo\, Angélica Velasco Sesma\, and Marisol de la Cadena. Their work advocates for a more nuanced understanding of ecofeminism in the Global South\, offering perspectives beyond those prevalent in Anglo-American contexts. This study aims to provide a comprehensive and inclusive view of how feminist spirituality and goddess imagery are reinterpreted in contemporary art. \n“Gaia’s Return: Earth-Goddesses in Contemporary Indigenous Eco-Activism”\nJordan Troeller\, Leuphana University Lüneburg\nThis paper considers the invocation of the Earth-Goddess Gaia in recent artworks addressing indigenous appeals to ecological justice. The most ancient of Goddess figures\, Gaia has taken multiple guises in contemporary art\, from the costumes of rainforest animals worn by anti-Bolsonaro protesters in Rivane Neuenschwander and Mariana Lacerda’s Eu sou uma arara [I am a Macaw] (2022) to the alliance between land rights and gender in the figure of Lakota activist Tokato Iron Eyes\, who features in Andrea Bowers’s video installation My Name Means Future (2020) addressing indigenous resistance to the Dakota Access Pipeline. In such works\, figures of the Earth Goddess are marshalled as part of a highly politicized appeal that yokes futurity and ancient wisdom—as spelled out in one of the protest banners created by Neuenschwander and Lacerda which reads “The Future is Ancestral.” I examine the horizon of meaning invoked by Gaia in such interventions by tracing a feminist reception of the figure Gaia\, which emerged in the 1980s\, but which has been marginalized in mainstream feminist movements. Particularly appealing for climate activists today\, I propose\, is how the Gaia figure supersedes the anthropomorphic in her multiple alliances with animal and plant life (Buffy Johnson’s Lady of the Beasts: The Goddess and Her Sacred Animals\, published in 1988\, is here emblematic). In doing so\, such a hybrid figure allows for emergent cosmologies that combine both secular critique and ancient knowledge with the potential to dismantle capitalist and patriarchal exploitation. \n“Contemporary Goddesses in Irish art: the work of Jesse Jones and Breda Lynch”\nFionna Barber\, Manchester Metropolitan University\nThis paper looks at the work of two artists\, Jesse Jones and Breda Lynch\, that in very different ways evidences the significance of Goddess-related themes and imagery in contemporary Irish feminist practice. Goddesses have survived in Irish culture through their incorporation into Christianity as saints\, and a continued recognition of the locations associated with earlier female deities such as holy wells. Drawing on 1980s precedents of the use of Goddess imagery as an imaginative feminist resistance to political crisis (unlike elsewhere)\, Jones’ multimedia installation Mirror Martyr Mirror Moon (Ikon Gallery Birmingham 2024) invokes both the triple Goddess and water rituals in an engagement with feminist art history. This work’s encounter with Artemisia Gentileschi’s Self Portrait as St. Catherine of Alexandria (c.1615-1617) powerfully undoes the silencing of women through the institutional power of church and state. Similar to Jones\, Lynch’s recent work is also contextualised within the political struggles around female embodiment culminating in the repeal of the Eighth Amendment outlawing abortion in 2018. Yet the difference in their practice also works against reductive readings of Goddess imagery. In Lynch’s archival work goddess figures (eg Goat Woman 2016) interweave with other invocations of the pagan frequently as indicative of a queer eroticism. Her playful appropriation of ephemeral sources also distances the production of lesbian identities from the archetypal womyn-centred imagery in the remaking of fluid bodies and desires in a significantly changed Ireland and beyond. \n“African Matrilineal Models of Empowerment in the Art of Tabita Rezaire and Josèfa Ntjam”\nMonique Kerman\, Western Washington University\nFrench artists Tabita Rezaire and Josèfa Ntjam create futuristic visions from ancient African history and mythology\, drawing upon African matrilineal ontologies to resist patriarchal paradigms. Combining these with cutting-edge science and technology\, their works challenge male supremacist ideology both culturally and biologically. Rezaire was born in 1989 to a French-Guianese father and Danish mother. Working in digital media online as well as in installation\, her early works expressed rage and suffering due to colonial trauma and patriarchy. Eventually\, she began envisioning herself as a spiritual healer\, addressing the harms of colonialism\, racism\, and sexism within both body and spirit through her artistic practice. She takes inspiration from African matrilineal beliefs as well as gynecological metaphors of the womb and pregnancy. Ntjam was born in Metz in 1992 to a French-German mother and Cameroonian father. Created from found imagery combined with sound and storytelling\, Ntjam’s works debunk European narratives of race and history using ancient African cultural models and her own family archives as well as science fiction. Her creative strategies range from the reclamation of figures like Nefertiti or Mami Wata to the introduction of the avatar “Persona\,” who endeavors to reclaim her lost African origins by searching for them in cyberspace. Both Rezaire and Ntjam visually plumb ocean depths for the primordial source of life\, literally conceptualizing its divine power as “gender-fluid\,” in opposition to toxic masculinity. They honor the potentiality of such power to restore our relationship with the natural world\, facing climate crisis and ongoing environmental degradation.
URL:https://thefeministartproject.org/event/tfapcaa-2025-affiliated-society-session-goddess-redux-feminism-and-spirituality-in-contemporary-art/
LOCATION:Hilton Midtown\, NYC\, 1335 6th Avenue\, New York\, NY\, 10019\, United States
CATEGORIES:Panel Discussion
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