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DTSTART;TZID=America/New_York:20260221T110000
DTEND;TZID=America/New_York:20260221T123000
DTSTAMP:20260421T073615
CREATED:20251206T155253Z
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SUMMARY:TFAP@CAA 2026 Special Session | OUTCRY: ALCHEMISTS OF RAGE
DESCRIPTION:TFAP@CAA 2026 Special Session\nOUTCRY: Alchemists of Rage\nShort documentary film screening & conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw\nChair: Kathleen Wentrack\, The City University of New York\, Queensborough CC\nModerator: Rachel Middleman\, California State University\, Chico\n \nSaturday\, February 21\, 2026\, 11:00am-12:30pm\nBoulevard A/B (2nd Floor)\, Hilton Chicago\n*Free and open to the public. \nCollege Art Association 114th Annual Conference | New York City\, February 18–21\, 2026 \nThe Feminist Art Project is thrilled to host a special screening of OUTCRY: Alchemists of Rage\, an impactful short documentary film that highlights the power of art to drive social change. On Saturday\, February 21\, TFAP will host an in-person screening of the 30-minute film during the 2026 CAA conference followed by a conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw and Kathleen Wentrack\, TFAP Managing Committee member. \nOUTCRY: Alchemists of Rage follows artist and former social worker Whitney Bradshaw as she photographs women\, non-binary\, and genderqueer people mid-scream in cathartic group sessions where long-silenced stories conjure rage\, sorrow\, and joy. The film offers a visceral rallying cry for the revolutionary power of women and non-binary people’s voices. \nThe film is directed by Clare Major and produced by Whitney Bradshaw and Frankly Speaking Films. The score was composed by Paris Hurley of Object as Subject. Paris Hurley also did the score for Kristen Stewart’s new film The Chronology of Water. An adaptation of Lidia Yuknovitch’s acclaimed memoir. Out in theaters now. OUTCRY: Alchemists of Rage made the International Documentary Association (IDA) 2024 Shortlist for Best Short Documentary Film. \nJoin us to watch and discuss this powerful film! \n______________\nWhitney Bradshaw (she/her) is an artist\, activist\, educator\, curator\, former social worker and the subject and producer of OUTCRY: Alchemists of Rage (2024). Her work has been shown widely across the United States including solo shows at Atlanta Contemporary\, the Berkeley Art Museum and Pacific Film Archive\, the DePaul Art Museum\, Wave Pool Contemporary Art Fulfillment Center\, and the 21c Museum Hotel Louisville. The Museum of Contemporary Photography\, the DePaul Art Museum\, Northwestern University Pritzker School of Law\, Hall Art and Technology Foundation\, and Sara M. and Michelle Vance Waddell collect her work\, which has been published in Ms. Magazine\, the New York Times\, the Chicago Tribune\, and Vogue. In 2023\, Bradshaw was named one of NewCity Magazine’s 50 Chicago Artists’ Artists. She is currently the curator at the Lubeznik Center for the Arts in Michigan City\, Indiana.
URL:https://thefeministartproject.org/event/tfapcaa-2026-special-session-outcry-alchemists-of-rage/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session,Film Screening
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DTSTART;TZID=America/New_York:20260220T163000
DTEND;TZID=America/New_York:20260220T180000
DTSTAMP:20260421T073615
CREATED:20251206T152856Z
LAST-MODIFIED:20260216T224948Z
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SUMMARY:TFAP@CAA 2026 Affiliated Society Session | FEMINIST\, QUEER\, AND TRANS ART ACTIVISTS IN ACTION!
DESCRIPTION:TFAP@CAA 2026 Affiliated Society Session\nFeminist\, Queer\, and Trans Art Activists in Action!\nChairs:\nConnie Tell\, The Feminist Art Project\nJoanna Gardner-Huggett\, DePaul University\n \nFriday\, February 20\, 2026\, 4:30-6:00pm\nWilliford C (3rd Floor)\, Hilton Chicago\n*CAA Conference Registration Required. \nCollege Art Association 114th Annual Conference | Chicago\, February 18–21\, 2026 \nFor nearly twenty years\, The Feminist Art Project has supported intersectional and intergenerational conversations regarding feminist\, queer and trans activist art practices. Understanding the rich history of these collective tactics remains instrumental for continued organizing against political oppression and providing essential services to female-identifying individuals. For instance\, in the 1970s\, the arpilleristas produced embroidered narratives denouncing Chile’s totalitarian regime\, while in the 1980s the Greenham Commons Women’s Peace Camp demanded an end to nuclear proliferation. In the 1990s\, Chicago’s Sister Serpents engaged in guerrilla sticker and poster campaigns calling out misogyny and sexual violence and the Dyke Action Machine focused on lesbian agitprop in New York City. In 1999\, the Dutch organization Women on Waves was founded to provide reproductive health services in regions where it is not safe or available\, and in 2001\, LaGender Inc. was established to support the trans health of women of color in the metro Atlanta area. As the voices of feminist\, queer\, and trans artists\, activists\, and scholars are being silenced in this political moment globally\, this session seeks presentations by artists and scholars examining current or historical examples of activist art practices that offer models of protest and mutual aid\, especially work overlooked in current art historical scholarship. \nPanelists:\n“Queer Archives from South Bend: Archiving as Protest and Preservation”\nJason Daniels and Grace Hamilton\nIn 1971\, Gloria Frankel\, a cab driver from New York City\, established South Bend’s first drag bar\, the Seahorse Cabaret. Her visionary leadership and mentorship profoundly shaped the growth of queer and drag spaces throughout the Michiana region. Exploration of drag history\, both locally and internationally\, reveals its socio-cultural significance and the urgent need to preserve the narratives of drag performers.\nRecognizing the impact of drag performers on queer communities\, archival work serves to safeguard and celebrate this vibrant cultural heritage. The archive functions as both a visual and narrative repository\, capturing the evolution of drag and its broader implications for community identity\, resilience\, and visibility.\nBeyond the glittering façade of sequins and performance\, spaces such as the Seahorse have operated as stages where political activism and social resistance converge. Frankel created inclusive environments that enabled community members to engage safely and creatively\, fostering a sense of belonging often absent in small-town contexts. Her story represents a necessary pillar of South Bend’s history\, and preserving it counters the erasure of queer memory\, particularly amid political attacks and cultural neglect targeting LGBTQ+ archives.\nThrough oral histories\, artifact collection\, and storytelling\, this project positions archiving as both preservation and protest\, emphasizing that queer memory is essential for sustaining future generations and supporting ongoing acts of cultural and political resilience. \n“A Model of Mutual Aid within Protest: Betsy Damon\, Alison Knowles and The Lesbian Art Show”\nChristine A. Filippone\, Millersville University\nLesbian\, feminist artist Betsy Damon was among the eighteen artists included in The Lesbian Show (1978)\, one of the first exhibitions of lesbian art curated by Harmony Hammond at White Columns on Greene Street\, New York City. Damon’s sculptural installation for the show was titled Ancestors\, which\, like her famed street performance 7\,000 Year Old Woman\, honored all the women who had come before her. Ancestors was comprised of a set of life-sized plaster body casts of her collaborators\, her community\, seated together on a bed of sand around a ring of colored bags filled with flour. Carrying the giant body casts into the gallery\, Damon explained\, was a process of “bringing the ancestors back.” In a performance organized for the show\, Damon’s flesh and blood community performed in various poses amidst the plaster casts\, among them her friend\, Fluxus artist Alison Knowles. Enamoured with Betsy’s bags\, Knowles proceeded to borrow them for years or her own works including Bean Bag\, Printed Editions\, 1978. This small act of mutual aid set within a groundbreaking activist exhibition organized\, as Hammond wrote\, to make “lesbian artists visible to each other as well as to the women’s community”\, is a microcosm of the commitment to community Damon’s life and work has evidenced to this day. To honor this act and Knowles’s and Damon’s lifelong friendship\, I will present this paper in collaboration with my friend art historian Hannah Higgins\, the daughter of Alison Knowles. \n“Text\, Textile\, and Action: Collective Strategies in Latin American Art”\nJacqueline R. Witkowski\, Western Washington University\nTextility\, or the relationship of materials and the forces they embody\, is a term useful for thinking about how textiles intersect with systems of thought (Ingold 2010). In its contemporary resurgence\, fiber art has been increasingly understood in connection with “text\,” highlighting its communicative force and operation as a form of language. Textiles\, like writing\, transmit meaning through material processes\, embodied gestures\, and collective memory.\nThe focus of this paper is on the practices of two artist collectives: Pontos de Luta from Belo Horizonte\, Brazil\, and Cooperativa Gráfica La Voz de la Mujer from Buenos Aires\, Argentina. Both employ the interplay of fiber and writing to confront persistent restrictions on political\, gendered\, and identity-based freedoms in their national contexts. Their practices foreground marginalized and disappeared populations\, positioning fiber and craft as central to struggles over visibility\, testimony\, and resistance. These initiatives engage with historical genealogies of clandestine and gendered media in the region\, from the arpilleristas in Chile who denounced the dictatorship through their embroidery\, and the early feminist print collective in Argentina\, La Voz de la Mujer.\nBy situating these two collectives within a transnational history of politically engaged fiber and print\, this paper asks: How might text and textile operate together as resistant forms of language? And how do women-centered collectives mobilize these mediums to generate shared vocabularies of protest and survival? \n“The Aravani Art Project: Transgender Awareness Through Art in India”\nAnindita Sengupta\nThe Aravani Art Project is a trans-women and cis-women led art collective that works on creating awareness about the transgender community and changing the way Indian society views the LGBTQIA+ community. In India\, “transgender” often refers to the Hijra community\, a traditional “third gender” group recognized by the government since 2014. The community faces severe and traumatic social stigma\, discrimination\, and marginalization. Many live in self-formed communities\, excluded from mainstream occupations and society. This will be an extremely enlightening addition to discuss trans rights in the global south and how people there are addressing them through art.
URL:https://thefeministartproject.org/event/tfapcaa-2026-affiliated-society-session-feminist-queer-and-trans-art-activists-in-action/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
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DTSTART;TZID=America/New_York:20260220T130000
DTEND;TZID=America/New_York:20260220T140000
DTSTAMP:20260421T073615
CREATED:20260123T164310Z
LAST-MODIFIED:20260123T164310Z
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SUMMARY:TFAP@CAA 2026 Business Meeting and Mixer
DESCRIPTION:TFAP@CAA 2026 Business Meeting and Mixer\nFriday\, February 20 | 1:00pm – 2:00pm\nLower Level\, Salon C-5\, Hilton Chicago\nFree and open to the public \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-2026-business-meeting-and-mixer/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
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DTSTART;TZID=America/New_York:20251115T170000
DTEND;TZID=America/New_York:20251115T190000
DTSTAMP:20260421T073615
CREATED:20251115T165000Z
LAST-MODIFIED:20251115T165000Z
UID:10000816-1763226000-1763233200@thefeministartproject.org
SUMMARY:Strength and Visibility: Curating Women Artists between Past and Present
DESCRIPTION:Museum of Art Brașov\, Romania and  4Culture Association invites you to the conference “Strength and Visibility: Curating Women Artists between Past and Present”\, a dialogue between Andreea Căpitanescu and Olivia Nițiș. The discussion offers a framework for reflection on visibility\, continuity\, and critical positioning\, bringing to the forefront the need to recover and integrate the contributions of women artists into the broader narrative of Romanian art. Andreea Căpitănescu is a cultural producer\, independent curator and artistic director\, active since 2005. Founder of the 4Culture Association\, she initiated eXplore Festival – the first contemporary dance and performance festival in Romania – and created the independent space WASP – Working Art Space and Production in Bucharest. Her activity is carried out within European networks and platforms\, through programs that support contemporary artistic creation\, international collaboration\, artistic research\, education and support for emerging artists. She holds a PhD in Visual Arts (UNARTE\, 2024)\, a Master in Project Management in English (SNSPA\, 2022)\, a Master in Contemporary Performance Direction (UNATC\, 2005–2006) and a Bachelor’s degree in Choreography (UNATC\, 2004). She was a danceWEB 2006 scholarship holder at ImPulsTanz Vienna. He curated the performing arts program of Europalia Romania (Brussels\, 2019–2020) and coordinates projects such as Life Long Burning\, Jardin d’Europe\, Emerging Towards (Future) and Exploring Plurealities. Olivia Nițiș is a researcher at the “G. Oprescu” Institute of Art History of the Romanian Academy\, coordinator of the Modern and Contemporary Visual Arts and Architecture department\, independent curator\, art historian. She is the vice-president of the Experimental Project Association\, member of the International Association of Art Critics since 2009. She is interested in the various aspects of gender discourse in the historiography of Romanian art and in Eastern Europe\, with contributions related to women artists and gender representation in modern and contemporary art\, the relationship between art and politics\, the relationship between art and science. She is the author\, editor and co-editor of several articles and publications on contemporary art. She is the author of the volume “Marginal Histories of Feminist Art”\, Vellant\, Bucharest\, 2014 and co-editor of a volume dedicated to the conceptual artist Decebal Scriba (Kettler\, Germany 2017). She was co-curator (with Martina Munivrana) of the solo exhibition of Croatian artist Sandra Sterle at the Museum of Contemporary Art in Zagreb (MSU) in 2023\, and in 2024 she was the initiator and curator of the Romanian-Czech conceptual art project A Spring of Hope a Winter of Despair (Faber\, Timișoara and Pragovka\, Prague). The event is part of the project “Virtual Museum of Art under Communism. Perspectives on a Controversial Heritage”\, carried out by the Brașov Art Museum and co-financed by the National Cultural Fund Administration\, which aims to open the artistic heritage of the communist period to critical and current interpretations. In this context\, the discussion brings to attention the presence and contribution of women artists in the history of Romanian art\, analyzing the way in which their works were collected\, contextualized and viewed in relation to the dominant discourses of the era. The conference anticipates the opening of the “Tower of Strength” exhibition\, which will be inaugurated at the Brașov Art Museum on December 5\, 2025\, and proposes an open dialogue between history\, research and current artistic practice\, within the Compulser Lab project initiated by the 4Culture Association and co-financed by the National Cultural Fund Administration.
URL:https://thefeministartproject.org/event/strength-and-visibility-curating-women-artists-between-past-and-present/
LOCATION:Brasov Art Museum\, Bulevardul Eroilor 21\, Brașov 500030\, Romania
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/11/whatsapp-image-2025-11-04-at-15.41.25-6e8fdb3e-e1763225380289.jpg
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DTSTART;TZID=America/New_York:20240216T143000
DTEND;TZID=America/New_York:20240216T160000
DTSTAMP:20260421T073615
CREATED:20241019T130119Z
LAST-MODIFIED:20241019T132435Z
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SUMMARY:TFAP@CAA Affiliated Society Session | CHOICE TACTICS: ART\, ABORTION\, AND BODILY AUTONOMY TODAY
DESCRIPTION:TFAP@CAA Affiliated Society Session\nCAA 112th Annual Conference\nFriday\, February 16\, 2024\, 2:30pm – 4pm\nChicago Hilton | 8th Floor – Lake Erie\nConference Registration required for this event!\nCHOICE TACTICS: Art\, Abortion\, and Bodily Autonomy Today\nChairs: Miriam Kienle (University of Kentucky) and Connie Tell (The Feminist Art Project) \nHow do contemporary feminist artists\, art historians\, critics\, and curators address current legal restrictions to abortion access? How do they draw from or push against historical precedents for art about reproductive choice and bodily autonomy? Although acknowledging the tremendous historical harm done\, much present-day art about abortion draws on old visual tropes of clothes hangers and irrevocably marred bodies that has little resonance to the risks posed by the criminalization of abortion today. This imagery not only ignores how ending pregnancy is far safer than it was 50 years ago due to widely accessible medications for menstrual management after abortion became legal\, but it also inadvertently echoes anti-choice propaganda that emphasizes self-harm as integral to abortion. Therefore\, one must ask: How do feminist artists today visualize bodily autonomy\, self-managed menstruation\, and abortion in ways that refuse inaccurate\, outdated\, and punishing representations in favor of ones that are accurate\, informative\, and supportive (perhaps even playful\, joyous\, frustrated\, outraged\, or irreverent)? How might they forge intergenerational solidarities by re-activating historical modes of resistance that avoid nostalgia? How do they educate both menstruating and non-menstruating publics to transform political discourse on abortion? How can they help empower abortion seekers to have their physical\, emotional\, spiritual\, financial\, and/or legal needs met? This panel seeks presentations that investigate the visual and material tactics of feminist art that tackles abortion\, particularly those that attend to the complex gender\, sexual\, racial\, ethnic\, geographic\, historical\, medical\, legal\, and/or economic implications of abortion today. \nPanelists:\nBeau Green (Artist + Full Spectrum Careworker)\nbreadbox: promoting access to high quality abortion care throughpeer-to-peer education and art \nBasia Sliwinska (Universidade Nova de Lisboa)\nMy body (but not) my choice: feminist arts activism towards bodily autonomy \nErin L. McCutcheon (University of Rhode Island)\nPerforming the Politics of Voluntary Motherhood in Mexico City \nLouisa Lee (Buckinghamshire New University)\n‘What you want to do is make people look’: Visibility\, or lack of visibility\, for reproductive rights
URL:https://thefeministartproject.org/event/tfapcaa-affiliated-society-session-choice-tactics-art-abortion-and-bodily-autonomy-today/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
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