The Feminist Art Project

Rejoinder Issue 9: The Archival is Political
2024-05-08 09:00 - 2024-12-08 17:00 (America/New_York) | Online
The theme of Rejoinder Issue 9 is “The Archival is Political.” Guest edited by Alexandra Southgate (Temple). Contributors include: Joshua G. Adair, Christoffer Koch Andersen, Victoria Bailey, Linda Bond, Vero Carchedi, Farrah Cato, Kim Hoeckele, Georgia-Taygeti Katakou, Apala Kundu, Christina Maraboutaki, Janée Moses, Christine Stoddard, Lisa Lampert-Weissig, and Cinnamon Williams. Rejoinder is an online journal featuring work at the intersection of scholarship and activism that reflects feminist/queer and social justice perspectives. Rejoinder is currently published once a year, each spring. Rejoinder is a publication of the Institute for Research on Women (IRW) at Rutgers University in partnership with The Feminist Art Project.

CONNECT
2024-04-20 10:00 - 2024-05-12 21:00 (America/New_York) | Studio 180 Theatre, 19 Madison Ave, Third Floor, Toronto, ON, Canada
Initially inspired by the online connections formed during the pandemic lockdown, Stephanie Camille’s art delves into the intersections of digital and physical existence. Rooted in the introspections from her journal during the initial lonely months, she explores those realities through metaphorical ‘windows’ using recognizable digital interfaces. Blending traditional mediums like oil and gouache, Connect is a journey of self-discovery, unraveling the complexities of isolation, loneliness, and routine. On one end, screens trap us, but on the other end, we can fall in love with our only connection to the people we yearn to be physically near.
Presented by Studio 180 Theatre and the Feminist Art Collective. Stephanie Camille is an artist currently residing in the GTA and is currently finishing up her MFA at OCAD University. Oil paint, being Stephanie’s preferred medium, has a ‘timeless,’ adaptable-yet-ridged, and romantic quality that Stephanie loves juxtaposing with her modern, vibrant aesthetic. She has previously experimented with digital collage and interventions during the pandemic when everything was online-focused. Inspired by bright, saturated colours, Stephanie paints technicolour portraits that connect to her current topic of focus for her thesis: hyperfemininity and girly-girl aesthetics. Learn more about Stephanie’s work here.
Presented in conjunction the Canadian Premiere of FOUR MINUTES TWELVE SECONDS by James Fritz and directed by Mark McGrinder.

Fuego: Women set their world on fire
2024-04-05 16:00 - 18:30 (America/New_York) | mosaicARTs Gallery, 2931-B Eskridge Road, Fairfax, VA, 22031, United States
On view 4/1/24 – 5/5/24 with opening reception and artist talks Friday, April 5, 2024 from 4:00 p.m. to 6:30 p.m.
mosaicARTs and Debra Wright Studio have joined forces to commemorate the feminist art movement. These women artists ignited a spark that inspired them to create, build, and establish a supportive art community for others. The collaboration aims to acknowledge the significant contributions of female artists while promoting gender equality and empowerment for women.
In the United States, 51% of living visual artists are women, yet only 13.7% of them are represented in galleries. On average, they earn 81 cents for every dollar made by their male contemporaries.
Apropos to the exhibition title as well as the feminist art movement, Fuego is the Spanish word for “fire.” Women artists have to kick down doors otherwise held wide open for men and, when we do, there is often backlash. Yet these misogynistic efforts aimed at undermining us catalyze our solidarity, instead.
Curator Debra Wright incurred such wrath when an enraged male artist doused her artwork with lighter fluid and set it ablaze in retribution. These actions intended to derail her backfired, generating an outpouring of support from women artists everywhere that compelled Wright to focus her future efforts furthering feminist art initiatives. Fuego is a continuation of this commitment.
As we acknowledge feminist artists of today, we also pay testament to the perseverance of those who came before us. These actions ensure our place in history. We cannot allow ourselves to be absent from the cultural record.
Lighting the torch for each other, we find our way together and inspiration ignites in each of us.
Women set the world on fire.
Image: Debra Wright, Moneyshot, undergarment and currency, 6 x 6 x 4 inches

The 6000 Circles Project
2024-04-05 08:00 - 2024-11-30 17:00 (America/New_York)
We are The Calling. Our latest collaboration, The 6000 Circles Project, focuses on the circle as a symbol of balance and unity, a never ending container of feminine energy and light. We are envisioning 6000 circles; created by a multitude of artists, of all genders, from around the globe, both groups and individuals, gathering and making for a series of interactive public and digital installations.
The initial inspiration came from the Obliteration Room created by Yayoi Kusama, where people were invited to place circle stickers spontaneously throughout the exhibition space, thereby creating an interactive and evolving installation. We would like to build upon this concept based on The Calling’s previous interactive installation as part of the Feminine Journey exhibition at the Beseder Gallery in Prague 2022. The intention is to expand its scope and reach to be a fully inclusive collaboration that honors all aspects of the feminine.

The State We’re In
2024-03-28 18:00 - 2024-05-04 18:00 (America/New_York)
Solo exhibition at Kathryn Markel Fine Arts:
Nancy Cohen’s unconventional drawings, drawn with paper pulp and fritted glass, find their origin in her move to Jersey City in the 1980s. Along the shore and waterways, the evergreen vegetation thriving amid industrial waste sparked Cohen’s environmental awareness. Waterways, as subject and imagery, draw from personal experience and recur in her work as symbols of nature’s ability to endure adversity. In “The State We’re In,” Cohen pursues the theme of survival, environmentally and personally. Cohen describes her process as “thinking with her hands.” Concerns outside the studio and challenges within are explored through physically pushing the boundaries of paper and glass. The materials serve as collaborators and provocateurs, where fused glass objects or a handmade paper are repurposed as source material and inspiration for later works. Cohen’s choices of materials and processes challenge notions of fragility and resilience. Like fritted glass undergoing transformation in a kiln, Cohen’s work focuses on strength and beauty in the struggle for survival.
Image: Nancy Cohen, Breathing Under Water, 2023 (detail)

Open Call: Vote for Democracy
2024-03-18 08:00 - 2024-05-13 23:59 (America/New_York) | Milwaukee, Wisconsin
SaveArtSpace has partnered with Michele Pred to bring more public art to Milwaukee, WI during the Republican National Convention, starting June 24, 2024.
Curated by Michele Pred, this billboard art exhibition featuring five billboards in Milwaukee, Wisconsin, coinciding with the Republican National Convention, which is scheduled for July 15th to 18th. The billboards will be installed prior to the convention on June 24th and remain until July 22nd, a few days after its close.
The overarching theme of the exhibit is the “preservation of democracy.” Autocracy and the reactionary, racist ideas that go with it are on the march in the US and across the globe. They are given voice almost daily by the leader of the Republican Party and his minions, even as the majority of Americans oppose their policies. To stop this surge of fear and hate, we must make sure that our system does not devolve further. Only then can we continue the fight for an expanded democracy. Inviting persuadable voters to this conversation on one of the largest media stages of the year is a huge opportunity to do just that.
The selection process will focus not only on the artistic merits of the work but also on the clarity of the message and its potential to influence moderately conservative voters to support candidates and issues that expand reproductive rights. To this end, incorporating text is encouraged but not required.
We invite artists of all ages and talents to submit their artwork between March 18 and May 13, 2024. This is an opportunity to have your work placed on billboard ad space in Milwaukee, WI. Three artists will be chosen from the open call, they will join Michele Pred, and Lena Wolff on billboards throughout Milwaukee, WI.
Open call for art ends May 13, 2024. There is a $10 donation per image submission to participate, each donation is tax deductible and goes to producing the public art. Selected artists will be announced after May 27, 2024. Public art will be installed June 24, 2024 in New York City.

STRETCHING TIME, AND YOU CAN'T CALL ME OLD LADY!
2024-03-08 09:00 - 2024-06-16 21:00 (America/Costa_Rica) | Centro Cultural de España en Costa Rica, De la Iglesia Santa Teresita 200 metros al este y 200 metros al norte. Frente a la Rotonda del Farolito. Barrio Escalante, San José, San José, 10101, Costa Rica
This is a project that has been developing since 2018 in México,where it has been shown in different museums around the country, to think and create around the feelings, emotions, fears and joys of getting old. To make art focusing on Age is always challenging and empowering not only the ones who are ageing but the young. This year the exhibition is hosted by the Centro Cultural de España en Costa Rica and features local artists as well as some well known, as Martha Wilson or the Brit Sue Williams.
The opening was on March 8, turning into a huge celebration with performance, music, poetry and yes, art.

TFAP@CAA Day of Panels 2024 | A NEW ERA: ART, ACTIVISM, AND ABORTION IN POST ROE AMERICA
2024-02-17 09:00 - 15:00 (America/Chicago) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
A New Era: Art, Activism and Abortion in Post Roe America
TFAP@CAA Day of Panels 2024
February 17, 2024, 9am – 3pm
Hilton Chicago – 3rd Floor – Waldorf Room
A New Era: Art, Activism and Abortion in Post Roe America
Symposium Chair: Luciana McClure, Southern Connecticut State University
In 2022, Dobbs v. Jackson overturned the right to abortion in the U.S., undermining bodily autonomy and privacy. The Feminist Art Project (TFAP) looks at the way praxis as a feminist pedagogical project has changed and been transformed post Roe V. Wade. Artists have returned to the question of the role of feminist art and practice in times of crisis and violence, particularly around issues of bodily autonomy. As a result, we have seen a rise of collective solidarity between cis, queer and trans women artists and collectives leading to the surge of a new wave of feminism.
TFAP@CAA Day of Panels looks at feminist collective projects that remind us that the personal is political and that feminism is intersectional. TFAP will look critically at how artists, scholars and organizers respond to this attack on human rights and the patriarchal rhetoric about abortion and its relationship to bodily autonomy.
PROGRAM:
9am – 9:30am
Welcome – Connie Tell, Chair, Feminist Art Project National Committee
Introduction – Luciana McClure, Symposium Chair, (Southern Connecticut State University)
9:30am – 10:30am
Keynote talk – Whitney Bradshaw (Independent Artist)
11:00am – 12:00pm
Advocacy to Action: The Power of Activism, Abortion and Community Engagement
Panelists: Lydia Nobles (Independent Artist) and Michele Pred (Independent Artist)
12:30pm – 1:30pm
The Politics of Identity & the Body as Medium in Feminist Practice
Panelists: Corey Loftus (The Institute of Fine Arts, NYU), Martha Poggioli (Colorado College), and Sarah Beth Woods (Independent Artist)
2:00pm – 3:00pm
Closing Keynote & Call to Action Christen Clifford (The New School)
Videos of the 2024 Day of Panels will be available on the TFAP website soon!
TFAP is a Caucus Member of the National Women’s Caucus for Art.

TFAP@CAA Affiliated Society Session | CHOICE TACTICS: ART, ABORTION, AND BODILY AUTONOMY TODAY
2024-02-16 14:30 - 16:00 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA Affiliated Society Session
CAA 112th Annual Conference
Friday, February 16, 2024, 2:30pm – 4pm
Chicago Hilton | 8th Floor – Lake Erie
Conference Registration required for this event!
CHOICE TACTICS: Art, Abortion, and Bodily Autonomy Today
Chairs: Miriam Kienle (University of Kentucky) and Connie Tell (The Feminist Art Project)
How 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.
Panelists:
Beau Green (Artist + Full Spectrum Careworker)
breadbox: promoting access to high quality abortion care throughpeer-to-peer education and art
Basia Sliwinska (Universidade Nova de Lisboa)
My body (but not) my choice: feminist arts activism towards bodily autonomy
Erin L. McCutcheon (University of Rhode Island)
Performing the Politics of Voluntary Motherhood in Mexico City
Louisa Lee (Buckinghamshire New University)
‘What you want to do is make people look’: Visibility, or lack of visibility, for reproductive rights

Kinship: The Art of Connection
2024-02-01 00:00 - 2024-12-14 23:59 (America/New_York)
Women Eco Artists Dialog (WEAD) online magazine Issue No.14 – Kinship: The Art of Connection
Edited by Connie Tell and Donna Brookman
Inter-Connection/ Sustenance & Healing Cecilia Vicuña
Community and Kin Builders Christine and Margaret Wertheim
Collective Memory and Displacement Nazanin Noroozi
Cross-Cultural Kinship Rina Banerjee
Spiritual Connectivity Chiyomi Taneike Longo
Kinship: Guest Editors Connie Tell and Donna Brookman
WEAD Mission Statement:
Focusing on women’s unique perspectives we collaborate internationally to further the field and understanding of ecological and social justice art.

Purpose: To provide information regarding the ecoart and social justice art fields to artists, curators, writers, art and public art administrators, educators in art and ecology, cross-disciplinary professionals and others.To facilitate international networking among artists working with ecological and social justice issues.To further the fields of, and the understanding of environmental and social justice art.

The Brodsky Center at Rutgers University: Three Decades, 1986–2017
2023-09-13 17:00 - 2023-12-22 17:00 (America/New_York) | Zimmerli Art Museum, 71 Hamilton St, Rutgers, NJ, 08901
Rutgers Distinguished Professor Emerita Judith K. Brodsky, a visionary artist and advocate, arts administrator and entrepreneur, printmaker, and scholar, recognized that women and gender nonconforming artists, as well as artists of color, were excluded from the art world in the 1980s. Brodsky’s pioneering vision set out to rectify the situation by establishing in 1986 a print- and papermaking residency center for these artists, now known as the Brodsky Center. From its inception, the Center strategically placed itself at the vanguard of art making, not only with print and papermaking techniques but also with the innovation of new ideas and narratives as a model for institutional and artworld diversity, equity, and inclusion.
The Brodsky Center, with state-of-the-art facilities, was the site of experiments with concepts that emerged in the 21st century as dominant concerns of artists in the contemporary art world: race and ethnic identity, nonconforming gender issues, climate and the environment, the politics of language, and immigration. The Center encouraged artists to explore how working in what were often for them the new processes of print and paper could expand their previous realms of thought. While at Rutgers University, the Brodsky Center served as a catalyst for cultural transformation in New Jersey, in the United States, and worldwide. It continues to do so at its present location in Philadelphia, the Pennsylvania Academy of the Fine Arts.
The artworks on view in this exhibition are illustrative of new imagery and artistic languages now incorporated into contemporary art making in the 21st century. The exhibition is thematically conceived, exemplifying the Brodsky Center’s mission to insert new narratives into the American cultural mainstream. Five representative artworks, as emblems that capture the essence of the Brodsky Center, have been singled out for placement at the entrance to the exhibition. The works on view are then organized into nine other sections: Cultural Vitality and Social Justice, Documenting Place: Real and Imagined, Escaping the Unitary Linear, Icons and Symbols, Innovations, Looking at the Portrait, The Sages, Tribulations and Endings, and Visualizing Texts.
Organized by Ferris Olin, Distinguished Professor Emerita, Rutgers University
