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DTSTART;TZID=America/New_York:20260221T110000
DTEND;TZID=America/New_York:20260221T123000
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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:20260416T030940
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;VALUE=DATE:20250806
DTEND;VALUE=DATE:20250830
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SUMMARY:CFP: "Language and Text in Feminist Art Part III: East\, South-East\, and Central Asia\, Asian Diasporas" / CAA 2026 Annual Conference
DESCRIPTION:Seeking presentation proposals from art historians\, writers\, and artists. The CAA 114th Annual Conference will take place on February 18-21\, 2026 in Chicago. In order to allow and encourage participation of scholars and artists from Asia\, without the need to travel at great personal and ecological cost\, our session will convene remotely. On the CAA CFP page you can find the session abstract (also pasted in below)\, watch instructional video\, and click to upload your proposal: a 250-words-long abstract and a short bio. You can also include images. The deadline to apply is August 29. \nTHE SESSION ABSTRACT: \nLanguage and Text in Feminist Art Part III: East\, South-East\, and Central Asia\, Asian Diasporas \nThis session examines artworks exploring language from a gendered perspective—a subject that has lacked comprehensive treatment—to inspire new research in feminist art. It will analyze ways in which women (cis or queer) employ text and language as a means of feminist critique\, across art mediums. \nThere is a stubborn belief that feminist art focuses on the image of the body. Meanwhile\, the core of feminist art is conceptual and social practice; art that is designed not just to be looked at\, but also to be acted upon. Text- or language-based art—including what Hélène Cixous called écriture feminine—has been its crucial component as women probe their erasure from historical texts\, objectification in law\, the experience of speaking a language as racialized and sexualized subjects\, or the male-centrism of language\, including AI and the internet. \nThe session is the last in the series of three; part of broader research that seeks to fill a gap in literature about feminist language-based art by privileging transnational\, multigenerational\, and intersectional comparisons\, globally. The first session in 2024 provided a comparative perspective on the Middle East and North Africa; part II—on Latin America and the Caribbean. Part III in 2026 seeks scholarly analyses and artists’ presentations with a focus on the Far East\, Central Asia\, and Asian diasporas. Of equal interest are proposals regarding artists representing cultures where oral expression and poetry dominate the written\, and those engaging with ancient traditions of calligraphy and secret languages of women; both sound-based and text-based projects. \nChair: Monika Fabijanska
URL:https://thefeministartproject.org/event/cfp-language-and-text-in-feminist-art-part-iii-east-south-east-and-central-asia-asian-diasporas-caa-2026-annual-conference/
CATEGORIES:Call for Papers/Presentations
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DTSTART;TZID=America/New_York:20250214T163000
DTEND;TZID=America/New_York:20250214T180000
DTSTAMP:20260416T030940
CREATED:20241005T162711Z
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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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