- What is curatorial activism?
1.1 Western art: It’s a white male thing.
1.2 The Canon
1.3 Strategies of resistance
| Revisionism | since 1970s | Exh Action/Abstraction: Pollock, De Kooning, and American art, 1940-1976. Cur. Norman Kleeblatt, the Jewish Museum in NY, 2008 | Incl Helen Frankenthaler, Lee Bontecou, Joan Mitchell, Ann Truitt, Lee Krasner, Norman Lewis (color) | against the canon = for the canon |
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| Exh Pharaohs, Queens and Goddesses: Feminism’s Impact on Egyptology | ||||
| Cur. Edward Bleiberg, Maury Reilly, the Brooklyn Museum, 2007 | ||||
| Area Studies | since 1970s | EXh: Old mistresses (1972) | ||
| Women artists: 1550-1950 (1976) | ||||
| Sense and sensibility: Women artists and minimalism in the 90s (1994) | ||||
| Mirror images: Women, surreallism, and selp-representation (1998) | ||||
| Africa remix (2005) | ||||
| Hide&Seek (2010-12) | ||||
| Women of Abstrat Expressionism (2016) | ||||
| Queer British art:1861-1967 (2017) Cur. Clare Barlow, The Tate Britain | ||||
| 26 Contemporary Women artists (1971) — Cur. Lippard | ||||
| ghetto vs visibility | ||||
| Relational studies: Exhibition-as-polylogue | Magiciens de la Terre (1989), Cur. Hubert Martin | |||
| Documenta 11 (2002) | ||||
| Clobal Feminisms (2007) | ||||
| Carambulages (2016), Cur, Jean-Hubert Martin (2016), the Grand Palais in Paris | multiplicity, a dialogue ( a polylogue by Kristeva), heterogenity | |||
| no -isms | ||||
| deconstruction | ||||
| postmodernism | ||||
| Warburg influence (Mnemosina, 1927-1929) |
- Resisting masculinism and sexism (history) 2.1. Gender reform in the art world: Since 1970s — “the personal is poliltical” (body as canvas) — Carolee Schneemann Up and including her limits (1973-1976) Hannah Wilke S.O.S. Starification series: An adult game of mastication (1974-75) Judy Chicago The dinner party (1979)
- names of art centers, museums, press, patrons and collectors in support (irrelevant for Russia)
| Women Artists: 1550-1950 | 1976-1977 Los Angeles County Museum of Art, 1976 Brooklyn Museum, NY, 1977 | Curators Linda Nochlin Ann Sutherland Harris | Далее в тексте концепция, участники, история и рецепция art history | | — | — | — | — | | Bad girls | 1993 and 1994 Institute of Contemporary art, London, 1993 The Centre for Contemporary art, Glasgow, 1994 New Museum of Contemporary art, NY, 1994 Bad girls West, Wight Art Gallery, Un-ty of California, LA, 1994 | Curators Kate Bush, Emma Dexter, Nicola White (England) Marcia Tucker Marcia Tanner (USA) | humour and sex | | Inside the Visible: An elliptical traverse of 20th century art in, of, and from the feminine | 1994-1997 Be”guinage of SAint-Elizabeth, Kortrijk, Belgium, 1994-1995 Institute of Contemporary Art, Boston, USA, 1996 National Museum of Women in the Arts, Washington, DC, 1996 Whitechapel Art Gallery, London, 1996 Art Gallery of WEstern Australia, Perth, 1997 | Catherine de Zegher | themes Parts of/for The blank in the page The weaving of water and words Enjambment: La donna e mobile | | Sexual politics: Judy Chicago’s “Dinner Party” in feminist art history | 1996 The Hammer Museum, Un-ty of California, LA | Amelia Jones | installation + themes | | Venice Biennale 2005: Always a little further/The experience of art | 2005 The Italian Pavillion and the Arsenale, Venice, Italy | Maria de Corral, Rosa Martinez | Some artists: Barbara Kruger, Pipilotti Rist, Emily Jacir, Elja-Liisa Ahtila? Donna Conlon, Berni Searle, Marico Mori, Shahzia Sikander | | Global feminisms: New directions in contemporary art | 2007 Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, NY, 2007 The DAvis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts, USA, 2007 | Linda Nochlin, Maura Reilly | across cultures (vs Euro-US-centric) anniversary of Women Artists exhibition 4 sections (themes): Life cycles, Identities, Politics, Emotions | | Wack! Art and the femonist revolution | 2007-2009 Museum of Contemporary Art, LA, 2007 NAtional Museum of Women in the Arts, Washington, DC, 2007 MoMA PS.1 Contemporary Art Center, Long Island City, NY, 2008 Vancouver Art Gallery, Vancouver, Canada, 2008-2009 | Cornelia Butler | historical examined the international foundations and legacy of feminist art from 1965 to 1980 430 works by 120 artists from 21 countries series of loose themes: Goddess, Gender performance, Pattern and assemblage, Body trauma, Taped and mesured, Autobiography, Making art history, Speaking in public, Silence and noise, Female sensibility, abstraction, Gendered space, Collective impulse, Social sculpture, Knowledge as power, Body as Medium, Family stories, Labor Magdalena Abakanowicz Abakan red (1969) Louise Fishman 6 Angry Paintings (1973) Harmony Hammond Hunker Time (1979) Lygia Clark Collective head (1975) Howardena Pindell video Free, White, and 21 (1980) | | Elle@centrepompidou | May,2009-February, 2011 Pompidou Center, Paris | Camille Morineau | reinstallion of a museum permanent collection with only women artists, about 500 works by more than 200 female artists in chronological order by themes: Pioneer, Free fire, Eccentric Abstraction, Body slogan, The activist body, A room of one’s own, Wordworks, Immaterials | | RE.Act.Feminism #2 — A performing archive | 2011-2013 Centro Cultural Montehermoso, Vitoria -Gasteiz, Spain, 2011 Wyspa Institute for art, Gdansk, Poland, 2012 Galeria Miroslay KralieviC, Zagreb, Croatia, 2012 Museum of contemporary art, Roskilde, Denmark, 2012 Tallinn Art Hall, Tallinn, Estonia, 2012 Fundacio’ Antoni Ta’pies, Barcelona, Spain, 2013 Academy of Arts, Berlin, Germany, 2013 | Beatrice Stammer, Bettina Knaup | 1 — women artists’ video art and photographic documentation and artefacts from performances — from 2008 to 2009 2 — more tham 180 artists and artists collectives archive focus on Eastern and Central Europe+ local research and cooperation with local art universities a mobile project: 5 foldable freight boxes with document cabinets and work stations +inventory and catalogue themes: Dis/appearing Subjects Resisting Objects Labor of Love and Care RElational bodies/Extended skins Body controls and measuring acts Working in Collectives Feminine drag and pleasurable acts |
- Tackling white privilege and Western-centrism
| Magiciens de la Terre | 1989 Pompidou Center, Paris Grande Halle de La Vilette, Paris | Jean-Hubert Martin | the first attempt in museum history to mount a large-scale postcolonial exhibition that eliminate any sense of hierarchy between the 50 Western and 50 non-Western participants vs highly criticized Primitivism in 20th-cen art at MoMA in 1984 Anselm Kiefer, Barbara Kruger, Sigmar Polke, Louise Bourgeois, Francesco Clemente II Kane Kwei (Ghana), Patrick Vilaire (Haiti), Gu Dexing (China) + anthropological objects juxtaposition of works universality of aesthetic experience autonomy of Exh place for each work (except for a great hall) Mestre Didi (Brazil), Georges Liautaud (Haiti), Hiroshi Teshigahara (Japan) ed al | | — | — | — | — | | The decade show: frameworks of identity in the 1980s | 1990, Museum of Contemporary Hispanic Art, NY New Museum of Contemporary Art, NY The Studio Museum, Harlem, NY | Julia P. Herzberg, Sharon F. Patton, Gary Sangster Laura Trippi | 94 artists issues oriented mainstream artists+James Luna, Melvin Edwards, Adrian Piper, Pat Ward Williams, David Wojnarowics ed al | | Mining the museum | 1992-1993 The Maryland Historical Society, Baltimore, Maryland, USA | Fred Wilson | African American artist intervention in the historical museum | | The Whitney Biennial | 1993 Whitney Museum of American art, NY | Thelma Golden, John G. Hanhardt, Lisa Phillips, Elisabeth Sussman, Jeanette Vuocolo | more than 80 artists identity politics mostly unknown artists | | Century city: art and culture in the modern metropolis | 2001 Tate Modern, London | Serge Fauchereau (Paris), Richard Calvocoressi and Keith Hartley (Vienna), Lutz Becker (Moscow), Michael Asbury and Olu Oguibe (Lagos), Reiko Tomii (Tokyo), Donna De Salvo (NY), Emma Dexter (London), Geeta Kapur and Ashish Rajadhyaksha (Bombay/Mumbai) | “creative flashpoints”: Paris (1905-1915), Vienna (1908-18), Moscow (1916-1930), RIo de Janeiro (1955-69), Lagos (1955-70), Tokyo (1969-1973), New York (1969-74) London (1990-2001) Bombay/ Mumbai (1992-2001) multiple modernisms | | Documenta 11 | 2002 Friederianum Museum and other venues in Kassel, Germany | Okwui Enwezor | postcolonial curatorial strategy | | The global contemporary: Art worlds after 1989 | 2011-2012 ZKM/Museum of Contemporary art, Karlsruhe, Germany | Andrea Buddensieg, Peter Weibel | global art vs contemporary art )places where there wasn’t modernism) | | Venice biennale 2015: All the world’s futures | 2015 Itallian Pavilion and the Arsenale, Venice | Okwui Enwezor | +African artists 136 artists from 53 countries only 22% from North America political and social thematics |
- Challenging heterocentrism ans lesbo-homophobia
| Great American lesbian art show (GALAS) | 1980 The Women’s Building, LA, California (Invitational exhibition) GALAS also held more than 200 exhibitions simultaneously in different locations throughout the USA and Canada | Terry Wolverton, Tyaga, Jody Hoeninger, Bia Lowe, Louise Moore, Barbara Stopha | obvious | | — | — | — | — | | Extended sensibilities: Homosexual presence in contemporary art | 1982 New Museum of Contemporary Art, NY | Dan Cameron | | | Witnesses: against our vanishing | 1989 Artists space, NY | Nan Goldin | | | In a different light: Visual culture, sexual identity, queer practice | 1995 Art Museum and Pacific Film Archive at the University of California, Berkeley, USA | Nayland Blake, Lawrence Rinder | | | Everywhere: Sexual diversity policies in art (En todas partes: Poli’ticas de la diversitad sexuel en el arte) | 2009 Centro Galego de Arte Contemporanea, SAntiago de Compostela, Spain | Juan Vicente Aliaga | | | Ars homo erotoca | 2010 The National Museum of Warsaw (NMW). Poland | Pawel Leszkowicz | | | Hide/Seek: Difference and desire in American portraiture | 2010-2012 National Portrait Gallery, Smithsonian Institution, Washington, DC. 2010-2011 Brooklyn Museum, NY, 2011-2012 Tacoma Art Museum, Tacoma, Washington, USA, 2012 | Jonathan Katz, David Wand | | | Art AIDS America | 2015-2017 Tacoma Art Museum, Tacoma, Washington, USA, 2015-2016 The Bronx Museum of the Arts, NY, 2016 Zuckerman Museum of Art, Kennesaw, Georgia, USA, 2016 Alphawood Gallery, Chicago, Illinois, USA, 2016-2017 | Jonathan Katz, Rock Hushka | |
- A call to arms: Strategies for change