The Wurzelforum of Doom. And Tentacles.

From: "Schwartz, Alexandra"
Subject: MoMA Symposium "The Feminist Future"
Date: Mon, 22 Jan 2007 11:28:22 -0500
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The Feminist Future: Theory and Practice in the Visual Arts
New York, Museum of Modern Art
January 26-27, 2007

This symposium addresses critical questions surrounding the relationship
between art and gender, bringing together international leaders in
contemporary art, art history, and related disciplines. After the activism
of the 1960s and '70s, and the revisionist critiques of the 1980s and '90s,
this symposium will examine ways in which gender is currently addressed by
artists, museums and the academy, and its future role in art practice and
scholarship.

The Feminist Future is entirely sold out for both Friday and Saturday.
Depending on availability, additional tickets for the live event in the
Titus 1 Theater and/or the video simulcast in the Bartos Theater may be
released beginning at 9:30 a.m. on the mornings of Friday, January 26
(tickets for Friday only), and Saturday, January 27 (tickets for Saturday
only). The line will form in front of MoMA's Ronald and Jo Carole Lauder
Building, 11 West 53 Street.

The Feminist Future symposium will be audiostreamed live on WPS1 Art Radio
on January 26 and 27, from 9:30 a.m. to 5:30 p.m. each day.
Audio and video recordings of the symposium will be posted in their entirety
at www.moma.org/audio one to two weeks after the event.

The Feminist Future is made possible by The Modern Women's Fund.


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Symposium Schedule


Friday, January 26, 2007

9:30 a.m. Welcome and opening remarks
Deborah Wye, The Abby Aldrich Rockefeller Chief Curator of Prints and
Illustrated Books, The Museum of Modern Art

9:45 a.m. Keynote Address
Lucy R. Lippard, writer and activist

10:45 a.m. Break

11:00 a.m. Panel: Activism/Race/Geopolitics
Moderator: David Little, Director of Adult and Academic Programs, The Museum
of Modern Art

Coco Fusco, artist and Associate Professor, Columbia University School of
the Arts

Guerrilla Girls Frida Kahlo and Kathe Kollwitz, two founding members of the
feminist activist group

Carrie Lambert-Beatty, Assistant Professor of History of Art and
Architecture and Visual and Environmental Studies, Harvard University

Richard Meyer, Katherine Stein Sachs CW'69 and Keith L. Sachs W'67 Visiting
Professor, Department of History of Art, University of Pennsylvania


1:15 p.m. Lunch break

2:30 p.m. Panel: Body/Sexuality/Identity
Moderator: Sally Berger, Assistant Curator, Department of Film, The Museum
of Modern Art

Marina Abramovic, artist

Beatriz Colomina, Professor of Architecture and Director of the Program in
Media and Modernity, Princeton University

Geeta Kapur, critic and curator, New Delhi

Martha Rosler, artist

4:40 p.m. Response
Catherine de Zegher, curator and art historian, New York/Kortrijk, Belgium

5:30 p.m. Reception
You are cordially invited to attend a reception for all speakers and
audience members, with an opportunity to view the exhibition Reconstructing
the Feminist Past: Critical Documentation 1960 to Now, in The Lewis B. and
Dorothy Cullman Education and Research Building. Please present your
symposium ticket for admission.


Saturday, January 27, 2007

9:30 a.m. Welcome and opening remarks
Deborah Wye, The Abby Aldrich Rockefeller Chief Curator of Prints and
Illustrated Books, The Museum of Modern Art

9:45 a.m. Keynote Address
Anne M. Wagner, Professor of Modern Art, Department of History of Art,
University of California, Berkeley

10:45 a.m. Break

11:00 a.m. Panel: Writing the History of Feminism
Moderator: Alexandra Schwartz, Project Curatorial Assistant, The Museum of
Modern Art

Ute Meta Bauer, Associate Professor and Director of the Visual Arts Program,
Department of Architecture, Massachusetts Institute of Technology

Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The
Museum of Modern Art

David Joselit, Professor and Chair, Department of History of Art, Yale
University

Griselda Pollock, Professor of the Social and Critical Histories of Art and
Director of Centre for Cultural Analysis, History, and Theory, University of
Leeds

1:15 p.m. Lunch break

2:30 p.m. Panel: Institutionalization of Feminism
Moderator: Anne Umland, Curator, Department of Painting and Sculpture, The
Museum of Modern Art

Salah Hassan, Professor of Art History and Director of African Studies and
Research Center, Cornell University

Helen Molesworth, Chief Curator of Exhibitions, Wexner Center for the Arts,
Ohio State University

Wangechi Mutu, artist

Ingrid Sischy, Editor-in-Chief, Interview

4:40 p.m. Response
Linda Nochlin, Lila Acheson Wallace Professor of Modern Art, Institute of
Fine Arts, New York University

____________________________
Alexandra Schwartz
The Museum of Modern Art
Office of Curatorial Affairs
11 West 53 Street
5th Floor
New York, New York 10019
alexandra_schwartz@moma.org
t 212-333-1154
f 212-708-9590

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H-Net Network for Museums and Museum Studies
E-Mail: h-museum@h-net.msu.edu
WWW: http://www.h-museum.net

Call this the year of institutional consciousness-raising: three major art centers, the Museum of Contemporary Art in Los Angeles, the Museum of Modern Art in New York, and the Brooklyn Museum, have scheduled big events devoted to feminism’s impact on art history—past, present, and future. And, not surprisingly, the main initiators of these events are women.

You're most welcome, my dear. Here's something else I just stumbled upon:

‘We’re Finally Infiltrating’

‘People say, “How come you don’t take pictures of girls?” And I say, “Well I do, I just use boys to do them.”’ Collier Schorr

‘I can understand young artists saying their practice isn’t feminist, but saying you’re not a feminist, that’s just tragic, I think, and misguided. Whether you are a man or a woman.’ Connie Butler


The March issue of frieze is themed around Feminism. Connie Butler discusses her forthcoming exhibition ‘WACK! Art and the Feminist Revolution’ with Amelia Jones, and Dominic Eichler considers the themes explored by Collier Schorr in her photographs and collages.

‘Cinema’s unique capacity lies in its ability to, as Maya Deren writes memorably, “put real toads in imaginary gardens.”’

Melissa Gronlund looks back at the career of Maya Deren, whose radical and influential films are the subject of a new book published by Anthology Film Archives. Will Bradley is intrigued by Cathy Wilkes’ psychologically and socially evocative installations, while Christy Lange reflects on the videos, performances and events staged by Annika Eriksson.

From Mexico to Egypt and Senegal, Jennifer Doyle, Gilane Tawadros and N’Goné Fall examine diverse approaches taken by women to art-making. Jan Verwoert unearths alternative histories in the work of Michaela Melián. Eleanor Antin responds to the frieze questionnaire.

Plus Mathilde ter Heijne by Catrin Lorch, Claire Fontaine by Vivian Rehberg, Josephine Meckseper by Julia Bryan-Wilson and Kan Xuan by Douglas Heingartner.


In the front section Robert Storr reflects on the changes made by Feminism on the art world, while Brian Dillon is absorbed by two books about the mysteries posed to historical anatomy by women’s bodies. Tirdad Zolghadr explores the thresholds of Feminism in two new European exhibitions, and Jenni Sorkin has misgivings about the hotly anticipated Elizabeth A. Sackler Center for Feminist Art.

Also, renowned sociologist Saskia Sassen talks to Roland Kapferer about the role of women in society today. In ‘Life in Film’, Runa Islam lists the movies that have influenced her and her work.


The back section includes reviews of: ‘Cooling Out’, Barbara Visser, Brice Marden, ‘USA Today’, Elke Krystufek, ‘How to Build a Universe’, ‘Riflemaker Becomes Indica’, ‘The Secret Public’, ‘The Perfect Man Show’, Alexis Hunter, ‘Academy’, Mel Bochner, ‘This Will Not Happen Without You’, Gardar Eide Einarsson, ‘Clip/Stamp/Fold’, ‘The 5th Asia-Pacific Triennial’, ‘When the Moon Shines on the Moonshine’, Jennifer Bornstein, ‘Ruby Satellite’, Suzanne Treister, Agnieszka Brzezanska, Brian Fahlstrom, Conrad Shawcross, ‘Semina Culture’ and ‘I Like America’.

As we head into a month full of exhibitions devoted to feminist art — including the opening of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, and a major exhibition at the Museum of Contemporary Art in Los Angeles — a reasonable question might be: Why now? Why, 30 years after the heyday of the feminist art movement, are we putting this work under the lens?

Surrealism's women thought they were celebrating sexual emancipation. But were they just fulfilling men's erotic fantasies?

Just 7% of the Tate's collection is by women artists - with some very embarrassing gaps. Serena Davies suggests a few crucial additions

The Women's Arts International Festival boasts one of the best line-ups of the summer, and Ladyfests are multiplying. What's behind this boom in female-only arts events, asks Ruth Allan

For years feminist artists have been sidelined, or even derided. But now, almost overnight, the art world can't get enough of them. Viv Groskop reports

Some of the most exciting artists of our time are women over 60. Emine Saner asks Paula Rego, Gillian Ayres and others how age has affected their work, while guest editor Natalie d'Arbeloff explains what prompted her to commission this piece

This is a great age for visual art. But why has no one noticed that virtually all today's finest artists are women?

So says Louise Bourgeois, subject of a new film opening this month. If you watch it, however, you probably won’t agree

So says the critic Brian Sewell, and the art market seems to agree, with men's work commanding millions more at auction

[...] Eleanor Antin was born in New York City in 1935. She is considered one of the most influential artists to emerge from the feminist art movement of the 1960s and 1970s and is also one of the most highly regarded women conceptual artists of the period. An influential performance artist, film and video maker, and photographer and installation artist, Antin delves into history as a way to explore the present. She lives and works in San Diego, California, and is an Emeritus Professor at the University of California, San Diego. [...]