| Is there something inherently Feminist about the juried exhibition? As a juror/curator you start with a vast number of different kinds of work submitted through an open call that is further democratized by having no names or other signifying clues as to an artist’s identity, origin, or affiliation. Destabilizing and potentially productive, this process allows the curator to operate free of dominant paradigms and values. Of course, the fact that all of the artists in the A.I.R. Biennial are women is far less compelling than the imaginative power and politics of inclusion and disruption that continue to make Feminism such a formidable cultural force. (Incidentally, the Biennial is open to submissions from all artists who identify themselves as women.) |
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What’s With The Feminist Juried Exhibition?
By Ingrid Schaffner
Is there something inherently Feminist about the juried exhibition? As a juror/curator you start with a vast number of different kinds of work submitted through an open call that is further democratized by having no names or other signifying clues as to an artist’s identity, origin, or affiliation. Destabilizing and potentially productive, this process allows the curator to operate free of dominant paradigms and values. Of course, the fact that all of the artists in the A.I.R. Biennial are women is far less compelling than the imaginative power and politics of inclusion and disruption that continue to make Feminism such a formidable cultural force. (Incidentally, the Biennial is open to submissions from all artists who identify themselves as women.)
Courtesy of A.I.R. Gallery.
At some point in the process of looking at the work of the 652 artists, who submitted up to 6 images each, I wondered if there was a way to turn the exhibition itself into a Feminist statement? Could it be all-inclusive freeing from making any selection at all? Alternatively I thought what about showing only tiny things (there was a remarkable number of small-scale submissions), which I imagined looking great on a giant table? Or maybe just cats. Okay, I’ve long been a fan of Carolee Schneemann’s intense videos of her kissing cats. And one of the thirty-six artists I selected painted a fantastic female/feline double portrait that sparked the title for this Biennial. 36 Cats and One Stripe Pussy refers to a book that Andy Warhol illustrated with his mother, who was not a native English speaker, 25 Cats Name Sam and One Blue Pussy. But of course, the title comes charged with other potent echoes of, for instance Pussy Riot, the Russian feminist punk-rock band, whose members were arrested and incarcerated for a guerrilla action directed against the Putin regime and Russian Orthodox Church last February. (And since installing the show, I’ve found at least one other stray pussy depicted.) But what is it with women artists and cats? No answers please.
Featuring: Isabel Barbuzza, Sarah Brent, Rachel Dawson, Diana Delgado, Princess Dennis, Al Denyer, Kate Donnelly, Annie Ewaskio, Louisa Flannery, Ghislaine Fremaux, Kathy Grove, Shanti Grumbine, Deborah Hamon, Cameron Harvey, Lori Hepner, Elizabeth Hoy, Heidi Lau, Sujin Lee, Leigh Leibel, Linda Levinson, Sara Lynch, Li Ma, Chika Matsuda, Editha Mesina, Rosemary MezaMDesplas, B Milder, Gina Randazzo, Eleanor Ray, Cathleen Sachse, Gyan Shrosbree, Barb Smith, Marta Spagnol, Mariko Spigner, Erica Stoller, Kelli Thompson, and Jenny Wiener.
