Hell to the yeah! Between the subject matter and the participating speakers, this is going to be good. Geez Louise, what a line-up! My only beef with this is that it already looks more like it should be a 2-day conference than a 2-hour roundtable…
Feminism and Art Today
A Roundtable Discussion
Friday, April 11th 4-6
Reception to follow
Timken Lecture Hall
California College of the Arts
1111 8th St.
San Francisco
Since the opening of Wack! Art and the Feminist Revolution at LA MoCA last year, scores, if not hundreds, of interventions into the high-cultural arena have enriched an on-going interrogation of contemporary feminisms in relation to the production of culture around the globe. An array of publications, exhibitions, demonstrations, colloquia, artist talks, roundtables, performances, interviews, seminars, fundraisers, retreats, workshops, conferences, broadcasts, and screenings have served as platforms for feminist historical revision and cultural exchange. Cornelia Butler, curator of Wack!, argues that “feminism’s impact on the art of the 1970s constitutes the most influential international ‘movement’ of any during the postwar period” and the New York Times critic Holland Cotter makes the similar claim that, without feminism, “identity-based art, crafts-derived art, performance art and much political art would not exist in the form it does, if it existed at all. Much of what we call postmodern art,” he concludes, “has feminist art at its source.”
Feminism and Art Today: A Roundtable, hosted by the Visual and Critical Studies program at California College of the Arts, lends impetus to contemporary feminist initiatives in the arts while contributing to the analysis of both the rhetoric and the art circulating currently within art-world and academic contexts. We have invited art historians, artists, curators, critics, and art administrators who actively participate in the expansion of feminist cultural arenas to engage in conversation with CCA students and faculty members, as well as members of the wider community, about the influx of institutional interest in feminism. We ask, “Why now? What are the political stakes? Where are the silences and blind spots? What comes next?” We aim to create a space for public dialog and intergenerational exchange about contemporary visual culture that engages with feminist issues, provokes feminist analysis, and raises social consciousness.
Participants:
Kim Anno is a painter, bookmaker, and public artist. Recently she has been included in exhibitions at the Varnosi Museum in Hungary, the Berkeley Art Museum, the Art Gallery at the University of Minnesota in Minneapolis, and Patricia Sweetow Gallery in San Francisco. She has received a Wallace Alexander Gerbode Foundation Purchase Award through the San Francisco Museum of Modern Art and the Honolulu Academy of Arts, and also a Eureka Fellowship through the Fleishhacker Foundation. She is Assistant Chair of Painting/Drawing and Professor in Community Arts and Graduate Program in Fine Arts.
Tammy Rae Carland is a photographer and video artist. She is co-chair of Photography at CCA and Associate Professor in the Graduate Program in Fine Arts and Interdisciplinary Studies. She is also the co-owner of Mr. Lady Records and Videos. She has shown her work in New York, Los Angeles, North Carolina, and San Francisco and has screened her video work internationally. Her work is featured in The Way That We Rhyme: Women, Art & Politics at Yerba Beuna Center for the Arts, SF.
Jill Dawsey is Curator of Contemporary Art at the Utah Museum of Fine Arts in Salt Lake City. She has taught at San Francisco Art Institute, California College of the Arts, and the University of California, Irvine, in addition to serving as Curatorial Associate in painting and sculpture at SFMOMA. With Maria del Carmen Carrión, she is co-curator of the show Small Things End, Great Things Endure at the New Langton Gallery, SF.
Berin Golonu, a graduate of the Visual Criticism program at CCA, joined the curatorial department at Yerba Buena Center for the Arts in 2003. There, she holds the post of Associate Visual Arts Curator. She has organized numerous exhibitions, most recently The Way That We Rhyme: Women, Art & Politics, and has published critical writings in Afterimage, Aperture, Art Nexus, Art Papers, Contemporary, Flash Art, frieze, and Sculpture. Before coming to San Francisco she served as editor-in-chief of Artweek magazine
Jessica Hough is director of the Mills College Art Museum. She was formerly Curatorial Director at The Aldrich Contemporary Art Museum where she worked for over nine years and organized more than forty exhibitions. Her groundbreaking show at Mills College, Don’t Let the Boys Win, featured work by Kinke Kooi, Carrie Moyer, and Lara Schnitger. Recent publications include Catherine Opie: 1999 & In and Around Home and Karkhana: A Contemporary Collaboration.
Patricia Maloney is the Associate Curator at Ampersand International Arts, San Francisco. Formerly Curatorial Assistant for the Matrix Program at the UC Berkeley Art Museum, she has coordinated one-person exhibitions for Cerith Wyn Evans, Catherine Sullivan, Jun Nguyen-Hatsushiba, Chiho Aoshima, Angela Bulloch, Cai Guo-Qiang, Anna Von Mertens, Jim Campbell, Helen Mirra, Simryn Gill, Julie Mehretu, and Eija-Liisa Ahtila. Her show Make You Notice recently opened at the San Francisco Arts Commission Gallery.
Pamela Peniston is a founder and Executive Director of Qcc - The Center for Lesbian Gay Bisexual Transgender Art & Culture and Artistic Director of the National Queer Arts Festival. She designed sets for theatre, television and computer graphics, receiving 7 gold medals for graphics and Art Direction from the Broadcast Design Association. Her photos will be part of an exhibition of Women’s Travel Photography at Femina Potens later this year. She has served on committees developing guidelines for the San Francisco Arts Commission’s Cultural Equity Endowment as well as Innovative Partnership and Cultural Equity Grant programs. She has worked as a writer, workshop/trainer and designer for Cultural Odyssey, particularly The Medea Project, Theater for Incarcerated Women.
Moira Roth is Trefethen Professor of Art History at Mills College. She has edited four books, and in 1998, published her first volume of collected essays Difference/Indifference: Musings on Postmodernism, Marcel Duchamp and John Cage (with a commentary by Jonathan D. Katz). Since then, the poetic texts comprising her “Library of Maps” have appeared in various journals and provided the narrative basis for an opera with composer Pauline Oliveros. Other recent collaborations include the performance pieces “Dancing/Dreaming Izanami and Amaterasu” and “Once-upon-a-time: Amaterasu, the Blind Woman and Hiroshima,” with the dancer Mary Sano, and, with the artist Dinh Q. Lê, “From Vietnam to Hollywood: ‘A Play of Ebb and Flow.’” Her awards and honors include the Women’s Caucus for Art’s Mid-career Art History Award (1989) and the Lifetime Achievement Award (1997); an Honorary Ph.D., San Francisco Art Institute, 1994; and the Frank Jewett Mather Critic’s Award for lifetime achievement, College Art Association 2000.
Stephanie Syjuco is a visual artist whose recent projects use the tactics of counterfeiting, bootlegging, and reappropriation to deal with issues of cultural biography and explore economic power structures on a broader scale. She has shown work at PS1, the Whitney Museum of American Art, The New Museum, SFMOMA, The Contemporary Museum Honolulu, The San Diego Museum of Contemporary Art, and the California Biennial at the Orange County Museum of Art. In 2007 she exhibited a collaborative project at artspaces in Istanbul, Beijing, and Manila, and this year is participating in both The Way That We Rhyme at Yerba Buena Center for the Arts, San Francisco, and We Interrupt Your Program (curated by Marcia Tanner) at Mills College. She has held visiting faculty positions at the California College of the Arts, Stanford University, and UC Berkeley.
Tina Takemoto is a writer, performance artist, and associate professor of visual studies at the California College of the Arts. Under the name Her/She Senses, she has collaborated with Angela Ellsworth since 1992. They have presented their installation-based performances internationally. They have been awarded numerous grants, including a New Forms Regional Initiative Grant from Diverse Works and Mexi-Arte, an Art Matters, Inc. fellowship, and a New Forms Regional Grant from the Painted Bride Art Center. She also performs with Annie Sprinkle and Elizabeth Stephens. Her articles have appeared in Art Journal, Performance Research, College Literature, and the anthology Thinking Through the Skin. She is currently working on a book manuscript tentatively titled Love/Sick: Illness, Collaboration, and Grief in Performance.
