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WOMEN FINALLY GET ART’S SPOTLIGHT WITH NEW…


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WOMEN FINALLY GET ART’S SPOTLIGHT WITH NEW BERKELEY EXHIBIT


BAMPFA SHOW CHALLENGES CENTURIES OF MALE-CENTRIC MUSEUM SHOWS


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Kara Walker: “Endless Conundrum, An African Anonymous Adventuress,” 2001.
Collection of Walker Art Center, Minneapolis; T. B. Walker Acquisition Fund,
2002. (Courtesy Walker Art Center).
By Martha Ross | Bay Area News Group
PUBLISHED: September 7, 2021 at 8:00 a.m. | UPDATED: September 7, 2021 at 8:19
a.m.

In 1989, the Guerrilla Girls feminist collective displayed bright, brash posters
in New York City public buses as part of its campaign to shake up the art world
and the centuries-old practice of drastically sidelining female works and
perspectives.

Ellen Gallagher: “Odalisque,” 2005; Gelatin Silver print with watercolor and
gold leaf (Courtesy of Ellen Gallagher) 

The posters presented the classic reclining nude figure from the 1814 painting
“La Grande Odalisque,” by one of Western art’s good old boys, French painter
Jean-Auguste-Dominique Ingres. But in the irreverent Guerrilla Girls’ style, the
face of the harem girl was obscured by the group’s signature gorilla mask. The
posters also pointedly asked: “Do women have to be naked to get into the Met
Museum?”

In a very graphic way, the poster made the case that major art museums are
disproportionately filled with images and ideas, particularly about women, that
are created by men and controlled by the so-called “male gaze.”

More than 30 years later, the poster is one of a number of Guerrilla Girls works
that greet visitors to a major new exhibition of 21st-century feminist art at
the Berkeley Art Museum and Pacific Film Archive. Its inclusion is among the
ways that the exhibit, “New Time: Art and Feminisms in the 21st Century,” tries
to reverse the historical focus of museums celebrating male genius.



Occupying nearly half of the 25,000-square feet of gallery space in UC
Berkeley’s downtown art museum, “New Time” showcases more than 140 works by more
than 75 feminist artists and collectives, one of the most extensive to date of
feminist art practices. Here the “female gaze” controls how the paintings,
sculptures, videos and mixed-media works consider art, society, current events
and history from the perspective of women.

Lorna Simpson: “Polka Dot & Bullet Holes #2,” 2016; ink and screenprint on
clayboard. Holly Peterson Collection. (Courtesy of Lorna Simpson and Hauser &
Wirth.) 

The exhibit is offered at a time when the de Young Museum in San Francisco is
presenting a career retrospective exhibit of Judy Chicago, who emerged as a
leading force in feminist art in the 1970s and remains one of the genre’s
towering figures. (Chicago is also represented in the BAMPFA collection.)

BAMPFA director Julie Rodrigues Widholm said the Berkeley exhibition launches at
a “deeply meaningful” moment for the UC-Berkeley-run museum, as it re-opens
after the COVID-19 pandemic forced it to close for more than a year. “New Time”
represents “one of the museum’s largest and most ambitious exhibitions in recent
history” and comes when museums around the country need to carefully consider
their purpose, Wildholm said.

“In the midst of social and political upheaval, what do museums need to do to
remain relevant to our audiences and to address the most pressing issues of our
time?” Wildholm asked at a preview for the show. She said a museum stays
relevant “through programming that’s international, interdisciplinary,
intergenerational and intersectional, that centers on the voices of the
historically marginalized.”

Apsara DiQuinzio, recently departed senior curator of modern and contemporary
art at BAMPFA, added that feminism has likewise become global, embracing the
interests of the historically marginalized. For that reason, it “encompasses
many complex issues and perspectives, which can’t be reduced to one signal
subject style or agenda.”



The exhibition, put together by DiQuinzio, addresses this complexity by
organizing around eight sections that explore such topics as race, sexuality and
gender identity, the negative stereotypes of femininity, women in the workforce
and in the domestic sphere, manifestations of female anger and feminism’s
future.

And, yes, there are female nudes in the exhibition, but they are creations of
women who have reclaimed the genre. Through paintings, photos, or even in an
arrangement of 13 inflatable “Sex Dolls” by Elaine Sturtevant, the artists
exaggerate women’s traditional passivity in art, or present bodies and body
parts in frank, fragmented or even cartoonish ways. The point is to examine how
the female form has long been an object of sexualization, oppression and
violence.

On the subject of violence, one of the more haunting works is Lorna Simpson’s
“Polka Dot & Bullet Holes #2,” made of India ink and screen print on Claybord.
The work consists of a bifurcated image that shows a female form, from the neck
down and seated demurely, dressed in an elegant polka dotted dress. But some of
the dots are bleeding into bullet holes in an image below.

DiQuinzio said she was especially proud to include the works of another Black
artist: The monumental installation by Kara Walker, “Endless Conundrum, An
African Anonymous Adventuress” in the section that re-examines history. With
Victorian-inspired silhouettes, Walker creates vignettes about the life of a
young Black woman, who is probably a slave. The vignettes mix scenes of violence
by European explorers with African tribal motifs, along with a figure that
appears to pay homage to a dancing Josephine Baker.

“Too Nice for Too Long” is the section that is certain to speak to women’s
frustration with being told much of their lives that they shouldn’t get angry,
lest they are derided as un-ladylike or “hysterical.” Here, visitors will find
“Grand Snake Arm 8,” a glass sculpture of a raised fist, a symbol of protest, by
Judy Chicago, the pioneering radical feminist artist. The fist is wrapped in a
snake, with all its biblical connotations of a woman who famously desired power.

Pussy Riot also is represented in this section, with the 2012 video “Punk
Prayer,” which shows four members of the famous punk band storming a Moscow
cathedral to protest Vladimir Putin’s government and the Russian Orthodox
Church.

Returning to the anger of the Guerilla Girls, and the nude figure that riled
them up, “New Time” offers another version of the “Odalisque” figure. It comes
from Ellen Gallagher, who has fun with a famous Man Ray photo of Matisse
sketching a model dressed in a harem costume.

Gallagher puts her own face on the reclining woman, and she’s in a therapy
session with Sigmund Freud. This image, of course, pokes at the notoriously
problematic views of women espoused by the founder of psychoanalysis. But like
the rest of “New Time,” it also offers many layers of commentary about art,
representation and gender.

--------------------------------------------------------------------------------


‘NEW TIMES: ART AND FEMINISMS IN THE 21ST CENTURY’

Through: Jan. 30

Where: Berkeley Art Museum and Pacific Film Archive, 2155 Center St., Berkeley;
open 11 a.m.-7 p.m. Wednesdays through Sundays

Admission: $11-$13 (free for BAMPFA members and UC Berkeley students);
510-642-0808, bampfa.org

 





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MARTHA ROSS | FEATURES WRITER

Martha Ross is a features writer who covers everything and anything related to
popular culture, society, health, women’s issues and families. A native of the
East Bay and a graduate of Northwestern University and Mills College, she’s also
a former hard-news and investigative reporter, covering crime and local
politics.
Follow Martha Ross @marthajross

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