While at MoMA, I wrote an essay for the publication Modern Women: Women Artists at The Museum of Modern Art entitled “Mind, Body, Sculpture: Alice Aycock, Mary Miss, and Jackie Winsor in the 1970s.”
Posts in ‘Modern Women’
In conjuction with the Museum’s Modern Women initiative, PopRally presents An Evening with the Raincoats at MoMA on Saturday, November 20. Today’s guest blogger, Kathleen Hanna—founding member of Bikini Kill, co-creator of the zine Riot Grrrl, and lead singer of the dance-punk band Le Tigre—will DJ the event.In 1990 I was given a mixtape with The Raincoats’ “Fairytale in the Supermarket” on it. It was the first time I’d ever heard them, and to this day it remains one of my favorite songs. As a 20-year-old who had just starting touring with a band, the song opened up a whole new world to me—one where I didn’t have to play guitar solos or make music the same way my male peers did.
One of the key experimental filmmakers of her generation, Barbara Hammer (American, b. 1939) is renowned for creating the earliest and most extensive body of avant-garde films on lesbian life and sexuality. In this fascinating video interview, she talks about her career as a filmmaker and the development of feminist and queer filmmaking over the last thirty years.
For the publication Modern Women: Women Artists at The Museum of Modern Art, Michelle Elligott, the Museum Archivist, contributed a wonderful essay entitled “Modern Women: A Partial History,” a kind of lexicon comprising historical entries on and capsule biographies of selected noteworthy women throughout the Museum’s history. In this video, she discusses some of these women and their impact both at MoMA and within the museum field in general.
One of the foremost younger scholars working today on art and gender, Aruna D’Souza wrote “Float the Boat: Finding a Place for Feminism in the Museum,” one of three introductions to the book Modern Women: Women at The Museum of Modern Art (2010). In her essay, and in the above video interview, she talks about the evolution of feminist art history and criticism, and the role within it of the museum in general and of MoMA in particular.
In the video interview above, Gretchen Wagner, an assistant curator in the Department of Prints and Illustrated Books, talks about the essay she wrote for the publication Modern Women: Women Artists at The Museum of Modern Art, titled “Riot on the Page: Thirty Years of Zines by Women.”
The name Ida Lupino became a part of my cultural consciousness when I was about ten years old. I grew up watching classic American television shows such as Gilligan’s Island, Bewitched and The Ghost and Mrs. Muir—all shows which featured Lupino as a guest director at one time or another in the mid to late 1960s.
Linda Nochlin’s groundbreaking essay “Why Have There Been No Great Women Artists?” was published in 1971, but more than fifteen years later, when I attended graduate school at the Graduate Center, CUNY, a second wave of important feminist contributions to the discipline appeared.
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