Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with
Christina Quarles
Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Launch Party May 19, 2018
at Karma International
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Launch Party
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch Party November 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Reviews
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Letter from the Editor Lindsay Preston Zappas
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Letter to the Editor Lady Parts, Lady Arts
Launch Party August 19th at Blum and Poe
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
Alice Könitz and LAMOA
Catherine Wagley
Interview with
Penny Slinger
Eliza Swann
Exquisite L.A.
Featuring:
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
Launch Party May 13, 2017
at Commonwealth and Council
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter from the Editor Lindsay Preston Zappas
Generous
Structures
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Launch Party February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Featuring:
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

Ma
at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
Letter from the Editor Lindsay Preston Zappas
Kenneth Tam
's Basement
Travis Diehl
The Female
Cool School
Catherine Wagley
The Rise
of the L.A.
Art Witch
Amanda Yates Garcia
Interview with
Mernet Larsen
Julie Weitz
Agnes Martin
at LACMA
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Featuring:
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
Letter form the Editor Lindsay Preston Zappas
Non-Fiction
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
at REDCAT
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Launch Party Carla Issue 5
Exquisite L.A.
Featuring:
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
Letter from the Editor Lindsay Preston Zappas
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Reconsidering
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater:
Diana Thater
at LACMA
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Launch Party Carla Issue 4
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
at LACMA

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
Letter from the Editor Lindsay Preston Zappas
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word:
F.B.I.
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
Faith Wilding
at The Armory Center
for the Arts
and LOUDHAILER
Benjamin Lord
A Conversation
with Amalia Ulman
Char Jansen
How We Practice Carmen Winant
Launch Party Carla Issue 3
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
at ASHES/ASHES
Letter from the Editor Lindsay Preston Zappas
Hot Tears Carmen Winant
Slow View:
Molly Larkey
Anna Breininger and Kate Whitlock
Americanicity's Paintings:
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food:
Parker Ito
at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee:
William Pope.L’s "Reenactor"
Travis Diehl
Dora Budor Interview Char Jensen
Letter from the Editor Lindsay Preston Zappas
MEAT PHYSICS/
Metaphysical L.A.
Travis Diehl
Art for Art’s Sake:
L.A. in the 1990s
Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
SOGTFO
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
@barnettcohen
Mateo Tannatt
Photographs
Jibade-Khalil Huffman
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe
at LACMA

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Central Park
Château Shatto
Club Pro
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
JOAN
LACA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
BBQLA
Charlie James
Good Luck Gallery
Human Resources
Ibid Gallery
Ooga Booga
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery

Eastside
AWHRHWAR
67 Steps
ESXLA
Odd Ark LA
Oof Books
Otherwild
SADE
Smart Objects
Women's Center for Creative Work
Westside
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Labland Art Gallery at LMU
Team (Bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chimento Contemporary
Commonwealth & Council
David Kordansky Gallery
H I L D E
Karma International
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Shoot the Lobster
Ochi Projects
Praz-Delavallade
the Landing
SPRÜTH MAGERS
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
Honor Fraser
Klowden Mann
Luis De Jesus
Philip Martin Gallery
Roberts Projects
Susanne Vielmetter
Hollywood
AA|LA
Diane Rosenstein
Family Books
GAVLAK
LACE
LA><ART
M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
Mobile
Gas Gallery
@gasdotgallery

Hand and Rose
@handandrose
Elsewhere in CA
CLOACA (San Fransisco)
Curatorial Research Bureau @ the YBCA (San Fransisco)
Et al. (San Francisco)
Ever Gold Projects (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
Minnesota Street Projects (San Fransisco)
San Diego Art Institute (San Diego)
Verge Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Wolfman Books (Oakland)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
Good Weather (North Little Rock, AK)
Nationale (Portland, OR)
Skowhegan School of Painting and Sculpture (Skowhegan, ME)
Small Editions (Brooklyn, NY)
Space 42 (Jacksonville, FL)
Spoonbill & Sugartown (Brooklyn, NY)
Ulises (Philadelphia, PA)
Libraries/ Collections
Bard College, Center for Curatorial Studies Library (Annandale-on-Hudson, NY)
CalArts (Valencia, CA)
Cranbrook Academy of Art (Bloomfield Hills, MI)
Emerging Leaders of Arts at MCASB (Santa Barbara)
Fisher Fine Arts Library, University of Pennsylvania (Philadelphia, PA)
Los Angeles County Museum of Art, Research Library (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Marpha Foundation (Marpha, Nepal)
Maryland Institute College of Art, The Decker Library (Baltimore, MD)
Metropolitan Museum of Art, Thomas J. Watson Library (New York, NY)
Midway Contemporary Art (Minneapolis, MN)
Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Scholes Library, NYS College of Ceramics at Alfred University (Alfred, NY)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
Telfair Museum (Savannah, GA)
USC Fisher Museum of Art (Los Angeles, CA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

The Languages of
All-Women Exhibitions

“I am still struck by the psychological displacement of women who are alienated by and in language.”1 –Lucy R. Lippard

Guerrilla Girls, Dear Art Collector, (2007). Image courtesy of guerrillagirls.com. © Guerrilla Girls.

All-women shows have been markedly in vogue in the past few years.2 Under various curatorial frameworks, these—often-exhaustive—gendered shows always have one thing in common: women. As a woman myself, I often feel sheepish about questioning the structures around these exhibitions as it is well documented that women are underrepresented in the art world, and in need of exposure and support. Still, I bend toward suspicion when galleries and institutions tout an all-women roster. Frustratingly, many of these exhibitions can feel revisionist, or worse, imply a capitalization on the trending socio-political resurgence of women’s rights, or the threat to them in our current politics. There are certainly broad problematics within the all-women structure worthy of discussion—the capitalization on the real struggles of women; the masking of uneven gallery rosters that show predominately men; the trend of showing late-career or deceased women artists; the dual demonization and romanticization of motherhood within the biographies of woman artists; and the lack of sustained institutional support for women artists working today. But, I’d like to focus here specifically on the languages of all-women exhibitions.

First we must consider how language—in the form of show titles, press releases, promotional materials, and general aura—spawns prejudice before anyone even walks through the front door. Like the joke about vegans: How do you know if an exhibition will include only women? It will tell you. And it often tells you loudly, and in advance. In a 2016 Atlantic article, Sarah Boxer described visiting Women of Abstract Expressionism at the Denver Art Museum: “I could see banners announcing the women’s exhibition from a distance. WOMEN WOMEN WOMEN. It almost looked like they were announcing a strip tease.” As Boxer walked closer, a miniscule text that read “women of abstract expressionism” could be seen in small type, low on the banner. Boxer also recalls the cover for the catalogue of WACK! Art and the Feminist Revolution—the massive all-women exhibition at MOCA in 2007—which features Martha Rosler’s clippings of naked women from Playboy, “as if to announce, ‘sexy ladies inside!’”3 While the Rosler work was exhibited in WACK!, choosing that particular work for the catalogue image problematically gave primacy to the fetishization of the nude female, if even while being subversive.

The recent exhibition CUNT at Venus Over Los Angeles chose a more subtle promotional tack, its title notwithstanding: a square baby-pink poster with the exhibition title centered, all caps, in white. While understated, the graphic recalls normative baby-girl colors as well as the anatomy of female genitalia. While the exhibition featured fantastic work, that poster (and the brashness of the word cunt) infected any pure experience of the work apart from its association to female genitalia. There are certainly many convincing arguments towards reclaiming and normalizing the word cunt4—even students in early feminist programs were instructed to repeat the word cunt until it was removed of its derogatory associations.5 Still, utilizing it as a moniker for a group show by women shrouds the work included under the complicated social and linguistic baggage that the word carries.

Marilyn Minter, Twenty Sixteen (2017). Dye sublimation print, 40 x 30 inches. Edition 2 of 5 + 2 AP. Image courtesy the artist and VENUS, Los Angeles.

In the WACK! catalogue, Eva Hesse’s incomparable work Hang Up (1966) is organized under the heading “Gendered Space” though historically this work has been associated with minimalism, not feminism. This reframing of context recalls the way in which Ana Mendieta’s work has been adopted by various feminist groups and causes over the years, while Mendieta herself was “dissatisfied with being reduced to one vision of feminism, or one articulation of identity.”6 For instance, white feminist groups looped her work in with the representation of The Goddess, “a trendy subtopic” of the era, although Mendieta’s relationship to goddesses was more “complex and volatile.”7 Her work was also contextualized within restricting feminist dialogues of the body, victimhood, and violence. This type of singularity was precisely what Mendieta’s work was meant to reject, and these misrepresentations ultimately led to her resignation from the feminist group A.I.R. in 1982.8 Charles Merewether explains, “the question of naming has afflicted the scholarship and reception of Ana Medieta’s work.”9 It is indeed this question of naming that is paramount in the re-historicization of women artists today, as it shapes the future narrative of their historically tenuous careers.

Often all-women exhibitions include the qualifier, woman, almost as a sort of warning of what can be expected of the work. In researching this article, I reached out to Micol Hebron, who has been actively tracking gender inequality on gallery rosters since 2013. “I think the more complicated and perhaps insidious reason that this is a problem is the longstanding inherent bias against women’s work,” Hebron wrote to me in a recent email. “Women’s labor(s) are historically valued less: their wages are lower, their art sells for less, and the aesthetics associated with ‘women’s work’ are considered less cool. So, an all-women show can be seen as a concession of sorts.”

When curators and gallerists preface exhibitions with an admission of the artist’s gender, it makes the fact impossible to ignore and surely has an effect on the way in which the artist’s work is being viewed. A wonderful exhibition at the Landing gallery last summer, which included stunning works by Tanya Aguiñiga, Loie Hollowell, Lenore Tawney, was titled dryly—and reductively—3 Women. The title was lifted from a 1977 Robert Altman film, yet, dropped on this context of three intergenerational artists, it became a descriptor, a confession. Under this titling, the indomitable weavings of Tawney, who worked alongside Agnes Martin and Ellsworth Kelly in the ‘60s, seemed to sink into categories of “women’s work,” while Loie Hollowell’s expansive and intricate paintings read more explicitly like pretty little vaginas.

We never hear an exhibition described as an all-men exhibition, since it is the understood normal. As such, as we constantly denote woman, we are reinforcing men as the engrained default. In her introduction to The Pink Glass Swan, the feminist art critic Lucy Lippard describes working on her own writing and constantly referring to “the critic” as he, “as though my own identity and actions had been subsumed by patriarchal nomenclature.”10

As we incessantly insert women back into art history, we in turn agree with the normative patriarchal telling of history that tells us that these women need inserting—while, as Griselda Pollock insisted, “feminist history began inside art history.”11 As we continue to group women together in exhibitions, and insist on qualifying the exhibition as belonging to women, we keep women on the outside of mainstream art. As my editor Aaron Horst commented in a recent conversation, “it makes the fact of being a woman and an artist somehow remarkable.” Famously, when asked at a party “what women artists think,” Joan Mitchell turned to Elaine De Kooning, exclaiming, “Elaine, let’s get the hell out of here.”12

Ana Mendieta, Silueta Works in Mexico (1973-1977). Color photograph, 19 1/4 x 12 7/8 inches. The Museum of Contemporary Art, Los Angeles Purchased with a grant provided by The Judith Rothschild Foundation. © The Estate of Ana Mendieta Collection, LLC. Image courtesy Galerie Lelong & Co.

Perhaps to combat these musty normatives of art-history, curators of all-women exhibitions slap on language that opposes weakness: power, revolution, radical, escape, get the fuck out, wack! This combativeness often feels put on, as if we must insist and argue that women might be able to wield power. Though not specifically an all-women exhibition, in reference to the titling of Trigger: Gender as a Tool and a Weapon (a recent group exhibition of mostly LGBTQ-identified artists at the New Museum), Peter Schjeldahl wrote “the four nouns in the title of the [show] go off like improvised explosive devices, boding civil strife.” A beat later, Schjeldahl concedes that the works in the exhibition don’t live up to its corralling and boosterish nomenclature. “The show’s provocative title turns out to function rather like the old vaudeville pistol that emits a little flag imprinted ‘BANG.’”13 This sort of blanket, categorical re-contextualization that the exhibition titling imbues is precisely problematic as it limits—or makes difficult—a reading of the artwork under any other conceptual framework.

In reference to the titling of SOGTFO (Sculpture or Get the Fuck Out), a five-woman sculpture exhibition at Ghebaly Gallery, Jonathan Griffin wrote, “Even subverted, its aggressive tone seems unfitting for the general measured output of these five artists. None are polemical about their gender, and it’s hard to imagine any of them coming up with a title as caustic as SOGTFO—which, of course, they didn’t.”14 While it is potentially the case that women artists are consulted and collaborated with in the development of exhibition titles (as in fact was the case with CUNT15), elsewhere the titling is meant to evoke struggle and combat that isn’t inherit in the work itself. In the case of titling WACK!, Connie Butler explains that “the exclamatory title of the exhibition is intended to recall the bold idealism that characterized the feminist movement during [the late ‘60s and ‘70s]…The violent and sexual connotations of WACK serve to reinforce feminism’s affront to the patriarchal system.”16 These abrasive nomenclatures seem to perpetuate the stereotype of the brash and wild feminist, while also reeking of self-congratulatory prose, suggesting that the institution who undoubtedly titled said exhibition has rediscovered—and tamed?—a wild bunch of feminists.

Yet, to a large extent, many women in these monstrous exhibitions do not consider their work feminist at all (and some decline participation). It is an arduous task to clarify the difference between a feminist framework and actual feminist art,17 and the all-women context “allow[s] for some form of erasure or fitting women into existing parameters.”18

The way in which we are speaking, writing, and naming all-women exhibitions seems paramount to the ways in which the next generation will understand the contributions of women artists. As Helen Molesworth has said, “the only way to get diversity is to actually do it.”19 It is this doing that can get complicated as institutions constantly point to diversity they are implementing—look ma, no hands!—with promotional language and curatorial strategies. Language instills pattern; pattern becomes habit. “The habits of mind that our culture has instilled in us from infancy shape our orientation to the world and our emotional responses to the objects we encounter,” wrote Guy Deutscher in a Times article about how language shapes reality. “They may also have a marked impact on our beliefs, values and ideologies.”20 As such, all-women exhibitions may have the power to accelerate or neuter efforts towards the equalization of gender biases in the arts. And much of this power comes down to the naming; the language that garnishes press releases and show cards may in fact be reinforcing our ingrained biases rather than liberating us from them.


 

This essay was commissioned by Contemporary Art Review Los Angeles as part of Field Perspectives 2017, a co-publishing initiative organized and supported by Common Field for their Los Angeles 2017 Convening. Field Perspectives 2017 is a collaboration between Common Field and arts publications ARTS.BLACK, Art Practical, The Chart, Contemporary Art Review Los Angeles, contemptorary, DIRT, Pelican Bomb, Temporary Art Review, and X-TRA. Partners each commissioned a piece of writing that aims to catalyze discussion, dialog, and debate before, during, and after the Convening. This essay will also be featured in our forthcoming issue 10 of Carla, which launches November 18th.

 

Dorothy Iannone, from Lists VI: A Much More Detailed Reconstruction Than Requested (1968). Set of 34 drawings, felt pen on paper, 8.66 x 8.86 inches each. Image courtesy the artist and VENUS, Los Angeles.

Judith Bernstein, Vertical #1 (2014). Charcoal on linen, 180 x 84 inches. Image courtesy the artist and VENUS, Los Angeles.

Betty Tompkins, Pussy Painting #22 (2012). Acrylic on canvas, 16 x 16 inches. Image courtesy the artist and VENUS, Los Angeles.

  1. Lucy Lippard, “Introduction: Moving Targets/ Concentric Circles: Notes from the Radical Whirlwind,” The Pink Glass Swan: Selected Feminist Essays on Art, (New York: The New Press, 1995).
  2.  Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 at Hauser & Wirth, Escape Attempts at Shulamit Nazrian, SOTGFO at Ghebaly Gallery, Power at Sprüth Magers, Signifying Form at the Landing, CUNT at Venus Over Los Angeles, Radical Women: Latin American Art, 1960–1985 at The Hammer, and We Wanted a Revolution: Black Radical Women, 1965–85 at The California African American Museum come to mind as notable examples in Los Angeles in the last year.
  3.  Sarah Boxer, “An Era for Women Artists?,” The Atlantic, December 2016.
  4. The etymology of the word cunt relates to the celebration of the feminine and the goddess, where its sister-word, vagina, has more violent and aggressive root word connotations, translating to sheath or scabbard in which to thrust a sword. Gillian Schutte, “C is for Cunt,” Ms. Magazine (blog), November 27, 2012, http://msmagazine.com/blog/2012/11/27/c-is-for-cunt/.
  5. Mira Schor, “The ism That Dare Not Speak its Name,” in A Decade of Negative Thinking (Durham: Duke University Press, 2009), 30.
  6. Julia Bryan-Wilson, “Against the Body: Interpretting Ana Mendieta,” Ana Medieta: Traces (London: Hayward Publishing, 2013), 35.
  7. Ibid., 31.
  8. Ibid., 134-135.
  9. Charles Merewether, “From Inception to Dissolution: An Essay on Expenditure in the work of Ana Medieta,” Ana Mendieta (Poligrapha, 1998), 148.
  10. Lippard, The Pink Glass Swan, 13.
  11. Griselda Pollock, “Feminist Interventions in Art’s Histories,” Kritische Berichte, 16, No. 1 (1998).
  12. Boxer.
  13. Peter Schjeldahl, “Safe Space: A Show on Gender Soothes More than it Unsettles,” The New Yorker, October 9, 2017.
  14. Jonathan Griffin, “SOGTFO at Francois Ghebaly,” Carla, issue 1, April 2015.
  15. Carla Podcast, Episode 1, October 2017. http://contemporaryartreview.la/episode-1/
  16. Cornelia Bulter, “Art and Feminism: An Ideology of Shifting Criteria,” WACK! Art and the Feminist Revolution (Los Angeles: The Museum of Contemporary Art, 2007), 15.
  17. Cecillia Fajardo-Hill, “The invisibility of Latin American Women Artists: Problematizing Art Historical and Curatorial Practices,” Radical Women: Latin American Art, 1960-1985 (Munich, London, New York: Prestel, 2017), 23-24.
  18.  Ibid., 21.
  19. Boxer.
  20. Guy Deitsher, “Does Your Language Shape How You Think?”, New York Times Magazine, Aug. 26, 2010.