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Contemporary Activist Visual Art Performance with Martha Wilson

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CAMP is a residential arts facility in the French Pyrenees. It's a place where great art is made, new movements are formed, new ideas are explored and groundbreaking people are nurtured. CAMP is located in Aulus les Bains, the last village before the France/Spain Pyrenean frontier chain. The location is spectacular - we are nestled at 750m above sea level, surrounded by snowcapped peaks over 3000m high, ancient forests and cascading waterfalls. There are eagles, lammergeiers, vultures, ibex and bears. Walk out of the residency, and within ten minutes you are completely alone in one of the most beautiful mountain landscapes in Europe. Aulus les Bains is also a spa village - there are hot water springs, and a thermal spa in the village to take advantage of the healing and relaxing properties of the water.
    
Workshop dates: 07/11/2021 - 05/12/2021
    
Activist avant-garde artists have historically ignored national boundaries as well as aesthetic ones, taking regular people to be their audience and any subject or material under the sun to be appropriate to their means.  Contemporary activist visual art performance practitioners view this avant-garde legacy as their own, incorporating musical, theatrical, literary, dance, film and technological elements in their work in order to address the pressing issues of our time.  This course will focus on critical examples of performance art from the last century to today to analyze how artists have positioned themselves in relation to current standards of artistic production and developed techniques of provocation to activate the audience.  Course work includes readings of primary and critical texts, class discussion, and performance art presentations by each member of the class presented on Zoom followed by discussion of this individual work.

Martha Wilson is a pioneering feminist artist and gallery director, who over the past five decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and "invasions" of other people's personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances as political personae. In 1976 she founded, and as Founding Director Emerita, continues to help direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, online and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.

Martha was described by New York Times critic Holland Cotter as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s" - she remains what curator Peter Dykhuis calls a "creative presence as an arts administrator and cultural operative." Martha's early work is now considered prescient - in addition to being regarded by many as prefiguring some of the ideas proposed in the 1980s by philosopher Judith Butler about gender performativity, many of her photo-text pieces point to territory later mined by Cindy Sherman, among many other contemporary artists.

As a performance artist she founded and collaborated with DISBAND, the all-girl punk conceptual band of women artists who can't play any instruments, and impersonated political figures such as Alexander M. Haig, Jr., Nancy Reagan, Barbara Bush, Tipper Gore and Donald Trump.

The workshop is open to everyone, from any artistic or academic background, at any level of experience.

Deadline: 
11/01/2021
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Shaping the Figural Gaze

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Shaping the Figural Gaze: An online response to Gagosian's Bustes de Femmes and its counterparts

The Gagosian states that the selected group of “paintings, sculptures, and photographs on view demonstrate how the female figure has been reimagined and reconfigured by modern and contemporary artists of diverse backgrounds and traditions,” however, it features only 5 female-identifying artists out of 28 artists total. Of these 28 artists, a majority are white. This leads to an exhibit that not only is lacking in a diversity of backgrounds and traditions, but one that is also blatantly ignoring the conjunctions between race and gender.

Unfortunately, the exhibit put on by the Gagosian is only too representative of past and current norms surrounding the viewpoints society platforms for creation and consumption surrounding the figural.

We wish to counter Bustes de Femmes and the other of 1000s of exhibits like it, by presenting the works of femxle and queer identifying artists whose skill in figural portraiture demonstrates a diverse array of contemporary visions, sensitivities, and/or ideals, that usurp or unconventionally assume the traditional utilization of the male and/or dominant gazes. The goal is to address institutionalized gender roles and gendered racial stereotypes, and the subsequent sexism and racism perpetuated by them. This is in order to facilitate the interrogation and examination of the traditional motives and depictions of gender and sex, while proposing new or uncommon narratives. These ideas will be addressed from queer and femxle perspectives that are traditionally unheard from, in order to reimagine and reconstruct traditional racialized and gendered power structures upon which these institutionalized spaces were built and thrive. This is in order to combat the unequal ratio of queer and femxle art and perspectives that are being showcased within the museum and art worlds via institutions.

Deadline: 
04/11/2021

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No fees. Submission/entry is free
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SOMW019 OPEN CALL

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  "We are beyond marks, boundaries and social classes. We permeate all the layers and aspects of the world society" Emmeline Pankhurst

Leaving our homeland can change many aspects of our lives, letting us discover tastes, smells, new friends or even ourselves; leaving our homeland can let us find a good job, love, or freedom, but in the same way, it can reveal void, suffering, distance, and absence. You are invited to contribute to this exploration of the women in movement’s world regardless of your social status, background, age or nationality.

IMPORTANT! When I mention the word "woman" I refer to all the people who recognise themselves into the female universe; this is an inclusive, interclassist and intersectional feminist project, FEEL FREE TO EXPRESS YOURSELF

This project intends to follow the #storiesofmigrantwomen footprints looking for women in movement. I am going to look into the female migratory perspective, connecting us through photography and storytelling. 

How does it work? You do not know where to start? Try to start answering the following  (INDICATIVE) questions:
Where are you from?
Where are you based?
Did you move on your own?
Why did you move to your current place?
How has being a woman affected (or is it affecting) your experience?
Are you one of the thousands of second-generation immigrants or you choose to move?

Both individuals and associations or collectives are welcome
Other ways of collaboration could be considered.

To download the call, please follow the link provided
For any inquiry or clarification please contact me directly 
 

Deadline: 
12/31/2019
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“Read My Lips: Loren Britton & Kerry Downey” at the Knockdown Center

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Loren Britton, Bud, 2015, Canvas, Velvet, Polyfil

Read My Lips


 

Opening reception Nov 5, 7 – 9pm
Oct 28 – Dec 18


Read My Lips brings together recent paintings and sculpture made by Loren Britton and video and prints by Kerry Downey. Although working in different media, both artists tangle with representing marginalized bodies, problems of language, and the complexity of subject formation in a binary world.

Downey’s textured monotypes, many of which are embossed or use chine-collé, hang alongside Britton’s anthropomorphic plush sculpture and large four-by-five foot paintings, which sit on blocks. Downey’s projected video piece is paired with several more of Britton’s sculptures — these made to be used as seating.

Both series of work are grounded in a consideration of embodiment. The exhibition title takes the mouth specifically as a site from which to examine some of the central issues of this show: It is a source of language, an entrance to the interior, and a site of desire.

These artists also explore a politic of non-visibility through languages of abstraction. Refusing visibility is an important tenet of the constellation of art practices that have been termed Queer Abstraction, a moniker not without its own limitations.  While many queer and feminist artists — Harmony Hammond, Louise Fishman, Joan Snyder, to name just a few — have worked in abstraction since the 1970s, a new generation of queer, genderqueer, and transgender artists are taking up the style to deal with issues of gender, and in this case, to talk about the body without explicitly signifying it.  In his recent research, art historian David J. Getsy has asked, “What happens when the body is invoked but not imaged?”

In such a mode of image-making, abstract art exceeds binary constraint; the body is posited as a catalog of sensory experiences and a place of flux. In Britton and Downey’s hands, abstraction becomes a space of infinite possibility where multiplicity is the principal feature. The work plunges us into indeterminacy and makes us step outside of prevailing modes of understanding selfhood and language. There is no finality, no fixed meaning, no stability.

Programming
November 5: Opening reception, 7pm-9pm (After party with DJ Robi D Light 9pm-late)
November 12, Round table discussion, 5pm
December 8: Poetry reading, 8pm
December 16: WOAHMONE party, 10pm-late

Loren Britton is an artist and curator based in New Haven, CT. Britton’s work explores hybridity in image and form. They create things that exist between drawing, painting, and sculpture. Their work exists in relationship to the body and seeks to reimagine the possibilities of embodied language. Britton has exhibited nationally and internationally in solo and group exhibitions at Boston University, Boston, MA; Scott Charmin Gallery, Houston, TX; LTD Gallery, Los Angeles, CA; Vanity Projects, Miami, FL; Field Projects, New York, NY; Pelham Arts Center, Pelham, NY; Schwules Museum, Berlin, Germany; and Siena Arts Institute, Siena, Italy. Britton has participated in residency programs at Eastside International, Los Angeles, USA and Studio Kura, Fukuoka, Japan. Britton holds a BFA & BA from SUNY Purchase and they are currently an MFA candidate in Painting at the Yale School of Art.

Kerry Downey (born Fort Lauderdale, 1979) is an interdisciplinary artist and teacher based in New York City. Downey’s work explores how we interact with each other physically, psychologically, and socio-politically. Encompassing video, printmaking, and performance, their work wrestles with the possibilities and limitations of gender, intimacy, and relationality in late capitalist America. Recent exhibition venues include the Queens Museum, Flushing, NY; EFA Project Space, New York, NY; Los Angeles Contemporary Exhibitions, Los Angeles, CA; the Center for Curatorial Studies at Bard College, Annandale, NY; the Drawing Center, New York, NY; and Taylor Macklin, Zurich, Switzerland.  In 2015, Downey was awarded the Joan Mitchell Foundation Emerging Artist Grant.  Residencies and Fellowships include SHIFT at the EFA Project Space, the Drawing Center’s Open Sessions, Real Time and Space in Oakland, CA, the Vermont Studio Center, and the Queer/Art/Mentorship Fellowship. They hold a BA from Bard College and an MFA from Hunter College.

Ashton Cooper is a Brooklyn-based independent writer and curator. This past summer, she curated “Mal Maison” at Maccarone in New York. Recent writing projects include an essay for a publication on artist Ellen Cantor to be released by Capricious in late 2016 as well as a catalog essay for Mira Dancy’s exhibition at the Yuz Museum in Shanghai. Her writing has appeared in the Brooklyn Rail, Modern Painters, Hyperallergic, Artinfo.com, Cultured, Art + Auction, Pelican Bomb, ASAP Journal, and Jezebel. She contributed the essay “The Problem of the Overlooked Female Artist: An Argument for Enlivening a Stale Model of Discussion” to the exhibition catalog for “Lucid Gestures” at the McCagg Gallery at Barnard College. She is the director of Nicelle Beauchene Gallery in New York.

Read My Lips is presented with the generous support of the Foundation for Contemporary Arts Emergency Grant.

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