I agree with Jennifer that it was concerning that we had a difficult time identifying contemporary feminist artists in class at the onset of this symposium. When we had that discussion two names came to mind: Lisa Klakulak and Susie Ganch. As a functional artist, I am particularly interested in the role of wearable art in contemporary culture, especially in regard to the idea of protection, security, and comfort and these two women are extraordinary in their respective media. Lisa Klakulak is a fiber artist I met this summer at a workshop in Tennesee called Shakerag. (www.shakerag.org) You can read her artist statement and see her work at: http://strongfelt.com/statement.html. Susie Ganch is a metals artist, once a resident at Penland School of Crafts, and instructor at The Academy of Art Univeristy, San Francisco, CA. (www.susieganch.com). I think it would be interesting to draw parallels between the work they are making and the "refuge wear" of Lucy Orta and try to figure out where each of them stand with reference to feminism.
I have also found some research regarding Suzanne Lacey's discussion of the relatively current wave of feminism as a divided, rather than united, effort. In The Nature of the Game (Art Journal 50, No. 2, Summer 1991: 64-68) she addresses the idea that there are 3 fundamental ideas concerning the feminist movement: 1) research, 2) personal introspection, and 3) activism. She believes that contemporary feminist artists divide along the lines of theory and activism. This relates to the article Jennifer posted, in that the terminology associated with feminism is so vague, and often women avoid the word "feminist" due to the negative and militant associations it picked up over the last 40 years.
I would like to look into these two areas to indentify correlations. Why is it that there are contemporary women artists who seem to be dealing with issues that I would relate to feminism not identified as feminist artists? It is lack of recognition in the field and media coverage, or is a personal choice to not be identified with the hard edge wave of feminism the art world has seen in the past? I plan on researching reviews/criticisms and possibly interviewing these artists to uncover their motives, whether direct or indirect.
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I think what Shannon is talking about in the post right after yours, about the artist who induces miscarriages is evident of the "activism" sect of current feminism.
I think for our symposium it would be useful to have at least one presentation about the language of current wave feminism, and you seem to have learned a bit about it so far.
Your other topic mentioned in the last paragraph is very interesting, too, though.
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