Modern women : women artists at the Museum of Modern Art by Connie Butler, Alexandra Schwartz, Griselda Pollock, Aruna

By Connie Butler, Alexandra Schwartz, Griselda Pollock, Aruna D'Souza

This article examines the gathering of feminist artwork within the Museum of contemporary paintings. It positive aspects essays offering more than a few generational and cultural perspectives.


reading the gathering of The Museum of recent artwork, an enormous North American museum, this name offers a number of generational and cultural views. It specializes in numerous artists from the late Read more...

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Modern women : women artists at the Museum of Modern Art

This article examines the gathering of feminist artwork within the Museum of recent paintings. It positive factors essays proposing quite a number generational and cultural views. summary: studying the gathering of The Museum of contemporary paintings, an immense North American museum, this name provides numerous generational and cultural views.

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It is the beginning, it seems—or (2006), which transforms “The Advantages of Being a perhaps the middle, something further along—of MoMA’s Woman Artist” into “The Advantages of Being a Lesbian movement to make its history of modernism more incluWoman Artist” with vandalism, dirty jokes, and cruel sive and therefore more historically accurate. But in the derision—demonstrate an ambivalent but still engaged Museum’s attempt to “Float the Boat”—to make space for 16 relationship to past forms of activist art.

Malmoe, July 9, 2007, www. org/artikel/ tanzen/1445. 16. Ridykeulous is an artists’ collective made up of Nicole Eisenman and A. L. Steiner. The Advantages of Being a Lesbian Woman Artist appeared in LTTR: Positively Nasty, no. 5 (2006): 32. 17. “LTTR at WACK! org/ eventslttr-at-wack-a-one-dayevent-at-ps1. 18. Nancy Spero, letter to Lippard, October 29, 1971. Lucy R. Lippard papers, 1940s–2006. Archives of American Art, The Smithsonian Institution. D’SOUZA 69 EARLY MODERN 72 / SUSAN KISMARIC / JULIA MARGARET CAMERON 76 / SARAH SUZUKI / KÄTHE KOLLWITZ 80 84 / JENNY HE / LILLIAN GISH / JODI HAUPTMAN / SONIA DELAUNAY-TERK 88 / JYTTE JENSEN / ASTA NIELSEN 92 / ANNE UMLAND / GEORGIA O’KEEFFE 96 / JUDITH B.

In Weberzug (March of the weavers) (no. 1), a band of workers moves determinedly, if dejectedly, toward the town in which they will attack their employers’ homes and warehouses. There seems to be a sense of bleak resignation rather than excitement or true revolutionary fervor, for while some shout with fists in the air, others look grimly resigned as they march along, axes in hand. Among the group are several women, one of whom labors to carry a sleeping child; here the artist compassionately portrays the myriad duties of women, as she would throughout her career.

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