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29.01.2018

Radical Women in a City of Dreams

(Español) When museums re-write art history to include the women they so long ignored.

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Notes

  1. Nellie Wong, “Flows from the Dark of Monsters and Demons: Notes on Writing,” in Radical Women Pamphlet (San Francisco, 1979), quoted in Gloria Anzaldúa, “Speaking in Tongues: A Letter to Third World Women Writers,” first published in Cherrie Morgana and Gloria Anzaldúa, This Bridge Called My Back: Writings by Radical Women of Color (Watertown, MA: Persephone Press, 1981).

  2. Gareth Harris, Julia Halperin, and Javier Pes, “What Does a Female Artist Have to Do to Get a Major Solo Show?” The Art Newspaper (29 April 2016): http://theartnewspaper.com/news/news/what-does-a-woman-have-todo-to-get-a-solo-show.

  3. Some of the exhibitions that traverse this terrain are: Axis Mundo: Queer Networks in Chicano LA at ONE Gallery; ¡Murales rebledes! LA Chicana/o Murals under Siege (LA Plaza de Cultura y Artes); and solo exhibitions of several women artists including Anna Maria Maiolino (MOCA) and photographer Laura Aguilar (Vincent Price Art Museum). There are also numerous exhibitions such as Home—So Different, So Appealing at LACMA, which includes many women artists.

  4. See Connie Butler, Amelia Jones, and Maura Reilly, “Feminist Curating and the ‘Return’ of Feminist Art” in The Feminism and Visual Culture Reader, ed. Amelia Jones, 2nd ed (New York: Routledge, 2010): 31–43.

  5. See Andrea Giunta and George F. Flaherty, “Latin American Art History: An Historiographic Turn,” Art in Translation vol. 9, sup. 1, 2017: 121-142. http://www.tandfonline.com/doi/full/10.1080/17561310.2016.1246293.

  6. Quoted in the exhibition press release: https://hammer.ucla.edu/fileadmin/media/Press_Releases/2016/Hammer_Radical_Women_English_FINAL.pdf.

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