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Feminist Body Art

Feminist Body Art. Hannah Wilke, Marxism and Art: Beware of Fascist Feminism, 1974-77. Carolee Schneeman , (left) Eye Body: 36 Transformative Actions 1963, paint, glue, fur, feathers, garden snakes, glass, plastic with the studio installation "Big Boards.".

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Feminist Body Art

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  1. Feminist Body Art Hannah Wilke, Marxism and Art: Beware of Fascist Feminism, 1974-77

  2. Carolee Schneeman, (left) Eye Body: 36 Transformative Actions 1963, paint, glue, fur, feathers, garden snakes, glass, plastic with the studio installation "Big Boards."

  3. Carolee Schneeman, Meat Joy 1964 Judson Church, NYC. Group performance: raw fish, chickens, sausages, wet paint, plastic, rope, shredded scrap paper: (right) Interior Scroll, 1975

  4. Yoko Ono (Japan, b. 1933)Cut Piece, performance, 1964 (Japan) and (right)1965 (NYC,Carnegie Hall) http://www.dailymotion.com/video/x3dsvy_yoko-ono-cut-piece_shortfilms

  5. Shigeko Kubota (American b. Japan, 1937) Vagina Painting,performance, July 4th, 1965, New York City, Perpetual Fluxus Festival (paint brush attached to crotch of underpants)

  6. Ana Mendieta (b Havana, 1948; d New York,1985), Untitled (Facial Hair Transplants), 1972compare Frida Kahlo, Self-Portrait with Cropped Hair, 1946

  7. Ana Mendieta, Untitled (Death of a Chicken), 1972 compare Hermann Nitsch, Viennese Actionism, First Action, 1962

  8. Ana Mendieta, Untitled (People Looking at Blood), 1973 Carl Andre, Equivalent VIII, 1966

  9. Ana Mendieta, Untitled (Body Tracks), 1975

  10. "I am overwhelmed by the feeling of having been cast from the womb (nature). My art is the way I re-establish the bonds that unite me to the universe." - Mendieta Mendieta, Untitled (Blood & Feathers), 1974

  11. Mendieta, (left) Maroya (Moon), 1982 / (right) Untitled (Silueta Series, Iowa), 1979

  12. Mendieta, Silueta, 1979

  13. Hannah Wilke, Starification Object Series, 1975, chewing gum objects on artist’s body, done as performance with gum chewed by audience and as performative self-portraits with Les Wollan (male photographer) one of 35 black and white photographs in the Mastication Box, a game box with photographs, chewing gum sculptures, playing cards, instructions for play

  14. Hannah Wilke, Starification Object Series, 1975: Pretty woman, femme fatale trickster – seduction and repulsion advertisement

  15. Hannah Wilke, Starification Object Series, chewing gum collage,1975, 33x26,” Post-minimal, conceptual, erotic humor

  16. Hannah Wilke, So Help Me Hannah: What Does This Represent / What Do You Represent, 1978. Performance photograph by Donald Goddard, husband François Boucher, Leda and the Swan, c. 1740, Oil on canvas

  17. Hannah Wilke, February 19, 1992, #6Intra-Venus Series, photographs taken in collaboration with the artist’s husband, Donald Goddard, documenting the deterioration of her body from fatal lymphoma

  18. Judy Chicago (US. B. 1939),The Dinner Party, 1974 to 1979, collaborative mixed media (ceramic, porcelain, textile) installation depicting (life size) place settings for 39 famous women (mythical and historical). Brooklyn Museum, New York, USA.

  19. http://www.brooklynmuseum.org/eascfa/dinner_party/home.php

  20. Judy Chicago, The Dinner Party (Sojourner Truth place setting),1974–79, mixed media: ceramic, porcelain, textile. Brooklyn Museum

  21. Mary Kelly (US b.1941), Postpartum Document, 1973-79. (left) A 1999 installation drawings, graphs and charts, objects and sound recordings. Post-Partum Document, Documentation IV: transitional objects, diary and diagram, 1976. (Post Minimal, Post Conceptual) Feminist

  22. Marina Abramovic (b.1946, Belgrade, Yugoslavia), “grandmother of performance art” (top left) photograph of Rhythm O, performance ,1977. Compare Yoko Ono, Cut Piece, performance, 1964. (below) Abramovic, Art Must Be Beautiful, 1975, 4 video stills http://www.youtube.com/watch?v=zOuzzzltSOA

  23. Marina Abramovic and Ulay (Uwe Laysiepen), (left) Rest Energy, video with audio of heart beats, 1980 (right) Imponderabilia, performance at museum entrance, 1978

  24. Abramovic, Balkan Baroque, 1997, Venice Biennale, Golden Lion Award "I'm only interested in an art which can change the ideology of society...Art which is only committed to aesthetic values in incomplete...I don't defend anyone, neither the Serbs nor the Bosnians nor the Croats...I'm trying to deal with my own emotions, for example with this tremendous feeling of shame which I have about this war. As an artist, you can only deal with what there is inside you. I'm making this play because it is the only way to react emotionally to the war."

  25. Marina Abramović: The Artist Is PresentMarch 14–May 31, 2010Museum of Modern Art, New Yorkhttp://www.moma.org/visit/calendar/exhibitions/965http://www.moma.org/explore/multimedia/videos/96/577 (left) Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965, Dusseldorf (right) Marina Abramovic, How to Explain Pictures to a Dead Hare, 2005, Guggenheim Museum

  26. Sanja Ivekovic (Croatian, b. 1949), Make Up-Make Down, 1978 video Read review of Ivekovic’s 2011-2012 show at NYC MoMA on course website under “Readings”

  27. Sanja Ivekovic, Lady Rosa of Luxembourg, 2001, 2011-12 exhibition view,Museum of Modern Art

  28. Sanja Ivekovic's "Women's House (Sunglasses)," from 2004

  29. Sanja Ivekovic's "Women's House (Sunglasses)," from 2004. NYC MoMA 12/30/2011

  30. http://video.nytimes.com/video/2011/12/22/arts/design/100000001234811/sanja-ivekovics-personal-cuts-1982.htmlhttp://video.nytimes.com/video/2011/12/22/arts/design/100000001234811/sanja-ivekovics-personal-cuts-1982.html

  31. Janine Antoni, Loving Care, 1993, Installation view at Anthony D'Offay Gallery, London. The artist soaked her hair in hair dye and mopped the floor with it. I mopped the floor with my hair…The reason I’m so interested in taking my body to those extreme places is that that’s a place where I learn, where I feel most in my body. I’m really interested in the repetition, the discipline, and what happens to me psychologically when I put my body to that extreme place.” — Janine Antoni

  32. Janine Antoni,Gnaw, 1992, Three part installation. Chocolate: 600 lbs. of chocolate gnawed by the artist; lard: 600 lbs. of lard gnawed by the artist; display: 130 Lipsticks made with pigment, beeswax, and chewed lard removed from the lard cube; 27 Heart-shaped packages made from chewed chocolate removed from the chocolate cube. "With Gnaw I was thinking about traditional sculpture, about carving. I was also interested in figurative sculpture. I put those two ideas together and decided that rather than describing the body, I would use the body, my body, as a tool for making art.“ - Janine Antoni

  33. Janine Antoni, Gnaw, installation

  34. Janine Antoni, Lick and Lather, 1993, 7 soap and 7 chocolate self-portrait busts, 24 x 16 x 13 inches each http://www.pbs.org/art21/artists/antoni/clip1.html#

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