June 15, 2009

ONE TO GROW ON

statement-1.jpg
Artist statement from Steven Cochrane.

Also, I am saving my bucks starting today to go see the Elles@CentrePompidou in Paris before it closes next May 24. Matt was there last week playing a show and saw it and brought me back the book/catalog and I am about to go check out improve-yr-franch tapes from the library so I can read it, though sentences like: "1980 was the year women interceded on the boy's world of conceptual art" is almost the same in French. Given that all I remember how to say in French is "how old are you" and "my name is" and names of fruits and animals, the book is a real motivator to dive back in. Here's some info:
:

"For the first time in the world, a museum will be displaying the feminine side of its own collections. This new presentation of the Centre Pompidou's collections will be entirely given over to the women artists from the 20th century to the present day.

This will be the occasion for the institution, which has built up the very first collection of modern and contemporary art, to show its commitment to women artists, nationality and discipline taken together, and place them at the core of modern and contemporary art of the 20th and 21st centuries."
(Elles@ site, with videos & images from the exhibition.)

As someone who was mostly disappointed by the trad WACK! exhibit (which seemed to limit it's curation to art that tackled porn/vaginas/motherhood/70's lesbian identity, do so in exactly the way you would expect it to and end the time line of feminist art somewhere in Brooklyn c. 1986)--this Elles@ is the big dream come true; international, modern, includes furniture, design, architecture, recent gender-fuck radicalism, Niki de Saint Phalle from shotgun-era to enter-the-rainbow-vagina era, and what appears to be a surplus of early Marina Abramovic & Ghada Amer whose porn-embroidery/paintings I have never actually seen in person, yet. Yet.

(Site for the Elles@ show, with videos & images from the show)

& some more lively bits of interest here in a review of the show, which makes the MOMA look like the knuckle draggers they are.

"“The Museum of Modern Art practices a form of gender-based apartheid,” wrote Jerry Saltz, art critic for New York Magazine, on his Facebook page a couple of weeks ago, engendering a lively debate. He noted that only 4 percent of the works currently on show in MoMA’s permanent collection are by women and that only nine of the 135 different artists represented are women. “MoMA is telling a story of modernism that only it believes,” he said. “MoMA has declared itself a hostile witness.”

Posted by jessica hopper at June 15, 2009 01:33 PM | TrackBack