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Guerrilla Girls
Formation 1985
Headquarters New York City, U.s.a.

Region served

Worldwide

Official language

English
Website guerrillagirls.com

Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art globe.[one] The group formed in New York City in 1985 with the mission of bringing gender and racial inequality into focus inside the greater arts community.[2] The group employs culture jamming in the grade of posters, books, billboards, and public appearances to expose discrimination and corruption. They also frequently use humor in their piece of work to make their serious messages engaging.[three] They are known for their "guerilla" tactics, hence their name, such as hanging upwardly posters or staging surprise exhibitions.[3] To remain anonymous, members don gorilla masks and use pseudonyms that refer to deceased female person artists such equally Frida Kahlo, Kathe Kollwitz, and Alice Neel. According to GG1, identities are concealed because issues matter more than than individual identities, "Mainly, nosotros wanted the focus to exist on the problems, not on our personalities or our own work."[4]

History [edit]

During the superlative of the gimmicky fine art motility in the 20th century, many distinguished galleries lacked appropriate representation of female person artists and curators. These galleries were oft privately funded by elites, predominately white males, pregnant that museums are no longer documenting fine art, but power structures.[v] By the mid 1960s, the Metropolitan Museum of Art in New York had a predominantly male board of directors. This correlates to the disparity of female artists on display while art depicting the female grade was arable. Then in 1985, a group was formed to bring lite to these disparities in the sexist art world. Membership has fluctuated over the years from a high of almost 30 women to a handful of active members now[half-dozen]

In the spring of 1985, 7 women launched the Guerrilla Girls in response to the Museum of Mod Art's exhibition "An International Survey of Recent Painting and Sculpture" [1984), whose roster of 165 artists included just 13 women.[7] Inaugurating MoMA'south newly renovated and expanded building, this exhibition claimed to survey that era'due south most important painters and sculptors from 17 countries.[8] The proportion of artists of color was fifty-fifty smaller, and none of them were women.[9]

Guerrilla Girls at the V&A Museum, London

A annotate past the testify's curator, Kynaston McShine, further highlights that era's explicit art world gender bias: "Kynaston McShine gave interviews proverb that any creative person who wasn't in the show should rethink his career."[ten] In reaction to the exhibition and McShine's overt bias, they protested in front of MoMA. Thus, the Guerrilla Girls were born.

When the protests yielded lilliputian success, the Guerrilla Girls wheat-pasted posters throughout downtown Manhattan, particularly in the SoHo and Eastward Village neighborhoods.[11]

Soon subsequently, the group expanded its focus to include racism in the art world, attracting artists of color. They also took on projects outside of New York, enabling them to accost sexism and racism nationally and internationally. Though the fine art earth has remained the group's main focus, the Guerrilla Girls' agenda has included sexism and racism in films, mass and popular culture, and politics. Tokenism also represents a major group business organization.[eleven]

Guerrilla Girls Portfolio Exhibition, Mjellby Art Museum, Sweden. September 29, 2018 – January 27, 2019.

During its starting time years, the Guerrilla Girls conducted "weenie counts," such that members visited institutions like the Metropolitan Museum of Art and counted artworks' male person-to-female subject ratios. Information gathered from the Met'due south public collections in 1989 showed that women artists had produced less than 5% of the works in the Modern Art Department, while 85% of the nudes were female.

Early on organizing was based effectually meetings, during which members evaluated statistical data gathered regarding gender inequality within the New York City'due south art scene. The Guerrilla Girls also worked closely with artists, encouraging them to speak to those inside the customs to bridge the gender gap where they perceived information technology.[12]

Guerrilla Girls wear gorilla masks whenever making public appearances.

When asked about the masks, the girls answer "Nosotros were Guerrillas before we were Gorillas. From the showtime, the printing wanted publicity photos. We needed a disguise. No ane remembers, for certain, how we got our fur, simply ane story is that at an early meeting, an original daughter, a bad speller, wrote 'Gorilla' instead of 'Guerrilla.' It was an enlightened mistake. It gave us our 'mask-ulinity.'"[13] In an interview with New York Times the Guerrilla Girls were quoted, "Anonymous free speech is protected by the Constitution. You'd exist surprised what comes out of your oral fissure when you wear a mask."[14]

Since 1985, the Guerrilla Girls have worked for an increased awareness of sexism and greater accountability on the role of curators, fine art dealers, collectors, and critics.[15] The group is credited, to a higher place all, with sparking dialogue, and bringing national and international attention to issues of sexism and racism within the arts.

Influences [edit]

Many feminist artists in the 1970s dared to imagine that female artists could produce authentically and radically different art, undoing the prevailing visual image. The pioneering feminist critic, Lucy Lippard curated an all-women exhibition in 1974, finer protesting what most deemed a deeply flawed approach, that of merely assimilating women into the prevailing fine art organization.[16] Shaped by the 1970s women'due south motility, the Guerrilla Girls resolved to devise new strategies. Nearly noticeably, they realized that 1970s-era tools such equally pickets and marches proved ineffective, as evidenced past how hands MoMA could ignore 200 protestors from the Women's Caucus for Fine art. "We had to have a new prototype and a new kind of language to entreatment to a younger generation of women," recalls ane of the founding Guerrilla Girls, who goes by "Liubov Popova."[17] The Guerrilla Girls sought an culling approach, one that would defeat views of the 1970s Feminist movements as man-hating, anti-maternal, strident, and humorless:[16] Versed in poststructuralist theories, they adopted 1970s initiatives, but with a different language and style. Earlier feminists tackled grim and unfunny bug such as sexual violence, inspiring the Guerrilla Girls to go on their spirits intact by approaching their work with wit and laughter, thus preventing a backlash.[16]

Work: actions, posters and billboards [edit]

Art world [edit]

French feminist group La Barbe (Beard) meets the Guerrilla Girls at the Palais de Tokyo (Paris, 2013).

Throughout their being, the Guerrilla Girls have gained the most attention for their assuming protestation art.[18] The Guerrilla Girls' projects (mostly posters at get-go) express observations, concerns, and ideals regarding numerous social topics. Their fine art has always been fact-driven, and informed by the grouping'southward unique approach to data collection, such as "weenie counts." To be more inclusive and to brand their posters more than eye-catching, the Guerrilla Girls tend to pair facts with humorous images[19] – a course of word art.[xx] Although the Guerrilla Girls gained fame for wheat-pasting provocative campaign posters effectually New York City, the group has also enjoyed public commissions and indoor exhibitions.

In addition to posting posters around downtown Manhattan, they passed out thousands of small handbills based on their designs at various events.[12] The starting time posters were mainly black and white fact sheets, highlighting inequalities betwixt male and female artists with regard to a number of exhibitions, gallery representation, and pay. Their posters revealed how sexist the art earth was in comparison to other industries and to national averages. For case, in 1985 they printed a affiche showing that the salary gap in the art world between men and women was starker than the United States average, proclaiming "Women in America earn but 2/three of what men practice. Women artists earn only 1/3 of what men do." These early on posters often targeted specific galleries and artists. Another 1985 affiche listed the names of some of the most famous working artists, such equally Bruce Nauman and Richard Serra. The poster asked "What do these artists have in common?" with the answer "They allow their work to be shown in galleries that show no more than than 10% of women or none at all."

The grouping was also activists for equal representation of women in institutional fine art, and highlighted creative person Louise Bourgeois in their "Advantages to Being a Women artist," affiche in 1988 as one line read, "Knowing your career might not pick up till after you're 80."[21] Their pieces are also notable for their use of combative statements such as "When racism and sexism are no longer fashionable, what will your fine art drove be worth?"[eleven]

"Dearest Art Collector" (1986) is a 560x430 mm screen-print on paper. This is one of thirty posters published in a portfolio entitled "Guerrilla Girls Talk Dorsum".[22] This print is unusual in the portfolio in that it takes the form of an enlarged handwritten letter on baby pink paper. The extremely rounded cursive script crowned with a frowning flower exudes femininity, symbolizing the biting sarcasm for which the Guerrilla Girls were known. The Guerrilla Girls sent this poster to well-known fine art collectors across the U.s., pointing out how few works they owned by women artists. This transport-up of femininity is aimed at the expectation that, fifty-fifty when presenting a serious complaint, women should do so in a socially adequate 'squeamish' way. "We know that yous feel terrible about this" appeals to the feelings of the recipient. This piece was a commentary on how difficult it is for female artists, and what lengths they must go through in order to be recognized and taken seriously. Women are constantly expected to perform a certain mode and this print is the embodiment of how tumultuous it is for women all around the world to be recognized in the eyes of men with ability. The group afterwards transcribed it into other languages and sent information technology to collectors outside the U.S. A applied joke with serious implications, this poster is at present (somewhat ironically) a collector's item.

The posters were rude; they named names and they printed statistics (and almost always cited the source of those statistics at the bottom, making them difficult to dismiss). They embarrassed people. In other words, they worked.[23]

The Guerrilla Girls' first colour poster, which remains the group's most iconic image, is the 1989 Metropolitan Museum poster, which used data from the grouping's first "weenie count." In response to the overwhelming number of female nudes counted in the Modern Fine art sections, the poster asks, sarcastically, "Exercise women have to be naked to get into the Met. Museum?". Next to the text is an image of the Jean Auguste Dominique Ingres painting La Grande Odalisque, one of the most famous female nudes in Western art history, with a gorilla head placed over the original face.

In 1990, the grouping designed a billboard featuring the Mona Lisa that was placed along the West Side Highway supported by the New York City Public Art Fund.[24] For one twenty-four hour period, New York's MTA Bus Company too displayed motorbus advertisements with Met. Museum poster. Stickers also became a popular calling cards representative of the group.

The Guerrilla Girls infiltrated the bathrooms of the newly opened Guggenheim Soho, placing stickers regarding female inequality on the walls.[12] In 1998, Guerrilla Girls Due west protested at the San Jose Museum of Art, over depression representation of women artists.[25]

In addition to researching and exposing sexism in the art world, the Guerrilla Girls have received commissions from numerous organizations and institutions, such every bit The Nation (2001),[26] Fundación Bilbao Arte (2002), Istanbul Mod (2006) and Witte de With Center for Contemporary Art (2007). They accept likewise partnered with Immunity International, contributing pieces to a show under the organization's "Protect the Homo" initiative.[27]

They were interviewed for the film !Women Art Revolution.[28]

In 1987, the Guerrilla Girls[29] published thirty posters in a portfolio entitled Guerrilla Girls Talk Back.[30] I specifically, We Sell White Staff of life,[31] was a poster made to gradually widen their focus, tackling bug of racial discrimination in the art world and besides making more direct, politicized interventions.[32] [31] In 1987, the image on this affiche was first seen as peel-off stickers on gallery windows and doors in New York.[33] Its medium, screen print on newspaper, has the words "We Sell White Bread" and are stamped on a slice of white breadstuff alongside a list of ingredients that includes the white male artists whose work is on display at the galleries.[32] [31] Co-ordinate to the poster, the galleries favored white, male person artists, noting that the gallery "contains less than the minimum daily requirement of white women and not-whites."[32] [33]

Public commissions [edit]

In 2005, the group exhibited large-format posters Welcome to the Feminist Biennale at the Venice Biennale (the first in 110 years to be overseen by women), scrutinizing 101 years of Biennale history in terms of diversity. Where Are the Women Artists of Venice? explored the fact that most works endemic by Venice'south historical museums are kept in storage.[34] [35] [36]

Since 2005, the Guerrilla Girls have been invited to produce special projects for international institutions, sometimes for the very institutions, they accept criticized. Offers that pose a dilemma are carefully considered, so as to avoid censure since one mode to improve institutions is to criticize them from within.[37]

Their 2006 poster The Futurity For Turkish Women Artists as Revealed by the Guerrilla Girls, deputed past Istanbul Modern, demonstrated that the condition of women artists in Turkey was meliorate than in Europe.[38] In 2007, the Washington Post published their Horror on the National Mall!, a ane-page newspaper spread attacking the absence of diversity amid tax-payer supported museums on the Mall in Washington, DC.[39] During the 2007 ART-ATHINA, the Guerrilla Girls projected "Dear Art Collector" in Greek onto the entrance's façade. In 2015, they projected their "Dear Art Collector" animation onto a museum façade, taking on collectors who fail to pay employees a living wage.[twoscore] To commemorate the 20th Ceremony of the École Polytechnique massacre, the University of Quebec commissioned their Troubler Le Repos (Agonizing The Peace) poster, whose texts addressed anti-women hate-spoken communication since Ancient Greece to Rush Limbaugh.

In 2009, they launched I'm non a feminist, but If I were this is what I'd complain about ... , an interactive graffiti wall that enables women who don't see themselves every bit feminists the ways to target gender issues with the hope that agile participation will broaden their perspectives.[41] In 2012, this traveled to Krakòw'southward Fine art Boom Festival.[42]

In 2011, Columbia College Chicago's Glass Drapery Gallery and Institute for Women and Gender in the Arts and Media commissioned the first Guerrilla Girls survey of Chicago museums. The resulting banner entitled Chicago Museums [Guerrilla Girls to Museums: Time for Gender Reassignment!] critiqued gender disparity in the gimmicky art collections of the Art Constitute of Chicago and the Museum of Contemporary Art.[43]

In 2012, an advertising truck towed Do women Take To Be Naked To Get into Boston Museums? around Boston.[44] Invited by Yoko Ono to participate in the 2013 Meltdown Festival, the Guerrilla Girls updated their 2003 Estrogen Bomb poster, which had premiered in The Village Voice in 2003.

During Winter 2016, they participated in "Twin City Takeover," art exhibitions and art projects organized by a consortium of local art organizations sited around Minneapolis and St. Paul.[45] [46] [47] [48] [49]

In 1996 Guerrilla Girls came out with Planet Pussy in Monkey Business outcome #4 in November 1996.[50] This was a piece of work about feminism and was published by Sike Burmeister and Sabine Schmidt.[51]

Motion picture world [edit]

Guerrilla Girls billboard in Los Angeles protesting white male dominance at the Oscars in 2002.

To protestation the dearth of female directors, the Guerrilla Girls distributed stickers during the 2001 Sundance Film Festival.[52] The Nation invited them to nowadays Birth of Feminism,[26] which they updated and presented in 2007 as a banner exterior Witte de With Heart for Contemporary Arts. Since 2002, Guerrilla Girls Inc. accept designed and installed billboards during the Oscars that address white male potency in the motion-picture show manufacture, such as: "Anatomically Correct Oscars," "Even the Senate is More Progressive than Hollywood," "The Nascence of Feminism,"[53] "Unchain the Women Directors."[54]

During the 2015 Reykjavik Arts Festival, the Guerrilla Girls displayed National Motion-picture show Quiz, a billboard criticizing the fact that 87% of national funding for films goes to men, despite women playing an of import office of Republic of iceland's public and private sectors.[55] In light of 2016's #Oscarssowhite entrada, the Guerrilla Girls updated the above billboards, presenting them on downtown Minneapolis streets for "Twin Metropolis Takeover."[56]

Politics and social issues [edit]

Although the Guerrilla Girls' protest fine art directed at the art world remains their near well-known work, throughout their existence the group has periodically targeted politicians, specifically conservative Republicans. Those criticized have included George Bush, Newt Gingrich, and nigh recently Michele Bachmann. In 1991, the Artist and Homeless Collaborative invited them to piece of work with homeless women to create posters in response to homelessness and the outset Gulf War. Between 1992 and 1994, Guerrilla Daughter posters addressed the 1992 Presidential election, reproductive rights (washed for the march on Washington in 1992), gay and lesbian rights, and the LA riots. During the 2012 election, they displayed their Even Michele Bachman believes. ... on a billboard adjacent to a football stadium to advertise her plan to: ban aforementioned-sexual practice marriages, require Voter Id Checks, and spend coin implementing statewide voter IDs.[57] Their 2013 posters discussed the Homeland Terror Alert organisation and Arnold Schwarzenegger's gubernatorial campaign.

In 2016, the Guerrilla Girls launched the "President Trump Announces New Commemorative Months" entrada in the form of stickers and posters, which they distributed during the "Women's March on Washington" in LA and NYC, likewise as the J20 event at the Whitney Museum of Art[58] and the Burn Fink protestation at MoMA.[59]

Work: publications and trade [edit]

To shed light on inequality in the fine art world, the Guerrilla Girls have published numerous books. In 1995, they published their starting time book, Confessions of the Guerrilla Girls, a compilation of 50 works plus a self-interview.[60] [61] In 1998, they published The Guerrilla Girls Bedside Companion to the History of Western Fine art, a consciousness-raising comic book that sold 82,000 copies, as it explores how art history's male person domination constrained several female artists' careers.[62] In 2003, they published Bitches, Bimbos and Ballbreakers, a downwards and muddy catalogue of "The Summit Stereotypes from Cradle to Grave." Offer thumbnail histories for cultural clichés ranging from "Daddy's Girl," "the Daughter Next Door," "the Bimbo/Dumb Blonde" to "the Bitch /Ballbreaker", each is given "trademark Guerrilla Girl handling: pointed factoids and absurd graphics."[63] [64]

Their 2004 book The Guerrilla Girl's Museum Activity Book (reissued in 2012) parodies children'southward museum activeness books. Meant to teach children how to both appreciate and critique museums, this book provides activities that reveal the problematic aspects of museum culture and major museum collections. In 2009, they produced a history of hysteria, The Hysterical Herstory Of Hysteria And How It Was Cured From Aboriginal Times Until Now.[65] MFC-Michèle Didier published it in 2016.

Presentations [edit]

An important part of Guerrilla Girls' outreach since 1985 has been presentations and workshops at colleges, universities, art organizations, and sometimes at museums. The presentations, known as "gigs", concenter hundreds and sometimes thousands of attendees. In the gig, they play music, videos, bear witness slides and talk virtually the history of their work, how it has evolved. In the stop, the GGs interact with audience members. New work is always included and gig material changes all the time. They have done hundreds of these events and accept traveled to nearly every state as well as Europe, South America, and Australia.

In recognition of their work, the Guerrilla Girls have been invited to requite talks at world-renowned museums, including a presentation at the MoMA's 2007 "Feminist Futures" Symposium. They take also been invited to speak at fine art schools and universities beyond the globe and gave a 2010 commencement speech at the School of the Art Found of Chicago. To mark the 30th anniversary of the Guerrilla Girls, Matadero Madrid hosted "Guerrilla Girls: 1985-2015," an exhibition featuring most of the commonage's production accompanied by a series of events including a talk/performance by Guerrilla Girl members Frida Kahlo and Käthe Kollwitz.[66] [67] The exhibition also showed the 1992 documentary "Guerrilla in Our Midst" by Amy Harrison.[68] [69]

3 Guerrilla Girls appeared on the Stephen Colbert show on January 14, 2016.[70] [71]

Exhibitions [edit]

Early on solo exhibitions included: "The Night the Palladium Apologized" (1985), Palladium (New York City); "Guerrilla Girls Review the Whitney" (1987), Clocktower PS1; and "Guerrilla Girls" (1995), Printed Affair, Inc[72]

Career surveys include:

  • "Guerrilla Girls Talk Back: The Commencement V Years, A Retrospective: 1985-1990" (1991), the Falkirk Cultural Center, San Rafael, California
  • "Guerrilla Girls: 1985-2013," Azkuna Zentroa (2013).
  • "Guerrilla Girls: Retrospective" (2009), Millennium Court Arts Centre, UK *"Feminist Masked Avengers: thirty Early Guerrilla Girls' Posters" (2011) Mason Gross School of the Arts Galleries
  • "Guerrilla Girls" (2007), Hellenic American Union Galleries, Athens, GR
  • "Non Ready to Make Overnice: The Guerrilla Girls in the Art World and Beyond" Columbia College Chicago (2012-2017) Traveled to Monserrat Higher of Art; Krannert Art Museum; Fairfield Academy; Georgia Museum of Fine art; DePauw University; North Michigan University: Stony Beck University: California State University: The Verge Eye for the Arts: and Moore College for Art and Blueprint.
  • "The Guerrilla Girls" (2002), Fundacíon Bilbao Arte, Bilbao, ES
  • "Guerrilla Girls: Takeover" (2021), Nasher Sculpture Center, Dallas, Texas.

On the heels of "Not Ready to Make Nice" were:

  • "Art at the Eye: Guerrilla Girls'," 2016, Walker Art Center[73]
  • "Front end Room: Guerrilla Girls," 2016–2017, Baltimore Museum of Art
  • "Guerrilla Girls: Non Ready to Make Squeamish, 30 Years and Still Counting," 2015, Abrons Arts Center;[six]
  • "Media Networks: Andy Warhol and the Guerrilla Girls," 2016, Tate Modern[74]
  • "Non Ready to Brand Prissy: Guerrilla Girls 1985-2016," 2016–2017, FRAC Lorraine.
  • "The Guerrilla Girls and La Barbe", 2016, Gallery mfc-micheledidier, Paris.

Controversies [edit]

Variety [edit]

Despite having routinely challenged art institutions to display more artists of colour, both members and critics want the Guerrilla Girls to be more than various. "Zora Neale Hurston" recalls Guerrilla Girl membership equally "mostly white" and largely mirroring the art world demographics that they critiqued.[75] Despite sporting gorilla masks to downplay personal identity, some members attribute Guerrilla Girl interests to the fact that de facto leaders "Frida Kahlo" and "Kathe Kollwitz" are both white.[16] ("Frida Kahlo" has also been criticized for her appropriation of a Latina artist's name.)[76] The artist believed in the overt artistic expression past correlating beauty and pain, along with the ascent of modernism.[77] An art motion without generalization.

However, any precise information on the demographics of the Guerrilla Girls is incommunicable, for they have "staunchly, and problematically, resisted being surveyed as to the makeup of their own membership."[16]

Several Guerrilla Girls who are people of color have faced numerous challenges. Despite the Guerrilla Girls' stance confronting tokenism, some artists of color abased Guerrilla Girl membership due to tokenism, silencing, disrespect, and whitewashing.[16] [75] As a woman of color, "Alma Thomas" describes having felt uncomfortable wearing the Guerrilla Girls' signature gorilla mask.[78] "Thomas" recalls trivial effort being devoted to understanding the challenges of artists of color. "Their whiteness was such that they. ... didn't sympathise that blacks were being put in a completely separate world in the art world, that black male artists and blackness female artists are completely separated, completely segregated to this day."[75] Ultimately, this widespread antagonism led to many "artists of color [leaving] later on a few meetings because they could sense the unspoken hierarchy in the grouping."[79]

2nd-wave feminism and essentialism [edit]

Bearding MCAD student protestation against the Guerrilla Girls

Emerging at the tail end of the second-wave feminist movement, the Guerrilla Girls navigated the differences between established and emerging feminist theory during the 1980s. "Alma Thomas" describes this gray-area that the Guerrilla Girls occupied as "universalist feminism," bordering on essentialism.[78] Art Historian Anna Chave considers the Guerrilla Girls' essentialism much more than profound, leading the group to be "assailed by ... a ascension generation of women wise in the means of poststructuralist theory, for [their] putative naiveté and susceptibility to essentialism."[16] Essentialist views are nigh clearly exhibited in ii Guerrilla Girl books:The Guerrilla Girls Bedside Companion to the History of Western Art (1998) and the controversial Estrogen Bomb (2003–thirteen) campaign. Regarding the former, "Alma Thomas" worried that The Guerrilla Girls Bedside Companion to the History of Western Art "was and then embedded in that second-moving ridge feminist and even pre-2nd-wave essentialism" that it fulfilled some supposition that all women artists are feminist artists.[78]

Students at Minneapolis College of Art and Design criticized their Estrogen Bomb affiche campaign, describing it as insensitive towards transgender people since it ties the female gender to estrogen, the same sort of essentialist link the Guerrilla Girls aim to critique.[80] [81] Aside from essentialism, the Guerrilla Girls have too been critiqued for failing to integrate intersectionality into their piece of work.[76]

Internal disputes [edit]

Leading upwards to a highly publicized 2003 lawsuit, there was increasing animosity toward "Frida Kahlo" and "Käthe Kollwitz." Despite founding members' initial intention to create a non-hierarchal, equitable power structure, in that location was an increasing sense that 2 people were making "the last decisions no matter what you said."[75] Several Guerrilla Girls felt that their second volume, The Guerrilla Girls Bedside Companion to the History of Western Art,[82] primarily represented the views of "Kahlo" and "Kollwitz". Some even felt that "Kahlo" and "Kollwitz" completely controlled the book, despite their having selected material created collectively by all Guerrilla Girls. There was even suspicion that these ii not only claimed all the credit but took all of the profits. Some members condemned the volume as "undemocratic and ... against the spirit of the [Guerrilla] Girls."[78]

Equally the Guerilla Girls gained in popularity, tensions led to what the Girls later called the "banana divide," every bit five members actually separate from the collective. Soon later several members stepped aside to form Guerrilla Girls Broadband, "Kahlo" and "Kollwitz" moved to trademark the name "Guerrilla Girls, Inc." to distinguish their realm from those of Guerrilla Girls BroadBand and Guerrilla Girls On Tour! whose focus is bigotry in the theater world.[79] Even though their former colleague "Gertrude Stein" was in the on-tour group, "Kahlo" and "Kollwitz" charged them with copyright and trademark infringement and unjust enrichment. Many members of the grouping felt especially betrayed that "Kahlo" and "Kollwitz" had launched their lawsuit under their existent names, Jerilea Zempel and Erika Rothenberg.[83]

This prompted negative reactions from both current and former Guerrilla Girls, who objected to "Kahlo" and "Kollwitz" claiming responsibility for having created the commonage effort, likewise as the flippancy with which they exchanged their anonymity for legal standing.[xvi]

Estimate Louis 50. Stanton, who handled the case, rejected the "bizarre" proposition that defendants sporting gorilla masks be allowed to testify in his court. He as well stated that "Mundane courtroom procedures for adjudicating legal rights and the buying of property require straight and cross-exam of real persons with existent addresses and attributes."[83]

In their 45-folio complaint, "Kahlo" and "Kollwitz" described themselves as the group'south "guiding forces," fifty-fifty though the Guerrilla Girls were "informally organized, [and] had no official bureaucracy." Initially, they asked the court to stop Guerrilla Girls Broadband from calling themselves Guerrilla Girls and sought millions of dollars in damages. In 2006, they settled with the theatre grouping who agreed to get by Guerrilla Girls on Bout. As of 2013, iii divide groups remained active, the GuerrillaGirlsBroadBand, Inc., Guerrilla Girls On Bout, Inc. (the Theatre Girls), and Guerrilla Girls, Inc. The Guerrilla Girls BroadBand focuses on the internet every bit its "natural habitat."[84]

Guerrilla Girls display at Mills College - Public Works: Artists' Interventions 1970s - Now

Selling out [edit]

Upon their 1985 debut, the Guerrilla Girls were "lauded by the very institution they sought to undermine." They have since exhibited at Tate Modern, Venice Biennale, Centre Pompidou, and MoMA, which additionally grants them a broader audience for their concerns.[85] Since and so, this relationship has but intensified, as the Guerrilla Girls presented their exhibitions in museums and even allowed their works to be collected by hegemonic institutions. Although some have questioned the efficacy, if not hypocrisy, of the grouping'due south working within the organization that they originally denigrated, few would claiming their conclusion to let the Getty Institute firm their athenaeum.[76] [85]

Members and names [edit]

Two members of the Guerrilla Girls join a panel discussion at the Rochester Art Center in 2016 in Rochester, Minnesota

Membership in the New York Metropolis group is exclusive, by invitation only, based on relationships with current and by members, and one'due south involvement in the gimmicky fine art world. A mentoring plan was formed inside the group, pairing a new fellow member with an experienced Guerrilla Girl to bring them into the fold. Due to the lack of formality, the group is comfortable with individuals outside of their base challenge to be Guerrilla Girls; Guerrilla Girl 1 stated in a 2007 interview: "It can only enhance us past having people of power who have been given credit for being a Girl, even if they were never a Girl." Men are not immune to become Guerrilla Girls but may back up the group by assisting in promotional activities.[12]

Guerrilla Girls' names are pseudonyms generally based on dead female artists. Members go by names such equally Käthe Kollwitz, Alma Thomas, Rosalba Carriera, Frida Kahlo, Alice Neel, Julia de Burgos, and Hannah Höch. Guerrilla Girls' "Carriera" is credited with the idea of using pseudonyms every bit a fashion to not forget female person artists. Having read nigh Rosalba Carriera in a footnote of Letters on Cézanne past Rainer Maria Rilke, she decided to pay tribute to the little-known female artist with her name. This also helped to solve the problem of media interviews; the group was often interviewed by phone and would not give names, causing problems and confusion amidst the grouping and the media. Guerrilla Girl 1 joined in the late 1980s, taking on her name as a manner to memorialize women in the art community who accept fallen nether the radar and did not make as notable as an impact equally the names takes on past other members.[12] For some members like "Zora Neale Hurston", or Emma Amos, identities have only been made public posthumously.

Gorilla symbolism [edit]

The 1933 flick King Kong was influential to the concept of a Guerilla Daughter.

Female Artist. Frida Kahlo

The idea to adopt the gorilla as the group's symbol stemmed from a spelling error. I of the first Guerrilla Girls accidentally spelled the group's proper name at a meeting as "gorilla."[fifteen] Despite the fact that the idea of using a gorilla as a group symbol might have been adventitious, the choice is nevertheless pertinent to the grouping'due south overall message in several central ways.

To begin with, the gorilla in pop civilization and media is often associated with Male monarch Kong, or other images of trapped and tamed apes. In the 2010 SAIC Commencement, the comparison betwixt institutionalized artists and tamed apes was explicitly made:

And last, but not least, be a great ape. In 1917, Franz Kafka wrote a short story titled A Study to An University, in which an ape spoke about what it was like to be taken into captivity by a bunch of educated, intellectual types. The published story ends with the ape tamed and broken by the stultified academics. But in an earlier draft, Kafka tells a dissimilar story. The ape ends his report by instructing other apes NOT to let themselves to be tamed. He says instead: pause the bars of your cages, bite a pigsty through them, clasp through an opening ... and ask yourself where practice You want to get[86]

The gorilla is too typically associated with masculinity. The Met Museum poster is in part shocking considering of its juxtaposition of the eroticized female odalisque body, and the big, snarling gorilla head. The addition of the head detracts from the male person gaze and changes the style in which viewers are able to look at or sympathise the highly sexualized image. Further, the add-on of the gorilla questions and modifies stereotypical notions of female beauty within Western fine art and popular civilization, some other stated goal of the Guerrilla Girls.

The original paradigm by Ingres without the addition of the gorilla head represents the kind of art that the Guerrilla Girls take issues with, like the common bug of exoticism and sexualization of women.

Guerrilla Girls, who wearable the masks of big, hairy, powerful jungle creatures whose beauty is hardly conventional ... believe all animals, large and minor, are cute in their own way.[87]

Though this goal has never been explicitly stated by the group, in the history of Western art, primates have often been associated with the visual arts, and with the figure of the artist. The idea of ars simia naturae ("art the ape of nature") maintains that the chore of fine art is to "ape", or faithfully re-create and represent nature. This was an thought showtime popularized by Renaissance thinker Giovanni Boccaccio who declared that "the artist in imitating nature only follows Nature'south ain command."[88]

Notable collections [edit]

  • Art Institute of Chicago, Chicago, Illinois[89]
  • Center for the Written report of Political Graphics, Culver Metropolis, California[90] [91]
  • Fales Library and Special Collections, New York University, New York City[92]
  • Madison Museum of Gimmicky Art, Madison, WI
  • Museum of Modern Art, New York City[eleven]
  • Tate, United Kingdom[93]
  • Walker Fine art Center, Minneapolis, Minnesota[94]
  • Whitney Museum of American Fine art, New York Metropolis[95]

Notable exhibitions [edit]

  • Art at the Center: Guerrilla Girls, 2016, Walker Art Middle, Minneapolis, Minnesota[73]
  • Beyond the Streets, 2018, Los Angeles[96]
  • Guerrilla Girls Printed Matter, 1995, 77 Wooster Street, SoHo[72]
  • Guerrilla Girls Review the Whitney, 1987, The Clocktower, New York City[12]
  • Guerrilla Girls: Exposición Retrospectiva, 2013, Alhóndiga Bilbao, Bilbao, Spain[69]
  • Guerrilla Girls: Not Prepare to Make Nice, thirty Years and Still Counting, Abron Arts Eye, New York City[vi]
  • Media Networks: Andy Warhol and the Guerrilla Girls, (brandish), 2016, Tate Modern, London, United kingdom of great britain and northern ireland[74]
  • Not Ready to Make Prissy: Guerrilla Girls in the Artworld and Across, 2012–2017, Columbia Higher Chicago, Chicago Illinois (traveled to ten additional venues around the US)
  • The Night the Palladium Apologized, 1985, Palladium, New York City

Legacy [edit]

  • Ridykeulous, The Advantages of Existence a Adult female Lesbian Artist, 2007.

See also [edit]

  • Feminist art criticism
  • Feminist art movement in the United States
  • Guerrilla Girls On Tour

References [edit]

  • "Artist, Curator & Critic Interviews". !Women Art Revolution - Spotlight at Stanford. 2018. Archived from the original on August 23, 2018. Retrieved August 23, 2018.

Notes [edit]

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  2. ^ Brockes, Emma (April 29, 2015). "The Guerrilla Girls: 30 years of punking fine art world sexism". The Guardian. ISSN 0261-3077. Retrieved April 3, 2020.
  3. ^ a b "Guerrilla Girls | Artist Profile".
  4. ^ "Guerilla Girls Bare All". Archived from the original on Jan xiii, 2014.
  5. ^ "The Guerrilla Girls' fight against bigotry in the art world | DW | March viii, 2017". DW.COM . Retrieved Apr three, 2020.
  6. ^ a b c Ryzik, Melena (August 5, 2015). "The Guerrilla Girls, After 3 Decades, Even so Rattling Art Earth Cages". The New York Times.
  7. ^ "MoMA Fact Canvass" (PDF).
  8. ^ Brenson, Michael (April 21, 1984). "A Living Artists Show at the Modern Museum". The New York Times . Retrieved February 27, 2013.
  9. ^ "African American Artists Are More Visible Than Ever. So Why Are Museums Giving Them Short Shrift?". artnet News. September twenty, 2018. Retrieved April 3, 2020.
  10. ^ Confessions of the Guerrilla Girls, with an essay past Whitney Chadwick. New York: Harper Perennial. 1995. p. thirteen. ISBN9780060950880.
  11. ^ a b c d Cooper, Ashton (2010). "Guerrilla Girls speak on social injustice, radical art". A&East. Columbia Spectator. Retrieved April 20, 2010.
  12. ^ a b c d east f Richards, Judith Olch (2007). "Interview with Guerrilla Girls Rosalba Carriera and Guerrilla Girl 1". Archives of American Art. Retrieved June 10, 2011.
  13. ^ "Interview". Guerrilla Girls. Archived from the original on January xiii, 2014. Retrieved July 30, 2014.
  14. ^ "Interview Mag". Guerrilla Girls. Archived from the original on Baronial 5, 2014. Retrieved July xxx, 2014.
  15. ^ a b "Guerrilla Girls Bare All: An Interview". Guerrilla Girls. Archived from the original on January 13, 2014. Retrieved Jan 18, 2014.
  16. ^ a b c d e f g h Chave, Anna C. "The Guerrilla Girls' Reckoning." Art Journal 70.ii (2011): 102-11. Spider web.
  17. ^ "Oral history interview with Guerrilla Girls Elizabeth Vigée LeBrun and Liubov Popova." January 19, 2008. Archives of American Art. Smithsonian Institution.
  18. ^ "Brooklyn Museum: Guerrilla Girls". www.brooklynmuseum.org . Retrieved April 19, 2019.
  19. ^ Carpetbagger. "Women in Chains." New York Times, January 24, 2006. https://carpetbagger.blogs.nytimes.com/2006/01/24/women-in-chains/
  20. ^ Cohen, Alina (January 5, 2019). "13 Artists Who Highlight the Power of Words". Artsy . Retrieved May nineteen, 2021.
  21. ^ Louise Bourgeois; The Spider, The Mistress & The Tangerine. Directed past Marian Cajori and Amei Wallach. 2008. New York, NY: Zeitgeist Films, 2009. DVD
  22. ^ "Guerilla Girls Talk Back". Tate Modernistic . Retrieved March 2, 2020.
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  24. ^ Rhyner, Stephanie (May 1, 2015). "Satirical Warfare: Guerrilla Girls' Performance and Activism from 1985-1995". University of Wisconsin, Milwaukee, Theses and Dissertations.
  25. ^ "Masking for Fine art". Metro. April 29, 1998.
  26. ^ a b "Apr 2, 2001 Result". April 2, 2001.
  27. ^ "Printing releases in 2014". Amnesty International UK. Archived from the original on February 13, 2012. Retrieved January eighteen, 2014.
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  33. ^ a b "'We Sell White Bread', Guerrilla Girls, 1987". Tate . Retrieved April 9, 2021.
  34. ^ Robinson, Walter. "Festive Venice". Artnet . Retrieved Feb 27, 2013.
  35. ^ "Girl ability". The Economist. June ii, 2005.
  36. ^ Ballad Vogel. "Subdued Biennale forgoes shock factor." The New York Times. June 13, 2005
  37. ^ "Guerrilla Girl Gig," SUNY Stony Brook, NY, October 2016
  38. ^ http://vis129f.wikifoundry.com/page/Guerrilla+Girls%3A+"The+Future+for+Turkish+Women+Artists"-+Nicole+Young [ permanent dead link ]
  39. ^ "Museums & Galleries: Feminism & Fine art - Guerrilla Girls Raid A Male Stronghold (washingtonpost.com)". The Washington Mail service.
  40. ^ Falkenstein, Michelle (November ane, 2000). "Framing".
  41. ^ "Guerrilla Girls Accept On Irish gaelic Arts Exclusion of Women " Latest News " The National Women's Quango of Ireland". www.nwci.ie.
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  43. ^ Page-Lieberman, Neysa, ed. (2012). Not Ready to Make Dainty: Guerrilla Girls in the Artworld and Across. Chicago, Illinois. ISBN978-0929911434. OCLC 785746022.
  44. ^ "Guerrilla Girls launch art protest targeting MFA - The Boston Earth". BostonGlobe.com.
  45. ^ "Archived copy". Archived from the original on February 23, 2017. Retrieved February 22, 2017. {{cite web}}: CS1 maint: archived re-create as title (link)
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  49. ^ "The Guerrilla Girls Accept Minnesota". Vogue. Jan 21, 2016.
  50. ^ "CHRONOLOGY: BIBLIOGRAPHY". Guerrilla Girls.
  51. ^ "Planet pussy". Planet Pussy. November ane, 2021. OCLC 501337396 – via Open WorldCat.
  52. ^ Rich, B. Cherry-red (February 8, 2001). "The West Indies" – via www.thenation.com.
  53. ^ http://www.juliethebolt.internet/folio/page/319287.htm Archived March 25, 2012, at the Wayback Machine
  54. ^ "Guerrilla Girls vs. King Kong". Art-for-a-modify.com. Feb 5, 2006. Retrieved January 18, 2014.
  55. ^ "From Iceland – The Boys' Club: Men Are Strong And Carry Effectually Big Cameras?". The Reykjavik Grapevine. June 24, 2015.
  56. ^ "EXHIBITIONS". Guerrilla Girls.
  57. ^ "Archives". Los Angeles Times.
  58. ^ Russeth, Andy Battaglia; Battaglia, Andy; Russeth, Andrew (January 20, 2017). "'Speak Out on Inauguration Day': Words at the Whitney Museum Take Aim at Trump".
  59. ^ Vartanian, Hrag (February 23, 2017). "Protesters Demand MoMA Drop Trump Counselor from Its Board". Hyperallergic.
  60. ^ Confessions of the Guerrilla Girls. 1995. ISBN0060950889.
  61. ^ Mark Dery. "Art Attack." The New York Times Volume Review. July 30, 1995
  62. ^ Girls, Guerrilla (1998). The Guerrilla Girls' Bedside Companion to the History of Western Art. ISBN014025997X.
  63. ^ Hoban, Phoebe (Jan 4, 2004). "Masks Still in Place but Firmly in the Mainstream", The New York Times.
  64. ^ Zeisler, Andi. "Bitches, Bimbos and Ballbreakers".
  65. ^ "Books by the Guerrilla Girls". Guerrilla Girls. Retrieved December 29, 2016.
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  68. ^ "Guerrillas in Our Midst". Women Make Movies . Retrieved March five, 2016.
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  70. ^ "Guerrilla Girls Talk The History Of Art vs. The History Of Ability". youtube.com. The Tardily Testify with Stephen Colbert. January 14, 2016. Archived from the original on December 12, 2021.
  71. ^ Miller, M.H. (January fourteen, 2016). "Hither Are the Guerrilla Girls on 'The Late Show with Stephen Colbert'". Artnews . Retrieved May 20, 2017.
  72. ^ a b Cotter, Holland (February 10, 1995). "Fine art in Review". The New York Times.
  73. ^ a b "Art at the Center: Guerrilla Girls — Calendar — Walker Art Centre". www.walkerart.org . Retrieved May 24, 2016.
  74. ^ a b "Andy Warhol and the Guerrilla Girls | Tate". www.tate.org.united kingdom. Archived from the original on May xv, 2016. Retrieved May 24, 2016.
  75. ^ a b c d Richards, Judith Olch; Hurston, Zora Neale; Martin, Agnes (May 17, 2008). "Oral history interview with Guerrilla Girls Zora Neale Hurston and Agnes Martin, 2008 May 17 - Oral Histories | Athenaeum of American Fine art, Smithsonian Institution". world wide web.aaa.si.edu . Retrieved June 7, 2016.
  76. ^ a b c Lodu, Mary (March 2016). "No No's: Guerrilla Girls at the Land Theatre". INREVIEW.
  77. ^ "Frida Kahlo, Diego Rivera and the ascension of Mexican Modernism". Huck Magazine. October 24, 2019. Retrieved September 30, 2021.
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  88. ^ Jason, H.West. (1952). Apes and Ape Lore in the Renaissance and Middle Ages. London: The Warburg Institute, University of London. p. 291.
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Bibliography [edit]

  • Boucher, Melanie. Guerrilla Girls: Disturbing the Peace. Montreal: Galerie de l'UQAM, 2010. ISBN 2-920325-32-9
  • Brand, Peg. "Feminist Art Epistemologies: Agreement Feminist Fine art." Hypatia. 3 (2007): 166–89.
  • Guerilla Girls. Guerilla Girls: the art of behaving badly. San Francisco, California: Relate Books, 2020. ISBN 9781452175812
  • Guerrilla Girls. Confessions of the Guerrilla Girls, with an Essay past Whitney Chadwick. New York Urban center: HarperCollins, 1995. ISBN 0-04-440947-8
  • Guerrilla Girls. Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes. London: Penguin, 2003. ISBN 978-0-14-200101-1
  • Guerrilla Girls. The Guerrilla Girls' Bedside Companion to the History of Western Art. London: Penguin, 1998. ISBN 978-0-14-025997-1
  • Janson, HW. Apes and Ape-Lore in the Middle Ages and the Renaissance. London: Warburg Institute, Academy of London, 1952.
  • Page-Lieberman, Neysa (ed.). Not Ready to Make Nice: Guerrilla Girls in the Art Globe and Beyond, with essays by Joanna Gardner-Huggett, Neysa Folio-Lieberman, Kymberly Pinder, and a foreword by Jane M. Saks, Columbia College Chicago, 2011, 2013, 2017. ISBN 0929911431
  • Raidiza, Kristen. "An Interview with the Guerrilla Girls, Dyke Action Automobile DAM!, and the Toxic Titties." NWSA Journal. 1 (2007): 39–48. <https://world wide web.jstor.org/stable/431723>. Accessed February 27, 2013.
  • Schechter, Joel. Satiric Impersonations: From Aristophanes to the Guerrilla Girls. Carbondale: Southern Illinois Academy Press, 1994. ISBN 978-0-8093-1868-one

External links [edit]

  • An interview with Guerrilla Girls using the names Frida Kahlo and Kathe Kollwitz conducted 2008 Jan. nineteen and Mar. 9, by Judith Olch Richards, for the Archives of American Fine art
  • Complete Chronology of Guerrilla Projects since 1985
  • Guerilla Girls records, Getty Enquiry Institute, Los Angeles. Accession No. 2008.M.14
  • Guerrilla Girls, Brooklyn Museum'due south Elizabeth A. Sackler Center for Feminist Art
  • Guerrilla Girls: 'You lot have to question what yous see' Archived October 19, 2018, at the Wayback Machine, video interview by Tate
  • Official website
  • The Feminist Future: Guerrilla Girls a video from a talk presented at the Museum of Modern Art

mejiawhater1965.blogspot.com

Source: https://en.wikipedia.org/wiki/Guerrilla_Girls

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