Feminist Art Finally Takes Center Stage
Is feminist art going to be institutionalized or just going to gain wider acceptance? NY Times has a story following MOMA's new initiatives.

By HOLLAND COTTER“Well, this is quite a turnout for an ‘ism,’ ” said the art historian and critic Lucy Lippard on Friday morning as she looked out at the people filling the Roy and Niuta Titus Theater at the Museum of Modern Art and spilling into the aisles. “Especially in a museum not notorious for its historical support of women.”
Ms. Lippard, now in her 70s, was a keynote speaker for a two-day symposium organized by the museum that was titled “The Feminist Future: Theory and Practice in the Visual Arts.” The event itself was an unofficial curtain-raiser for what is shaping up as a watershed year for the exhibition — and institutionalization, skeptics say — of feminist art.
For the first time in its history this art will be given full-dress museum survey treatment, and not in just one major show but in two. On March 4 “Wack! Art and the Feminist Revolution” opens at the Museum of Contemporary Art in Los Angeles, followed on March 23 by “Global Feminisms” at the Brooklyn Museum. (On the same day the Brooklyn Museum will officially open its new Elizabeth A. Sackler Center for Feminist Art and a permanent gallery for “The Dinner Party,” Judy Chicago’s seminal proto-feminist work.)
Such long-withheld recognition has been awaited with a mixture of resignation and impatient resentment. Everyone knows that our big museums are our most conservative cultural institutions. And feminism, routinely mocked by the public media for 35 years as indissolubly linked with radicalism and bad art, has been a hard sell.
But curators and critics have increasingly come to see that feminism has generated the most influential art impulses of the late 20th and early 21st century. There is almost no new work that has not in some way been shaped by it. When you look at Matthew Barney, you’re basically seeing pilfered elements of feminist art, unacknowledged as such.
The MoMA symposium was sold out weeks in advance. Ms. Lippard and the art historian Linda Nochlin appeared, like tutelary deities, at the beginning and end respectively; in between came panels with about 20 speakers. The audience was made up almost entirely of women, among them many veterans of the women’s art movement of the 1970s and a healthy sprinkling of younger students, artists and scholars. It was clear that people were hungry to hear about and think about feminist art, whatever that once was, is now or might be.
Continue reading "Feminist Art Finally Takes Center Stage" »




