To mark the new year, we bring you a love letter to Niki de Saint Phalle from Hannah Marshall, writing in The Riviera Times.
Marshall, whose move to France was inspired by Niki and her work, describes “my pilgrimage to her holy land” — a trip to the Tarot Garden, the masterpiece in Tuscany on which Niki worked for decades:
Watching Natasha run from the Sun to the Star, clambering over dragons in the woods and squeezing into cubbyholes, I remember a favourite de Saint Phalle quote: “In this world of so much pain, if a sculpture of mine can give a moment of joy, a moment of life to a passerby, I feel rewarded.”
“Come quick, you have to see this,” Natasha shouts at me, “now this really is magical.” She pulls me into the sugar-plum interior of the Emperor, her eyes wide. And still, I’m not sure who is happier, the real child holding my hand or the eternal one trapped inside of me.
Long sidelined, women artists slowly win recognition – and museum space.
NEW YORK — Notice a tint of gender bias in terms like “masterpiece” and “old master”? Now a picture is emerging of not just historical, but persistent discrimination against women in the art world. A slew of recent museum exhibitions aims to fill in the blanks. The latest, “Seductive Subversion: Women Pop Artists, 1958-1968” (at the Brooklyn Museum through January 9), brings a feminine presence to the masculine-sounding term “pop art.”
The show features works by 25 women who helped develop pop art but who (except for the sculptor Marisol) disappeared from art history books. “These artists were all visible once,” says Sid Sachs, director of exhibitions at Philadelphia’s University of the Arts, who conceived the show. Yet when the first art histories and surveys of the movement appeared, he adds, “There was a real critical culling.” Mr. Sachs made it his mission to “cherchez la femme” and says that, through exhaustive research, “I found the women!”
It’s not news that art by women has been under-recognized. H.W. Janson’s classic text “History of Art,” used in countless Art 101 courses, didn’t contain work by a single female artist until the 1986 edition, after the author was deceased. (That edition included 19 female artists out of 2,300 illustrations.) As late as 1979 Janson said, “I have not been able to find a woman artist who clearly belongs in a one-volume history of art.”
Sachs’s essay in the exhibition catalog contains ample evidence of discrimination in the decade prior to the burgeoning women’s movement of the 1970s. Women seeking admission to art schools were judged not by their portfolios but by their profile photographs. Jann Haworth, who invented soft sculpture (although Claes Oldenburg is given credit) recalled, “The girls were there to keep the boys happy.” American artist Carolee Schneemann confirmed, “You had to shut up and affiliate yourself with really interesting men,” adding, “you had to be good looking.”
Nancy Heller, professor of modern art also at the University of the Arts and author of “Women Artists: An Illustrated History,” notes that progress lagged well into the 1970s and ’80s. “It was difficult to convince a committee in graduate school that any woman artist – dead or living – was worth a dissertation.” Museums and galleries were also a no woman’s land. “If you saw a major exhibition by a woman,” Professor Heller recalls, “it was a cause for celebration and shock.”
Museums now are in a do-over moment. Exhibitions displaying female artists abound. Exhibitions such as “WACK! Art and the Feminist Revolution” (2007-08), the Brooklyn Museum’s “Global Feminisms” (2009), and “elles@centrepompidou” (through February 2011 in Paris) display female contributions. New York’s Jewish Museum hails pioneers with “Shifting the Gaze: Painting and Feminism” through Jan. 30, and the Museum of Modern Art features “Pictures by Women: A History of Modern Photography” through March 21.
MOMA’s commitment to integrate its male-dominated galleries is much needed, since “MOMA historically has not focused on women artists,” admits Connie Butler, chief curator of drawings. Since the museum’s founding in 1929, only 5 percent of the 2,052 exhibitions have highlighted female artists. All that is changing. In the last five years, curators have sought to reclaim the missing women. Butler, who curated the “WACK!” show, calls the revisionism “transformative” saying, “We are more aware of the gaps in the collection in terms of women artists, we’re trying to target women artists in our acquisition program, and generally it’s raised awareness of having a greater representation of women in the galleries.”
Butler co-edited a comprehensive book, “Modern Women: Women Artists at the Museum of Modern Art,” that covers both well-known and obscure figures, and the photography gallery has installed “Pictures by Women: A History of Modern Photography” through March 21, 2011.
Catherine Morris, curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, sees “a groundswell of interest in re-examining feminist contributions to the art of the second half of the 20th century.” It seems it’s catch-up time.
Hold onto your horsetail paintbrushes! The Guerrilla Girls, activist female artists who criticize sexism and racism in the art world, think the fight isn’t over. A founder of the group who goes by the pseudonym Frida Kahlo says, “When you look at the ranks of artists who get one-person exhibitions in museums or have monographs or whose work resells for a lot of money, women and artists of color are rarely in those top ranks.”
Ms. Kahlo faults the system, saying, “American art institutions are run by and for art collectors on their boards of trustees … white males who buy art that appeals to them, art about their values, not the values of the general culture.”
Art collecting is indeed dominated by male collectors, often newly super-rich moguls and hedge-funders who view art as an investment or as a trophy to advertise their wealth.
“Until the structure of the art market and how art gets bought, sold, and donated changes,” Kahlo says, “we’ll be fighting this market attempt to define what our visual art history is.”
“We do live in a capitalist society,” Heller says, “but art is not pork bellies.” Nevertheless, the system where wealthy men collect easily recognizable, high-fashion art becomes “a vicious circle,” she says, which perpetuates the under-valuing of art by women.
Greg Allen (in a 2005 New York Times story) pointed out the glaring disparity in resale prices, citing evidence that an “X Factor” denigrates women’s art. Only a handful of women have broken the $1 million mark at auction, while men’s paintings have soared past $100 million. And it’s not just paintings by historical figures. An old master as well as a new master still beats a Ms., generally by a 10-fold ratio.
What about for contemporary artists – the daughters of the feminist revolution? The Brainstormers, a young artist-activist group, document continued inequities. Brooklyn artist Danielle Mysliwiec, a collective member, cites the 50/50 ratio of male to female students in art schools, which disappears at commercial galleries in Chelsea, where more than 80 percent of artists are male. Even in galleries that represent emerging artists, males dominate (they account for 70 percent).
“Young women have a much more level playing field than they did twenty years ago,” Butler says, “but the numbers speak.” The numbers trumpet a higher economic value for art by men—disproportionate to cultural or aesthetic value. “They make me want to say ‘ouch’,” says Morris.
“You see a disturbing perpetuation of discrimination,” Ms. Mysliwiec concludes, adding, “When you think about how an artwork increases in value, it depends on where it’s shown, how many times it’s shown, and in what venues.” A problem with galleries preferring male artists, she says, is that “curators are dependent on gallery validation” to determine which artists to show in museums.
All acknowledge the benefits of increasing awareness of women artists’ contributions. “We’d have an art [history] that represents who we are as a culture and what we’re thinking about,” Kahlo says. “Not just who the billionaire art collectors want to buy.”
“Incorporating historical facts that have been removed because they were not seen as pertinent by a segment of society is incredibly useful,” according to Morris. “It empowers half of the current culture and can teach us about how we’ve come to be who we are and what we need to do moving forward.”
She adds, “I’d like my daughter to make assumptions about who she is in the world and what her history is and where she came from in ways I couldn’t and my mother certainly couldn’t.”
Butler hopes the legacy of her generation of curators is to leave a more nuanced, complex, and complete version of art history than they were taught.
History is a mutable argument. It’s not set in stone, carved only by a male sculptor like Brancusi. Maybe it’s glued together—like a Louise Nevelson work—from fragments of wood. Not that one should replace the other. No one wants a ghetto-ized “Ladies Room” approach.
“To be judged on merit,” the young artist Danielle Mysliwiec sighs wishfully, “to have that be true.”
“Seductive Subversion: Women Pop Artists, 1958-1968” at the Brooklyn Museum (200 Eastern Parkway at Washington Avenue in Prospect Heights, 718-638-5000), 15 October 2010 – 9 January 2011. Closed Mondays and Tuesdays.
Images:
Black Rosy, by Niki de Saint Phalle. (Courtesy of The Brooklyn Museum)
Chubby Checker, by Rosalyn Drexler Court. (Courtesy of The Brooklyn Museum)
Munchkins I, II, & III, by Idelle Weber. (Courtesy of The Brooklyn Museum)
Vacuuming Pop Art, by Martha Rosler. (Courtesy of The Brooklyn Museum)
It’s clear that female artists of the ’60s were pushed to the margins of art history. But a series of exhibitions showcasing their work reveals how un-Pop many of them were.
Western art history has nearly always been constructed as a narrative in which women are viewed through male eyes—as subjects and as objects. From the Venus of Willendorf to Raphael’s Madonnas, Rubens’s raped Sabines, Picasso’s jilted lovers, and de Kooning’s man-eating females, the standard gaze was that of the male, and what it gazed upon was the objectified female body.
Suddenly art history (once again) finds itself being turned on its head as another aspect of the past gets unearthed and revised. This time the subject is the supposedly secondary—that is, the unacknowledged, neglected, subservient, auxiliary—role of the women Pop artists who were at work in the pre-Linda Nochlin days, when the textbook-writing Jansons and nearly everyone else thought that only men could create masterpieces.
Since the 1960s, when women artists started defining themselves and re-narrating the history, we have slowly become aware of their contributions. Lately museums have gotten into the act. It may be sheer coincidence, but exhibitions at the Brooklyn Museum and the Kunsthalle Vienna this autumn both focus on the women artists who were identified with Pop art, while an exhibition at the Jewish Museum in New York tackles a related subject: painting and feminism (with a bit of Jewishness thrown into the mix). These shows complicate the categories of what’s Pop and what’s not, opening up a slew of new questions.
Curator Angela Stief, in her catalogue introduction to “Power Up: Female Pop Art,” at the Kunsthalle Vienna (through February 20), points out that while female Pop artists resemble their male colleagues, oscillating between Abstract Expressionism and Minimalism, commodity cult and capitalist critique, they remain “militant, critical, and outstanding in their positions as feminist pioneers.”
If Pop art by women artists was hardly ever simply Pop, what was it? The female artists of those years were, willingly or unwittingly, involved in a major change in content, context, and medium. They were concerned with shifting both the objectifying male gaze and the objectified female gaze. As these exhibitions point out, the women whose art skirted around Pop—and can be somewhat misleadingly called Pop—complicate matters, which isn’t a bad thing.
Pop art in the hands and minds of women artists is intricately linked to the rise of feminist art, political and sociological art, art that involves decoration and craft and female sexuality—and thus the subsequent future of 20th-century art. These artists weren’t tangential: they were crucial. And what is most interesting about their work can be found in its disparities and divergences from Pop. What women were doing was another kind of art, and to call their work Pop does a disservice to it.
Pop art in the hands of male artists was cartoony, exaggerated, sometimes cynical. Involved with male sexuality, it had to violate something, blowing a cliché so far out of proportion that it could be reconstituted as an aspect of formalism. Pop art was about fast foods, fast babes, fast mechanically reproductive processes such as the silkscreen and the Benday dot, and blatant commercial images and ads. It was about all-American banality. And it was an almost exclusively male movement. Back in the days when Mel Ramos could paint Chiquita Banana pinups, Tom Wesselmann could sex up his still lifes by putting sunburned nudes with pubic hair into them, and Allen Jones could obnoxiously use a lifelike playmate on her knees as a coffee table, Marjorie Strider was making shaped canvases featuring 3-D breasts that were smartly violating the picture plane as if to one-up the men, who never noticed. And Elaine Sturtevant, a few months after Warhol created his first flower paintings in 1964, borrowed Warhol’s silkscreens to replicate those paintings and inserted her renditions into group shows—along with her George Segal and Frank Stella look-alikes—to make Pop into something more conceptual, a decade or more before the word “appropriation” would emerge.
Unlike the previous macho AbEx generation, which also counted female artists like Lee Krasner, Joan Mitchell, Louise Nevelson, Helen Frankenthaler, and Elaine de Kooning, the Pop movement, strictly speaking, did not have high-profile female participation. Marisol, Strider, and Sturtevant were sometimes included in Pop group shows in New York, but they never wholly fit. Pop art was about banality, disaffection, and detachment, and the ideas of the women artists diametrically opposed these themes. Philosophically liberated, they thought for themselves, radicalized their art, and imploded the meaning of Pop.
If Chryssa was Pop because she used neon, does that mean Dan Flavin was too? If Vija Celmins was Pop, wasn’t she at the same time a budding photorealist? If Yayoi Kusama was Pop, what do we make of her phallic obsessions and cosmic polka dots? If Niki de Saint Phalle was Pop, where do her big folk-art mamas fit? And if Lee Lozano’s pre-conceptual work and Faith Ringgold’s pre-quilt paintings can be dragged into the orbit of Pop, we can only throw up our hands and conclude that we desperately need a more descriptive term.
Women’s Pop-related art had its own intentions. It could be about obsession, cosmic design, or, in the case of Marisol, folk arts and crafts. Usually it opposed or dissected the male gaze. The male artists may have been content to flirt with post-industrial Minimalism, but back in the days when femininity equaled domesticity, Martha Rosler mailed out a series of narrative recipes. They involved, for example, the dislocations of a Mexican maid who didn’t have a clue as to what a peanut butter and jelly sandwich was, and pieced together images of suburban kitchens invaded by the horrors of the Vietnam war. On the other hand, Warhol, whose latent political content went unremarked for years, didn’t do decorative camouflage painting until the 1980s.
Now “Power Up: Female Pop Art” makes it quite clear that an idea can be about politics as well as about female sexuality. It narrows its scope to nine artists, some of whom—such as the Belgian Evelyne Axell—have remained seriously under-known in New York. The star of this exhibition is Sister Corita Kent, the nun who used signs, slogans, and packaging as a form of political protest.
Twenty-five female artists, including Axell and some other unfamiliar Europeans, are in the Brooklyn Museum’s “Seductive Subversion: Women Pop Artists, 1958-1968” (on view through January 9), and it’s hard to resist an impertinent question: Would anyone ever dream of titling a show of male Pop artists “Subversive Seducers”? And in an exhibition that includes a number of arguably un-Pop artists, where is Yoko Ono, Lee Bontecou, Carolee Schneemann—or even Colette, who knowingly transformed herself into the objectified object of the male gaze?
The impact of feminist thought permeates works by 27 artists in the Jewish Museum’s “Shifting the Gaze: Painting and Feminism” (through January 30). Contributors range from Louise Nevelson, Rosalyn Drexler, and Eva Hesse to Nancy Spero, Hannah Wilke, and Nicole Eisenman. Rosler is oddly absent, but then, conceptual photomontage probably doesn’t count as painting per se. But kudos to this exhibition for anointing three token males as honorary feminists: Leon Golub, who was always attuned to power, persecution, and victimhood; Robert Kushner, who made the most of feminized pattern and decoration; and Cary Leibowitz, with his self-deprecating gay Jewish humor.
Unacknowledged or under-acknowledged at the time, relegated to the margins or forgotten by history, the profound female artists of their time inverted the male gaze and anticipated the future while male Pop artists were getting stuck in their own styles. The tenuous thread that ties them all together is linked to feminism and the contemporary art that was still to come. And now, in these exhibitions in which nearly everyone spills out of the arbitrary category of Pop, what at first may seem curatorial weakness becomes great strength. History is again being distorted, manipulated, and revised, for better and worse, but such are its innate fictions. And we have to conclude that the work by these woman artists doesn’t seem nearly as dated as that of their male counterparts. Shifting the gaze, indeed.
Kim Levin is an independent art critic and curator.
“Seductive Subversion: Women Pop Artists, 1958-1968” at the Brooklyn Museum (200 Eastern Parkway at Washington Avenue in Prospect Heights, 718-638-5000), October 15, 2010 – January 9, 2011. Closed Mondays and Tuesdays.
Photo: Martha Rosler’s photomontage Vacuuming Pop Art, 1967–72, addresses politics and the male gaze. (Courtesy the Artist and Mitchell-Innes & Nash, New York)
The official history of Pop Art is the tale of men who prowled the domestic arena, staging their paintings in suburban kitchens, closets, bedrooms and bathrooms. Warhol’s soup cans, Lichtenstein’s romance comics, Oldenburg’s lipsticks, Rosenquist’s spaghetti and Jim Dine’s bathrobe are icons of a movement that fetishised female equipment but spurned female company. Marilyn Monroe keeps cropping up in fluorescent splendour; so do big breasts and Cloroxed teeth. And yet no women have won permanent seats in the Pop pantheon. None.
All of which makes the Brooklyn Museum’s new revisionist survey such an astonishing delight. Seductive Subversion: Women Pop Artists 1958-1968 unearths a secret history of talented ladies who toiled in the vineyards of Pop, gathered bushels of critical praise and were almost immediately forgotten. Warhol’s famous epigram on fame certainly applied to them, even if his own 15 minutes have proved infinitely renewable.
The travelling exhibition, curated by Sid Sachs of the Museum of the Arts in Philadelphia, makes it stunningly clear that Pop’s female contingent deserved better than four decades of shabby disregard. There’s the brilliant Rosalyn Drexler, for example, whose cool, noirish collages savour the overlap of power and malevolence. She has had a cinematic life – she wrestled professionally (as Rosa Carlo, the Mexican Spitfire), novelised the movie Rocky (under the pseudonym Julia Sorel), and has written novels, plays and films – and her paintings feel like movie stills.
Femmes fatales and sharply dressed thugs strut across vast blank spaces, playing out scenes of cruelty and coercion. A man wearing a fedora glares out of “Home Movies” and aims a machine gun straight between our eyes. In the upper half of “Love and Violence” a suited tough guy cradles a woman’s face in his hands, a gesture of tenderness or assault. We search the storyboards below for clues: is that the same man, wrestling a trench-coated goon for control of a pistol? Drexler’s elusive parables share the pessimism of Warhol’s roughly contemporaneous “Death and Disaster” series. But while Warhol has been posthumously promoted from celebrity to demigod, she has remained a minor polymath. “If you’re alive,” she once said, “things aren’t going to be that good”.
Across the Atlantic, the super-talented Pauline Boty also won a flicker of fame with her lush renderings of stars and gangsters. From a newspaper photo of one Big Jim Colosimo sitting in his attorney’s grubby office, Boty produced a majestic portrait of low-life royalty. The white-suited mobster perches in a throne-like chair like a Velázquez potentate, isolated and monumentalised against an indigo background. His name is inscribed in imperial-sized letters of pastel pink.
Even as Warhol was busy silkscreening odes to Liz Taylor and Elvis, Boty was creating her own idiosyncratic homages to film stars. She, too, worshipped Marilyn Monroe, and she also had a weak spot for the French New Wave. “With Love to Jean-Paul Belmondo” (1962) magnifies the Gallic heartthrob’s head to monstrous proportions. His face, half-hidden by sunglasses, looks sensual and oh-so-cool. But from his goofy straw hat blooms a scarlet shape – a mutant rose, a woman’s private parts or a pulsing human brain.
Her renown peaked in the early 1960s, when she was featured, with Peter Blake, Derek Boshier, and Peter Phillips, in Ken Russell’s film Pop Goes the Easel. An actress as well as a painter, she hobnobbed with Bob Dylan, sketched the Rolling Stones, and had just completed the set design for Kenneth Tynan’s production of Oh! Calcutta! when she died of cancer at 28, in 1966. Within a few years, her paintings were gathering dust in an outhouse at her brother’s farm in Kent.
Most of what’s on display has enough self-evident power that the exhibition doesn’t need to holler about injustice. Vitrines full of press releases and clippings record the fact that for a while the female pioneers received plenty of admiration – though not necessarily of the sort they craved. A Vogue profile of Pauline Boty was headlined “Living Doll”. Another magazine marvelled: “Actresses often have tiny brains. Painters often have large beards. Imagine a brainy actress who is also a painter and also a blond and you have PAULINE BOTY.”
Pop was a scene as well as a movement and its women knew how to leverage their sex appeal, which simultaneously boosted their reputations and made it easy to write them off. Niki de St Phalle posed for Vogue and Life. Evelyne Axell was an actress before taking her clothes off for a series of erotic self-portraits. Marisol’s knockout looks attracted attention to her sculptures, and at the same time deflected it towards herself.
For the most part, these artists accepted the beauty bargain of those times, but Jann Haworth, an American who lived in London and studied at the Slade in 1961, resisted it. “The assumption was that, as one tutor put it, ‘the girls were there to keep the boys happy.’ He prefaced that by saying ‘it wasn’t necessary for them to look at the portfolios of the female students … they just needed to look at their photos.'” Haworth answered contempt with competitiveness. “I was determined to better them, and that’s one of the reasons for the partly sarcastic choice of cloth, latex and sequins as media. It was a female language to which the male students didn’t have access.” Defying the sexist culture there, she made the “partly sarcastic choice” of cloth, latex and sequins as media – “a female language to which the male students didn’t have access”, she recalled. The result is a catalogue of hilariously grotesque, squishily soft sculptures like a life-sized doll in a French maid’s uniform, bewigged with human hair.
Her diligence only helped for a while. In 1967, she and her husband, artist Peter Blake, collaborated on the cover of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, which included one of her stuffed old ladies and a Shirley Temple doll wearing a “Welcome The Rolling Stones” sweater. The couple won a Grammy Award for the design, but while Blake enjoyed permanent celebrity, she drifted into obscurity.
The exhibition feels like a companion piece to the television series Mad Men, which shows professional women in the early 1960s suffering a daily drizzle of humiliation. So perhaps Idelle Weber, another of the forgotten women of Pop, finds some bitter satisfaction in seeing the work she made then being imitated now for the sake of period authenticity. The TV series’s credit sequence shows a silhouetted man in a suit plummeting past a modernist office building. It’s an image of stylish despair, and also either a rip-off or a tribute to Weber’s “Munchkins” triptych, where silhouetted men in suits ride escalators inside a modernist office building. Finally Pop culture is recognising Pop’s women with sincerest flattery.
“Seductive Subversion: Women Pop Artists, 1958-1968” at the Brooklyn Museum (200 Eastern Parkway at Washington Avenue in Prospect Heights, 718-638-5000), 15 October 2010 – 9 January 2011. Closed Mondays and Tuesdays.
Photos: Detail from “Big Jim Colosimo” (c.1963), by Pauline Boty; detail from “With Love to Jean-Paul Belmondo” (1962), by Pauline Boty. In “Seductive Subversion: Women Pop Artists, 1958-1968” at the Brooklyn Museum.
BROOKLYN, NEW YORK — The first major exhibition to explore in depth the contributions of female Pop artists, “Seductive Subversion: Women Pop Artists, 1958–1968,” seeks to expand the definition of classic Pop art and re-evaluate the role of the women who worked alongside the movement’s more famous male practitioners. It features more than fifty works by Pop art’s most significant female artists and includes many pieces that have not been shown in nearly forty years. The exhibition will be on view in the Brooklyn Museum‘s Elizabeth A. Sackler Center for Feminist Art and in the adjacent fourth-floor Schapiro Wing galleries.
Although radical social changes were taking place in America in the 1960s, the female Pop artists of the time remained largely unacknowledged by the contemporary art critics and academics. Relegated to the margins of history by discrimination, historical precedent, and social expectations, these women were forced to take a back seat to their male counterparts, who became icons of the era. Informed by their personal histories, the work of female Pop artists was often collaborative and incorporated empathetic social commentary.
“Seductive Subversion” includes Marisol’s “John Wayne” sculpture, commissioned by Life magazine for an issue on movies; the French sculptor, painter, and filmmaker Niki de Saint Phalle’s eight-foot-tall “Black Rosy,” one of her “Nana” sculptures exploring the role of women; Rosalyn Drexler’s oil and acrylic work “Chubby Checker,” inspired by the poster for the movie Twist around the Clock, and “Home Movies,” based on frames from old gangster movies; the Times Square–inspired “Ampersand,” a multilayered, stylized, and illuminated neon ampersand in a Plexiglas cube by Chryssa, one of the first artists to utilize neon in her work; and a seventeen-foot-long triptych by Idelle Weber. Artwork has been loaned by the National Gallery; the Hirshhorn Museum and Sculpture Garden (Washington, D.C.); the Neuberger Museum (Purchase, New York); and major private collectors.
Works from the Brooklyn Museum’s holdings have been added exclusively for the Brooklyn exhibition. They include “Squeeze Me” and “You Can’t Catch Me” by Mara McAfee; “Dear Diana” and “My Love We Won’t” by Niki de Saint Phalle; “Nestle’s Box” by Marjorie Strider; and “Cents Sign Travelling from Broadway to Africa via Guadeloupe” by Chryssa, which will be on display at the Museum for the first time.
Paintings and sculptures by Evelyne Axell, Pauline Boty, Vija Celmins, Dorothy Grebenak, Kay Kurt, Yayoi Kusama, Lee Lozano, Mara McAfee, Barbro Ostlihn, Faith Ringgold, Martha Rosler, Marjorie Strider, Kiki Kogelnik, Marta Minujin, and May Wilson will also be featured.
“Seductive Subversion: Women Pop Artists, 1958–1968” was organized by the Rosenwald-Wolf Gallery at the University of the Arts in Philadelphia. The Brooklyn presentation is coordinated by Catherine Morris, Curator of the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art.
Image: Yayoi Kusama, “Untitled,” 1963. Sewn stuffed fabric, cooking pot, lid, ladle and paint d.v. Dimensions variable. (Private Collection, New York Courtesy of Peter Freeman, Inc., New York)
Niki de Saint Phalle’s Black Rosy, or My Heart Belongs to Rosy (1965) is among more than fifty works by groundbreaking women artists in “Seductive Subversion: Women Pop Artists, 1958–1968,” now on exhibit at the Brooklyn Museum.
Art critic Ken Johnson gives the exhibition a thumbs-up review in The New York Times, while Stephen Brown of The Brooklyn Paper says the show gives Pop patriarch Andy Warhol “a swift kick in the groin through an eclectic mix of works that are both provocative and humorous.”
“This large-scale exhibition examines the impact of women artists on the traditionally male-dominated field of Pop art,” says the Brooklyn Museum web site. “It reconsiders the narrow definition of the Pop art movement and reevaluates its critical reception. In recovering important female artists, the show expands the canon to reflect more accurately the women working internationally during this period.”
The exhibition, which opened on 15 October and continues through 9 January 2011, also features works by Chryssa, Rosalyn Drexler, Marisol, Yayoi Kusama, Jann Haworth, Vija Celmins, Lee Lozano, Marjorie Strider, Idelle Weber, and Joyce Wieland, among many others.
A new exhibit of feminist pop art during the turmoil of the 1960s gives the supposed King of Pop, Andy Warhol, a swift kick in the groin through an eclectic mix of works that are both provocative and humorous.
Warhol tended to tackle our commercialized culture through his ironic reproductions of the quotidian, but the works in “Seductive Subversion: Women Pop Artists, 1958-1968” have an urgent, rebellious attitude.
Many of the pieces are more explicit in their attacks on male-dominated society. John Wayne, a “man’s man” if there ever was one, is lampooned in a wooden sculpture of him riding a carousel horse. The artist May Stevens’s father also gets skewered; he is depicted as a cop, butcher, military man, and executioner. Even King Kong gets in on the misogyny by menacing the ubiquitous damsel in distress in a painting by Rosalyn Drexler.
But men are not the only targets in “Seductive Subversion.” The Vietnam War is an influence on many of the pieces, as is the hyper-sexualization of women in popular culture.
The exhibit seamlessly includes photo collages from skin mags, sculptures, plenty of phallic symbols — including a colorful missile — and much more, all hinting that in a time of social upheaval these artists were struggling to make their voices heard over the din of revolution.
Take, for example, Idelle Weber, who portrays males from the Mad Men era as merely soulless silhouettes on their daily commute. She calls them “Munchkins.”
In another painting called “Marvelous Mechanical Men,” a cadre of identical businessmen with statuesque features enjoy a drink after work.
Finally, in “Squeeze Me,” those same mechanical men get what’s coming to them: a pair of hands — Weber’s — crushes them into oblivion. The piece features comic-book influences, like many of the paintings on display, as the men are crushed in a three-panel sequence.
Other works are less explicit in their aggression. Yayo Kusama’s seat made of phalluses tackles the familiar theme in pop art of mass production. Needless to say, Kusama’s seat — possibly the worst football chair ever — is much more shocking than yet another Campbell’s soup can or silkscreen portrait.
The art makes for a stark contrast with the work of Warhol — who was featured in an excellent retrospective last summer at the Brooklyn Museum and whose work tended have an ironic air of detachment rather than a pugilistic desire to shock the status quo.
Warhol’s dominance of the pop art scene was symbolically broken in 1968 when the feminist writer Valerie Solanas shot and nearly killed him — in the ultimate piece of performance art of the century. But “Seductive Subversion,” which features no works created after that shooting, proves that numerous artists were challenging the male pop-paradigm well before Solanas put a cap in Warhol.
Take Niki de Saint Phalle’s “Black Rosy or My Heart Belongs to Rosy,” which looks like a cross between the Venus of Willendorf and one of R. Crumb’s freakiest fantasies. The towering statue depicts a woman with outrageous proportions, tacky clothes and a tiny, featureless head. It’s as if some dirtbag’s fantasy is towering over the viewer.
“Seductive Subversion” brings levity to feminist art — the genre has a reputation for being earnest, to say the least — that makes it appealing, easy to approach and thought-provoking.
Overall, the exhibit works as an excellent complement to one of the museum’s most important pieces, Judy Chicago’s “The Dinner Party” — the quintessential example of humorless, overwhelming feminist art. Chicago’s famous work is permanently set up in the museum in a pyramid-shaped, dimly lit black room, and features 39 vaginal dinner plates representing underappreciated heroines from history on elaborately embroidered tablecloth.
Taken together, the two exhibits are a powerful indicator of the diversity and creativity of the feminist movement in the 1960s and 1970s.
“Seductive Subversion: Women Pop Artists, 1958-1968” at the Brooklyn Museum (200 Eastern Parkway at Washington Avenue in Prospect Heights, 718-638-5000), October 15, 2010 – January 9, 2011. Closed Mondays and Tuesdays.
Why have there been no great female Pop artists? That’s the question posed by Sid Sachs at the start of his catalog essay for “Seductive Subversion: Women Pop Artists, 1958-1968,” a revelatory time capsule of an exhibition that he has organized at the Brooklyn Museum. He is paraphrasing the title of Linda Nochlin’s monument of feminist art history, “Why Have There Been No Great Women Artists?”
Like Ms. Nochlin’s, Mr. Sach’s question breaks down into several smaller queries: Is it true that no female artists did anything with popular imagery as powerful as the work of Andy Warhol, Roy Lichtenstein or James Rosenquist? If so, why didn’t they? If there were some who did, who were they, and why are they not more celebrated? And what does “great artist” mean anyway?
Produced initially by the Rosenwald-Wolf Gallery at the University of the Arts in Philadelphia, where it opened in January, the exhibition presents an entertaining hodgepodge of paintings and sculptures by two dozen women. If it does represent the best female artists of the first Pop Art generation — and there is no reason to think otherwise — you’d have to admit that there were no women producing Pop Art as inventively, ambitiously and memorably as their male counterparts. That is not to say, however, that there were no interesting women mining the Pop vein.
Paintings by Rosalyn Drexler with figures lifted from news photographs, gangster movies and a Chubby Checker poster isolated on flat, gridded, Mondrianesque backgrounds anticipate the cool neo-Pop art of Pictures Generation artists like Robert Longo and Sarah Charlesworth. Idelle Weber’s mural-size painting of silhouetted businessmen riding escalators against an optically buzzing black-and-yellow-checked wall and her small, cast-Lucite cubes with men in silhouette silk-screened on them similarly evoke a shadow world of mechanical representations.
A neon-light sculpture by Chryssa, with variously colored cent signs blinking inside a box of translucent, dark plexiglass, is a nice marriage of Minimalism and commercial signage. Barbro Ostlihn’s Georgia O’Keeffe-like centered painting of a simplified, many-petaled, orange sunflower has a psychedelic vibe, while Dorothy Grebenak’s translation of liquor-bottle labels and other sorts of commercial logos into hooked rugs give Pop a sensuously tactile, folk-art spin. Kay Kurt’s 10-foot-wide painting of a box of white chocolates is a spectacular piece of Photorealism.
A quibbler might point out that some artists in the exhibition are not, strictly speaking, Pop Artists. A Vija Celmin sculpture of a greatly enlarged, stubby pencil, for example, is closer to Magrittean magic realism than Pop. Yayoi Kusama’s pieces of furniture bristling with white, stuffed phallic forms are more in a tradition of Surrealist assemblage, and May Wilson’s glittery, collaged portraits of masked women resemble works of an eccentric Victorian hobbyist. They have an idiosyncratic strangeness far from the cool modernity of Pop. Including such artists, however, does help capture the general spirit of playful novelty that inspired all kinds of artists in the early ’60s.
A self-consciously feminist art movement came after the decade covered by this show, but a few of these women asserted protest against sexism in no uncertain terms. Martha Rosler’s collages of Vietnam War imagery, domestic interiors and Playboy pinups are exceptional for their ideological ferocity. May Stevens’s “Big Daddy Paper Doll,” which was made in 1970 and was added to the show by the Brooklyn Museum, belongs to a later moment. It personifies the patriarchy in the cartoon character of a uniformed, thick-necked authority figure. But most of the exhibition’s artists were more ambivalent about the feminine mystique.
Marjorie Strider’s painted relief of a beautiful woman holding a basketball-size radish in her teeth is like a work by the lubricious Tom Wesselmann. Her 12-foot-wide triptych picturing a sexy woman in a bikini in three different poses, breasts projecting in three dimensions, seems simultaneously to embrace the sexual freedoms precipitated by the Pill and to mock the commercial exploitation of desire. A bulbous statue of a cartoon giantess by Niki de Saint Phalle, meanwhile, incarnates a zany, retrogressive Great Mother of countercultural revolution.
Few women of this era, evidently, were ready to challenge male domination in life or in art openly. Mr. Sachs’s anecdote-rich essay vividly describes a bohemian art world not unlike the bourgeois milieu of “Mad Men,” in which female artists were expected to play the roles of wife, lover, helpmeet and caretaker first and that of professional art maker last if at all.
Some women contributed significantly to their partners’ work with little or no acknowledgment. Ms. Ostlihn produced some of the paintings of her husband, Oyvind Fahlstrom, and Richard Hamilton created his seminal collage “Just What Is It That Makes Today’s Homes So Different, So Appealing?” using images that his wife, Terry Hamilton, and the artist Magda Cordell spent several days clipping from magazines.
Patty Mucha sewed the fabric shells for the early soft sculptures of her husband, Claes Oldenburg. Her essay chronicling her collaboration with Mr. Oldenburg is one of the delights of the catalog. Though notably rancor free, she admits that after they divorced in 1970 she stopped making her own clothes, as she was “suffering from intense burnout.”
Then there was what Mr. Sachs called “the beauty trap”: Women who were young and pretty could hang out with the boys, but few of them would be taken seriously as artists. Mr. Sachs quotes Carolee Schneemann, who said, “You had to shut up and affiliate yourself with interesting men,” and “you had to be good looking.” This is borne out in the catalog by pictures of artists like de Saint Phalle, Marisol, Evelyne Axell and Pauline Boty, who happened to be blessed with extraordinarily photogenic looks. It is easy to imagine why such naturally and socially privileged people would hesitate to break out of their gilded cages.
In light of all this, the exhibition’s title, “Seductive Subversion,” takes on a shady double meaning. Ostensibly it describes works that smuggle social critique under appealing aesthetic cover. But it also implies an old idea about what members of the so-called weaker sex must do to get what they want: use their charms and wiles to put men off their guard. In most parts of the world, open rebellion is still not an option for women.
That things are better today for female artists working in Europe and the United States is undeniable, though how much better remains debatable. While the highest prices are still reserved for male heavyweights, there were more women than men represented in the last Whitney Biennial. We might suppose, therefore, that some female artists living and working now will one day go down in history as “great.” But what would that mean?
It would be hyperbolic to claim that any of the artists in “Seductive Subversion” are great in the sense that Michelangelo and Picasso were. Nor will any of them be found to have eclipsed the kings of Pop. But then again, is the idea of greatness even relevant anymore? Are any artists of the Postmodern era, male or female, truly great? Absent consensus about standards for measuring excellence in art, it becomes an empty term of endearment and a marketing label. (Andy Warhol thought everything was great.) Maybe the Bravo reality television show “Work of Art” has it all wrong. Maybe there will never be another great artist. And maybe that will be O.K.
“Seductive Subversion: Women Pop Artists, 1958-1968” continues through January 9, 2011 at the Brooklyn Museum, 200 Eastern Parkway, at Prospect Park, Brooklyn; 718-638-5000, brooklynmuseum.org.
Californians are big fans of French artist Niki de Saint Phalle, whose work can be seen at the Brea Mall.
Internationally renowned artist Niki de Saint Phalle created a whimsical public piece which sits in the center of a fountain pool at Brea Mall. Drawing inspiration from the 18th card of the tarot deck, the polymer creation evokes attention from passersby with its brilliant primal colors: red, blue, green and yellow. La Lune (French for “The Moon”) features the slender profile of a woman’s face in a double-image silver crescent moon. The moon is then clasped by a startling red and orange lobster, which is supported by a wolf and a dog. The dog implies domesticity, the wolf signifies the wild, the lobster represents the sea and the moon symbolizes man’s highest achievement. The artist’s work is known for searching the unknown and the mystical in feminine themes.
The piece is one of over 20 quality public installations throughout the city of Brea you can see during a visit.
About the artist: Born as Catherine-Marie-Agnès Fal de Saint Phalle, she lived from October 1930 to May 2002. Multi-talented, she was recognized not only for her sculpting and painting but also her film-making. Her striking features and figure also provided a career during her teen and young adult years as a fashion model for the French Vogue magazine, and she also appeared on the cover of Life magazine circa 1949.
Niki de Saint Phalle moved to the U.S. from France with her family and lived on the East Coast. Expelled from one school for painting fig leaves red on the school statuary, the budding artist had only begun to explore her creative side and fortunately, was not deterred from pursuing one of her many talents as painter.
In California you’ll find four of her sculpted works — all in Southern California, from San Diego to Brea.
San Diego — Sun God is a fanciful winged creature next to the Faculty Club on the campus of the University of California, San Diego as a part of the Stuart Collection of public art.
San Diego — Coming Together is showcased at the San Diego Convention Center.
Brea — La Lune, a sculpture located inside the Brea Mall in Brea, California.
LINCOLN, NEBRASKA — “Seductive Subversion: Women Pop Artists, 1958-1968” is the rare show that encourages you to rethink an entire period. Curated by Sid Sachs of the Rosenwald-Wolf Gallery at University of the Arts in Philadelphia, where it premiered last winter, it is billed as the first-ever all-woman survey of Pop art. Affording us the opportunity to rediscover artists and see unfamiliar work, the show revisits the origins of Pop art and the influence wielded by popular culture internationally during the decade in question.1 In subject matter, content and esthetics, the work on view departs in surprising and significant ways from what one might expect of Pop art, and in so doing challenges much received wisdom about the movement.
In the early ’60s, the term “Pop” was generally applied to art that depicted mundane objects or banal commercial products, and whose imagery and style referenced advertising or graphic design. Pop’s defining exhibitions-“New Painting of Common Objects,” curated by Walter Hopps at the Pasadena Art Museum; “The New Realists,” at Sidney Janis Gallery in New York (both 1962); and “Six Painters and the Object,” organized by Lawrence Alloway at the Guggenheim Museum (1963)-were all-male affairs (though Marisol was included in the Janis show). Sachs reminds us that there is much more to Pop-to its artistic sources and objectives-than the critical and art historical canon would lead us to believe. Ideas about Pop art, right down to the roster of its principal proponents, have rarely strayed far from those set forth in Lucy R. Lippard’s 1966 book Pop Art.
“Seductive Subversion” includes not only underknown Pop artists but also artists who are not typically identified with the movement. Marisol and Niki de Saint Phalle, both well known and associated with mainstream Pop, are present, but so is the Greek-born artist Chryssa, who is now fairly obscure but had a solo exhibition at the Guggenheim in 1961, when she was in her late 20s. (Having begun as a painter, she did pioneering work in neon in the ’60s and ’70s.) Other familiar figures in the exhibition are Yayoi Kusama, Martha Rosler, Vija Celmins and Faith Ringgold, who, while they are not identified with Pop today, were considered Pop-ish during the decade covered. Still others were (and are) better known abroad than in the U.S.: the Briton Pauline Boty (1938-1966), who was also an occasional model and actress of stage, film and TV; Jann Haworth, an American who participated in the British Pop art movement; the Swede Barbro Östlihn (1930-1995), who had a retrospective at the Art Museum of Norrköping in 2003; and, from Belgium, Evelyne Axell (1935-1972), a TV presenter, actress and scriptwriter turned artist.
The catalogue does a good job of documenting the systematic exclusions these artists experienced. They were treated as second-class citizens in the male-dominated art world of the period, and their work continues to be overlooked in most surveys of Pop. Yet neither the catalogue nor exhibition constitutes a feminist grudge-fest. While the timeframe covered coincides with the emergence of second-wave feminism, much of the work in “Seductive Subversion” seems at first to replicate the objectification of women, along with prevailing views of the feminine and domestic. As Sachs points out, the era’s gender divisions, both in the domestic and public spheres, permeated the artistic and personal lives of the women surveyed. Nonetheless, we find in the representation of these themes an implicit proto-feminist attitude-though sometimes the work is more overt, as in the case of 10 photomontages by Martha Rosler focusing on what one might think of as the politicization of feminine domestic servitude and decorum. The women in Rosler’s collages may go about doing their chores, sometimes in homes decorated with posters by famous Pop artists, but the world impinges in places as images of war taken from newspapers occupy windows or picture frames.
Helpfully, given the unfamiliar terrain covered, the catalogue is less a document of the exhibition than a stand-alone book [not yet issued as A.i.A. goes to press]. It provides information on the lives and careers of women artists identified with Pop and furnishes a context for both the period and the show. Essays by Sachs, Rosler, Linda Nochlin and Kalliopi Minioudaki address the issue of feminism, while individual case studies of some of the artists are supplied by Bradford Collins (on Rosalyn Drexler), Annika Ohrner (on Östlihn) and Sue Tate (on Boty and other women artists associated with British Pop). Patty Mucha gives a first-person account of her years of marriage to Claes Oldenburg during the beginnings of Pop; it was she who fabricated his early soft sculptures. (The essay is a reprint of an article first published in A.i.A., November ’02.)
While this might seem petty, I find the title “Seductive Subversion” misleading, tinged more with chauvinism than irony. The term “seduction” can imply what were once considered feminine wiles — guile, coyness and even deceit.
The work in the show is, if anything, antithetical to seduction in this sense. In fact, the exhibition lives up to its original working title, “Beyond the Surface: Women and Pop Art, 1958-1968,” which is now the title of Sachs’s catalogue essay — a response to the famous comment by Warhol that if you want to know all about him or his work, all you need to do is look at the surface. Sachs’s efforts, by contrast, go well beyond a superficial reading of the movement. The artists in “Seductive Subversion” employ Pop motifs and styles, but they do not adopt the cool industrial look normally associated with Pop. Nor do they emphasize product labels and logos, or the esthetics of mass reproduction. While social and cultural commentary might arise in art using commercial techniques, formats and styles, the established artists here often turned to more hand-made means to convey their messages. They also make little or no reference to celebrities, glamour, glitz or kitsch (though Joyce Wieland does incorporate into her 1964 construction Young Woman’s Blues a cheap dime-store Valentine’s Day heart and a plastic model of a jet plane). Sachs’s account embraces Pop’s sources in craft, folk art, gendered imagery (particularly the representation of women’s bodies) and individual experience as well as other contemporary art. All combine to give expression to highly personal approaches and points of view.
In his seven years researching the show, Sachs culled a list of 65 names from periodicals, exhibition catalogues and checklists, books and articles. He also had conversations with artists Idelle Weber, Drexler, Marjorie Strider, Minioudaki, Östlihn and many others. Not all the artists whom Sachs uncovered are included in the exhibition. He hunted down works in storage facilities of museums and collectors, and in the holdings of inactive estates (nearly half the artists are deceased). Sometimes the works were in a state of disrepair; Dorothy Grebenak’s woolen hooked rug Tide Box (1964) had fallen apart and had to be replicated for the show (by fiber artist Emily Peters). The sole surviving example of Laura Grisi’s illuminated Plexiglas reliefs and boxes, owned by a German museum, is too fragile to travel. Only a small etching of a crossword puzzle (1964) by the late Letty Eisenhauer, originally an edition of 60, could be located; she had lost nearly the entirety of her oeuvre in recent years to floods. And some of the artists have actually gone missing: Sachs could find neither Gloria Graves nor any of her works. Not all the explanations of exclusions or near-exclusions are so bleak, however. Lee Lozano (who is represented by a single drawing on graph paper from 1958) and Haworth, for example, were the subjects of retrospectives at the time Sachs was organizing this exhibition; therefore key works by them were not available. “Seductive Subversion” (which in Philadelphia consisted of 56 works by 21 artists2) is obviously not comprehensive. Yet, while artists are often unevenly (though intriguingly) represented, the show as a whole gives us a compelling view of works that have long been unseen-if they were ever seen in the first place.
In its bold, aggressive imagery and grand scale — sometimes billboard-size — the work of Lichtenstein, Dine, Rosenquist, Rauschenberg et al. has often been characterized as the last bastion of the heroism and masculinity of Abstract Expressionism. Such traits are absent in “Seductive Subversion,” though the women here were certainly not alone in presenting an alternative. They remind me of some male artists at times associated with Pop — though not among the defining stars — who similarly lacked a critical link to Ab-Ex: Joe Brainard, Allan d’Arcangelo, Alex Hay, Joe Goode, Alex Katz, Öyvind Fahlström, Wayne Thiebaud and John Wesley, among others. These artists also drew upon elements of popular culture (comics as well as mass-produced and common objects), but their work — by turns minimal, personal, conceptual or formalist — never entered the canon of Pop art as narrowly defined.
Of course there are parallels between the women artists and their better-known male counterparts. Chryssa created a number of Warhol-like works, such as her painted grids of repeating images (Car Tires, 1962) or newspaper advertisements (Newspaper II, 1961), and a Johns-like plaster relief of letterpress type (Unmailed Letter, 1960). Grebenak appropriated imagery from other Pop artists (Warhol and Lichtenstein), which she turned into rugs. In so doing, she appears to have been less concerned with popular imagery per se than with addressing the difference between those artists’ paintings (high art) and her own craft, which played with the idea of hobbyism. Other works, like her rugs depicting Bugatti cars (ca. 1964), had more personal associations; her dealer, Allan Stone, collected them.
Marisol likewise incorporated elements of craft, though of the folk art variety. Her wooden sculpture John Wayne (1962-63) shows the cowboy star, gun drawn, astride a horse going at cartoonish full gallop (all four legs extending out from its body). Given its strong horizontal and vertical axes and pronounced silhouette, it is reminiscent of a whirligig or weathervane. (The work was commissioned to appear in a special issue of Life magazine devoted to film.) Marisol’s approach, in turn, is radically different from that of Drexler, whose works are more formalist. Drexler isolates her figures (pop singers, film characters and other subjects) within flat, geometric grounds. An example is Twist Around the Clock (1964), in which the figures of Chubby Checker and dancing couples were adapted from a poster for the eponymous film. Earlier, more collagelike paintings by Drexler similarly appropriated stereotypical imagery from film posters advertising damsel-in-distress movies, but in those she rearranged the elements to make the results more expressionistic (King Kong aka The Dream, 1963). Of a very different order are the mimetic paintings of Celmins and Kay Kurt, who rendered such objects as a pencil (Celmins) and a box of chocolates (Kurt) as deadpan as possible, strategically positioning their work in line with both the objectivity of Minimalism and the banality of Pop.
Sometimes mixed messages arise from combining socio-cultural critique and formalist esthetics. Strider’s paintings of bathing beauties — kittenish, Colgate-smile, bikini-clad girls (Green Triptych, 1963) — differ decidedly from similar works by such male counterparts as Lichtenstein, Tom Wesselmann, and the British artists Gerald Laing and Tom Phillips. Executing their breasts and buttocks in relief, Strider not only metaphorically but physically objectifies them. A woman’s appeal, she seems to say, is reducible to her protuberances; in accordance, she punningly “shapes” her canvases. Building masculine fantasy into her imagery, Strider at the same time transgresses the dictums of flatness associated with formalist and Minimalist hard-edge abstract painting, which were Pop’s main competitors for critical attention at the time. Another approach to sexual appeal may be found in the work of Alina Szapocznikow (Polish/French), who is represented here by Stele (1968), a gothic-looking, surrealist-tinged, predominantly black polyester and urethane sculpture that at first appears to represent a shrouded, kneeling female figure with exposed breasts. On closer inspection one realizes that the breasts are actually knees, as the sculptor turns the erotic into the grotesque.
Despite many differences among the works in the exhibition, a general theme that runs throughout is a critique of the emotional conformity and anonymity of Cold War society. Searching for a means of formulating a fresh, more effective representation of seismic shifts in their world, the artists turned to discrete objects, cheap goods, readymades, shiny plastic and enamel surfaces, and commercial design to better convey the sense of dislocation they were experiencing. The works in this show are devoid of tired humanistic tropes, from Boty’s painterly combinations of disparate personal and public images (With Love to Jean Paul Belmondo, 1962) to Axell’s glossy, Pop-psychedelic paintings in enamel on Plexiglas (Campus, 1970); Drexler’s cinema-derived practice (Home Movies, 1963); Mara McAfee’s deliberately mannered references to fashion illustration (Marvelous Modern Mechanical Men, 1963); Weber’s stark graphics (Munchkins I, II & III, 1964); and May Wilson’s faux-documentary “Ridiculous Portrait” collages. Far more than a simple rediscovery of women Pop artists, this exhibition offers us unexpected insight into the artistic challenges, issues and ambitions that arose in a period of radical change.
1 The exhibition will vary slightly from venue to venue.
2 Evelyne Axell, Pauline Boty, Vija Celmins, Chryssa, Niki de Saint Phalle, Rosalyn Drexler, Letty Eisenhauer, Dorothy Grebenak, Kay Kurt, Yayoi Kusama, Lee Lozano, Marisol, Mara McAfee, Barbro Östlihn, Faith Ringgold, Martha Rosler, Marjorie Strider, Alina Szapocznikow, Idelle Weber, Joyce Wieland and May Wilson.
“Seductive Subversion: Women Pop Artists 1958-1968” opened at the Rosenwald-Wolf Gallery, University of the Arts, Philadelphia [22 January – 15 March]. Currently on view at the Sheldon Museum of Art, Lincoln, Nebraska [through 26 September], it travels to the Brooklyn Museum [15 October 2010 – 9 January 2011] and Tufts University Art Gallery, Medford, Massachussetts [20 January – 3 April 2011].
Saul Ostrow is a critic, independent curator, and the chair of visual arts and technologies at the Cleveland Institute of Art.
Currently On View: “Seductive Subversion: Women Pop Artists 1958-1968,” at the Sheldon Museum of Art, Lincoln, Nebraska, through 26 September, and opening at the Brooklyn Museum 15 October.
To mark the new year, we bring you a love letter to Niki de Saint Phalle from Hannah Marshall, writing in The Riviera Times.