This is not Ideal: Gender myths and their transformation

    Kim Fox's installation

     

    Gendered spaces, materials, forms ... and their transformation

    Author: Brooke Wyatt, HAA graduate student and HAA1030 Museum Studies Exhibition Seminar student – Fall 2018 

    Handwork is an exhibition of new work by Pittsburgh artist Kim Fox, currently on view in Contemporary Craft's BNY Mellon Satellite Gallery in the lobby of the Steel Plaza T-Station downtown. Six works are presented, ranging in size from the large-scale Eight-Pointed Star Quilt II (2018), a work that employs two salvaged wooden barn doors for its support, to the more intimate Log Cabin Quilt Block (2018), scaled to the size of the reclaimed wood lath that frames the composition. Fox engages a range of found materials, including vintage tin, paper dress patterns, and a tabletop that was used to cut glass in a hardware store, as seen in Blue Honeycomb (2018). In some cases, Fox links these materials to their previous location and function in manufacturing towns around Pittsburgh. Through wall-text information, we learn that the tabletop came from Clairton, PA, home of U.S. Steel's Clairton Works, the largest coke-producing facility in the United States. The salvaged wood used in another work, Honeycomb (2018), was found at the Jeannette Glass Works, defunct since 1983, but once one of Pennsylvania's premier consumer glass manufacturers. 

    In conjunction with these echoes of the region's industrial history, Fox's use of forms and patterns drawn from the world of quiltmaking reflects parallel traditions in the area's production of housewares and crafts. In Handwork, references to mechanized industry and factory production interface with the aesthetics of homemade, hand-stitched textile work to evoke a complicated reading of gender. Materials and techniques associated with masculinized spaces such as the factory floor and the realm of hard labor intersect with interior, domestic spaces often coded as feminine. The works allow layers of meaning to accumulate as found objects join together with the mark-making, collaging, and repetitive ordering that reveals the artist's working process. Fox combines materials and techniques from craft practice with more conventional fine art approaches, effectively playing with embedded hierarchies about which forms are most valuable or visually provocative. Through her material exploration of these binary constructions —masculine/feminine, public/private, fine art/craft, work/hobby — Fox's work unravels dichotomies to present a composite, layered meditation on labor, place, and the convergence of past and present.

    Bringing new interpretations to traditional paradigms of gendered space, material, and form is central to Fox's visual language, and reverberates with the work of Katie Ott, another Pittsburgh-based artist whose work is currently on view in the University Art Gallery (UAG) at the University of Pittsburgh. Part of the student-curated exhibition This is Not Ideal: Gender myths and their transformation, Ott's work makes a queer and intersectional feminist intervention into the historically masculine domains of woodworking and furniture-making, literally turning the tables on established gender norms around art and craft practice. 

    Handwork is presented in conjunction with Contemporary Craft's biennial show Transformation 10: Contemporary Works in Found Materials, the Elizabeth R. Rafael Founders Prize Exhibition and is on view from September 14, 2018 to January 5, 2019

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Graduate Work
    • Collecting Knowledge Pittsburgh
  • A 1908 Overland model on display at The Car and Carriage Museum

     

    Driving the Disenfranchised

    Author: Meghan Lees, HAA1030 Museum Studies Exhibition Seminar student – Fall 2018

    Organized by one of our partners, The Frick Pittsburgh, Driving the Disenfranchised: The Automobile’s Role in Women’s Suffrage explores how the automobile served not only as a turning point for modern life, but also as an iconic symbol for female suffragists during the Progressive Era. Through the installation of a range of women’s fashion and vintage vehicles, many in the trademark yellow of the suffrage movement, the exhibition sends the visitor on a journey through the early twentieth century activism. The creation of the automobile allowed women a form of escape from the confines of the home. It was a symbol of individual mobility and social change. Vehicles were used in activist rallies and decorated in the suffragist’s message for independence and equality.

    This history closely connects with the ideas raised by our exhibition This is not Ideal: Gender myths and their transformation, opening at the University Art Gallery on 26 October. But one way that these exhibitions differ is in their overall tone. Since it commemorates the journey of activism towards giving citizens the right to vote regardless of sex from the first Women’s Rights Convention in July 1848 to the ratification of the 19th Amendment, The Frick Pittsburgh’s exhibit has an appropriately upbeat tone. It is conveys a feeling of pride in documenting the work of these early-twentieth century activists, and shows how a technological innovation, such as an automobile, can produce profound psychological changes in society. This is not Ideal, on the other hand, is less straightforwardly positive. With the title – This is not Ideal – we are taking a stand on issues of gender. The viewer is not meant to look fondly on the narratives told by many of the works we have selected from the UAG collection. Our exhibition asks the visitor to reflect not just on the changing nature of gender myths, but also on the progress that remains to be made.

    The Frick Pittsburgh’s Driving the Disenfranchised: The Automobile’s Role in Women’s Suffrage is currently being held at the Car and Carriage Museum and will continue to be displayed through October 21. This is not Ideal: Gender myths and their transformation opens October 25.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Undergraduate Work
    • Collecting Knowledge Pittsburgh

    Guerrilla Girls, Do women have to be naked to get into the Met. Museum?, 1989, offset laser or inkjet print poster. The Carnegie Museum of Art, Pittsburgh, © Guerrilla Girls

     

    Guerrilla Girls and the CMOA

    Author: Annie Abernathy, HAA1030 Museum Studies Exhibition Seminar student – Fall 2018

    “Only 4 of the 42 artists in the Carnegie International are women.” So declares a message by the Guerrilla Girls in 1986, produced as part of this feminist art collective’s sustained attack on the inequalities of the art world. As Pittsburgh prepares to welcome the 57th edition of the Carnegie International, the situation is thankfully much better. This year, 17 out of 32 artists included in the International are women.

    The Guerrilla Girls are also making their presence felt in the permanent collection displays of the Carnegie Museum of Art. As part of Crossroads, the museum’s recent rehang of the contemporary galleries, a collection of their posters are currently on display in the Scaife Galleries. What would the Guerrilla Girls think of This is not Ideal: Gender myths and their transformation, the student curated exhibition at the University Art Gallery that opens a few weeks after the Carnegie International? Given their own iconic billboard designs of the 1980s, what might they make of our inclusion of Tom Blackwell’s print I-610 North? Where the Guerrilla Girls use art to protest the art world itself, Blackwell’s work appears to merely repeat and reinforce traditional gendered imagery. Both women in these works are reminiscent of classical depictions of the female nude such as Manet’s Olympia or Titian’s Venus of Urbino. Drawing upon a history in which women have consistently been presented as passive objects, the Guerrilla Girls take a stand. The group of their posters on show in Crossroads at CMOA use the traditional female nude to call out institutional sexism.

    This is not Ideal also uses a historical lens to confront contemporary issues, reinterpreting artworks in the collection to expose their sexist content. The CMOA has often collected works through the Carnegie International, such that the decisions of its curators make a lasting impact on the museum’s collection. As the students curating This is not Ideal have discovered, it is a constant struggle in exhibition making to acknowledge the limits of the collection you are drawing upon. The UAG collection also has its disparities: the statistics are difficuly to calculate, but only about 8% of the works in the collection were created by women. In This is Not Ideal, sexist and traditional histories are challenged through their dialogue with non-normative images. By using a biased history to tell a new narrative, we hope that viewers will see how the past still resonates in the present, and what transformations must occur to effect lasting change.

    Crossroads is now open in the Scaife Galleries at the Carnegie Museum of Art. This is not Ideal: Gender myths and their transformation opens October 25.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Undergraduate Work
    • Collecting Knowledge Pittsburgh

    Andy Warhol, Ladies and Gentlemen (Wilhelmina Ross), 1975, Acrylic and silkscreen on canvas. The Andy Warhol Museum, Pittsburgh, © The Andy Warhol Foundation for the Visual Arts, Inc.

     

    Ladies and Gentleman: Queer subjects at the Warhol and the UAG

    Author: Rebecca Moser, HAA1030 Museum Studies Exhibition Seminar student – Fall 2018

    The student curated University Art Gallery exhibition This is not Ideal: Gender myths and their transformation focuses on themes that revolve around idealized beauty and gender norms as well as the subversions of these ideals by queer subjects. It is no surprise that there is a huge collection of art at the Andy Warhol Museum that can be discussed in regards to gender and sexuality. One of Warhol’s series of works that best fits into such discussions is his Ladies and Gentlemen series.These works are currently on display in conjunction with the Warhol’s forthcoming solo exhibit of the work of Devan Shimoyama, curated by Jessica Beck.

    Although queer subjects are rarer in the University Art Gallery collection than at the Warhol, several works in This is Not Ideal do present variations from the conventions of gender expression. Historical prints of the Chevalier d’Eon and Mary Frith, for example, register the long history of non-normative identities. A more contemporary example featured in the exhibition is the photograph titled Jennifur, by Daniel D. Teoli from his Gender Bender series. As a self-taught social documentary photographer, his goal was to assemble an archive of the people and cultures of Los Angeles street life in the 1970s. While no record of the sitter’s identity exists, their appearance suggests the sitter to be a drag performer or a transgender person.

    This photograph was taken at the same time that Warhol started shooting the Polaroids for his Ladies and Gentlemen series. In recent years, Warhol’s models have begun to be identified and credited, but Teoli’s models still remain unknown. The biggest difference between the works, however, is how each of the artists deal with the fine details of their sitters. In his paintings, Warhol erases the models features that seem less ideal to him, such as masculine attributes, obvious wigs and overdone makeup. These are characteristics that Teoli instead accentuates. Shot on opposite sides of the country, both Teoli and Warhol’s images provide important documents of queer culture in the late twentieth century.

    Devan Shimoyama: Cry Baby opens October 13. This is not Ideal: Gender myths and their transformation opens October 25.

    Rebecca Mosser was also the Milton Fine Museum Profession Fellow at the Andy Warhol Museum in Summer 2018.

    Read more about her internship experience here

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Undergraduate Work
    • UAG
    • Collecting Knowledge Pittsburgh