Building on conversation started at the 2012 NAEA convention and continuing with the tradition started by our previous Outreach Coordinators, NAEA Women’s Caucus members were once again invited to create a piece of postcard art based on the idea of Feminist Remix.
Feminist Remixing involves alteration, recombination, and dislocation of socio-cultural ideas and representations of girls and women to provoke a new dialogue about feminism and gender justice. It also draws upon influential exchange and collaboration between girls/women of different generations, experiences, and affiliations.
Visualize! What is the pedagogy of Feminist Remixing? What does it look like? Sound like? Feel like?
#1. Untitled. By Judith Fowler.
#2. Untitled. By Gretchen N. Ebersol.
#3. Untitled. By Amy Bloom.
#4. Generations of Faculty & Students Remixed. By Kit Grauer and her students.
#5. A still image from the digital movie, “Threads by Hand,” based on feminist sewing techniques, traditional painting, and computer-generated moving images. By Christine Gorbach.
#6. Untitled. By Olga Ivashkevich.
#7. Untitled. By Peter Scurr.
#8. Untitled. By Anonymous Artist.
#9. Untitled. By Joanne Rees.
#10. Untitled. By Laurie Gatlin.
#11. Untitled. A collaboration between Juliet Araujo, age 50 (artist, researcher, teacher) and a 16-year-old female art student who comes every Saturday to Juliet’s studio.
#12. A Cross-Generational Feminist Remix. By Zoe Moos and Barbara Bickel. Two images juxtaposed and overlapped, bring together two self-portraits of two friends, one a 15-year-old artist and the other a 49 year-old artist. Both created at times of life threshold crossing and both expressing the sensuous, embodied experience of a woman learning to live fully in her own body without restraint in the world.
#13. Untitled. By Amy Brook Snider.
#14. Untitled. By Jerry Hausman.
#15. Warp Another Loom. By Jackie Thomas. Sketch for paper composition.
#16. Untitled. By Dianna Huxhold.
#17. Untitled. By Nan Waterstreet.
#18. Untitled. By Yvonne Pepin-Wakefield.
#19. Untitled. By Christy Ortiz.
#20. Untitled. By Stephanie Wirt.
#21. Untitled. By Cindy Maguire.
#22. Untitled. By Jean Langan.
#23. Untitled. By Enid Zimmerman.
#24. Untitled. By Linda Neely.
#25. Untitled. By Laurie Gatlin. Dazzle camouflage was used during WWII on ships. Its purpose is not to conceal, but to make it difficult to estimate range, speed, and heading.
#26. Untitled. By Debbie Smith-Shank.
Judy Chicago’s teaching methodology, similar to the way she approaches artmaking, begins with self-presentation, which leads to content-searches as arts-based research to situate individual experience within a larger context. Her methodology guides how to transform personal experience into a tangible content-based visual expression that is accessible to and engaging for a larger community.
When you look at the artworks produced within Judy Chicago’s 11 different teaching projects, they stimulate discussion. The images are incredibly powerful. The teaching materials from the Feminist Art Program, founded in 1970 by Judy Chicago in Fresno, California, along with Chicago’s other teaching projects between 1970 and 2005 are historically significant in the development of feminist art pedagogy as processes that can contribute to socially responsible participatory democracy.
See http://judychicago.arted.psu.edu/ for information about the Judy Chicago Art Education Collection and to see digitized materials from the Collection.
A time when you felt powerless or not in control.
“I felt empowered when I defend or help the ones I love, family, students, friends, people I visit in the hospital. I am the white knight. I tilt at windmills. My own troubles become smaller when I can help some one else.”
-Written by the artist.