12 video projectors, 20 monitors and 32 DVD players were just delivered for the load-in of the Center’s inaugural show, Global Feminisms. The show consists of work by approximately eighty -seven women artists from around the world and includes work in all media—painting, sculpture, photography, film, video, installation, and performance. 34 women are working within the realm of video art. The exhibition will include 7 video installations , 9 single-channel videos, and 19 videos presented within several different thematic programs.
About Melissa Messina
Before coming to the Elizabeth A. Sackler Center for Feminist Art, Melissa Messina earned her MFA from Pratt Institute where she received the Presidential Merit Award in Painting. While there, she coordinated the 2005–06 Visiting Artist Lecture Series, which featured such artists as Vanessa Beecroft, Mariko Mori, Judy Pfaff, and Joan Snyder. During this time, she also worked as a Curatorial and Sales Associate for a private dealer in New York specializing in modern abstraction. Prior to moving to New York, Messina was hired by the City of Atlanta Bureau of Cultural Affairs as an independent curator and executed several regional and national group exhibitions for their public art galleries, City Gallery East and City Gallery at Chastain. In Atlanta, she was also Assistant Director at Comer Art Advisory, LLC, in 2004, and a Curatorial and Marketing Associate for the art consulting firm, Barkin-Leeds Ltd., 2001–2003. She recently was the Assistant Curator to Ernesto Pujol for the exhibition
Mediating America (June 2006) at the Center on Contemporary Art, Seattle, and was invited to jury the exhibition
Adam's Rib Eve's Air in Her Hair (January 2007) at the feminist art gallery SOHO20 in Chelsea. Her own artwork has been exhibited in museums and galleries in the Southeast, New England, and New York.
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Eastern Parkway/Brooklyn Museum
The following story illustrates very clearly why the Elizabeth A. Sackler Center for Feminist Art is a necessity:
On Saturday, January 26 visual artist Greg Edmondson attended the artist lecture at the Contemporary Museum St. Louis in St. Louis, Missouri. He was interested in viewing “I Remember Heaven: Jim Hodges and Andy Warhol” and his own work, curated by Hodges, in a smaller paralell exhibition titled “Selections from the Contemporary Flat Files.”
Shortly after 2:00 p.m. Edmondson introduced himself to Hodges and expressed his thanks to him for having included his work in the show. Hodges then inquired why Edmondson had decided not to show the piece that he had selected for the exhibition. Hodges had chosen “Artificial Intelligence:
Wolsey III,” in his words “a beautiful and confrontational” painting. The 18” by 19 1/2” work is of a vagina in gouache on pink 1927 wallpaper.
Edmondson was confused. The work he’d seen displayed on the second floor of the Contemporary was the “Artificial Intelligence: Clarence House II.” It features a shape sorting toy for toddlers on grey antique wallpaper. Hodges urged Edmondson to question the museum’s executive director, Paul Ha.
Moments later he did and when confronted about the switch, Ha responded that Hodges’ selection had been overridden. “It was a staff decision to replace the work,” stated Ha. “They didn’t want to make the additional signage.”
In the main gallery, however, a drawing of a penis with flowers by Andy Warhol and a masturbating woman hung without any signage.