Exhibitions: Global Feminisms

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Yachting Trophy

    Works with a connection to Brooklyn are of particular interest to curators when they select objects for the collection. This trophy in the s...

     
    Want to add this object to a set? Please join the Posse, or log in.

    close

    DIG_E2007_Global_Feminisms_01_PS2.jpg DIG_E2007_Global_Feminisms_02_PS2.jpg DIG_E2007_Global_Feminisms_03_PS2.jpg DIG_E2007_Global_Feminisms_04_PS2.jpg DIG_E2007_Global_Feminisms_05_PS2.jpg DIG_E2007_Global_Feminisms_06_PS2.jpg DIG_E2007_Global_Feminisms_07_PS2.jpg DIG_E2007_Global_Feminisms_08_PS2.jpg DIG_E2007_Global_Feminisms_09_PS2.jpg DIG_E2007_Global_Feminisms_10_PS2.jpg DIG_E2007_Global_Feminisms_11_PS2.jpg DIG_E2007_Global_Feminisms_12_PS2.jpg DIG_E2007_Global_Feminisms_13_PS2.jpg DIG_E2007_Global_Feminisms_14_PS2.jpg DIG_E2007_Global_Feminisms_15_PS2.jpg DIG_E2007_Global_Feminisms_16_PS2.jpg DIG_E2007_Global_Feminisms_17_PS2.jpg DIG_E2007_Global_Feminisms_18_PS2.jpg DIG_E2007_Global_Feminisms_19_PS2.jpg DIG_E2007_Global_Feminisms_20_PS2.jpg DIG_E2007_Global_Feminisms_21_PS2.jpg DIG_E2007_Global_Feminisms_22_PS2.jpg DIG_E2007_Global_Feminisms_23_PS2.jpg DIG_E2007_Global_Feminisms_24_PS2.jpg DIG_E2007_Global_Feminisms_25_PS2.jpg DIG_E2007_Global_Feminisms_26_PS2.jpg DIG_E2007_Global_Feminisms_27_PS2.jpg DIG_E2007_Global_Feminisms_28_PS2.jpg DIG_E2007_Global_Feminisms_29_PS2.jpg DIG_E2007_Global_Feminisms_30_PS2.jpg DIG_E2007_Global_Feminisms_31_PS2.jpg DIG_E2007_Global_Feminisms_32_PS2.jpg DIG_E2007_Global_Feminisms_33_PS2.jpg DIG_E2007_Global_Feminisms_34_PS2.jpg DIG_E2007_Global_Feminisms_35_PS2.jpg DIG_E2007_Global_Feminisms_36_PS2.jpg DIG_E2007_Global_Feminisms_37_PS2.jpg DIG_E2007_Global_Feminisms_38_PS2.jpg DIG_E2007_Global_Feminisms_39_PS2.jpg DIG_E2007_Global_Feminisms_40_PS2.jpg DIG_E2007_Global_Feminisms_41_PS2.jpg DIG_E2007_Global_Feminisms_42_PS2.jpg DIG_E2007_Global_Feminisms_43_PS2.jpg DIG_E2007_Global_Feminisms_44_PS2.jpg DIG_E2007_Global_Feminisms_45_PS2.jpg DIG_E2007_Global_Feminisms_46_PS2.jpg DIG_E2007_Global_Feminisms_47_PS2.jpg DIG_E2007_Global_Feminisms_48_PS2.jpg DIG_E2007_Global_Feminisms_49_PS2.jpg DIG_E2007_Global_Feminisms_50_PS2.jpg DIG_E2007_Global_Feminisms_51_PS2.jpg DIG_E2007_Global_Feminisms_52_PS2.jpg DIG_E2007_Global_Feminisms_53_PS2.jpg

    Global Feminisms

    • Dates: March 23, 2007 through July 1, 2007
    • Collections: Contemporary Art , Elizabeth A. Sackler Center for Feminist Art
    • Location: This exhibition is no longer on view in Elizabeth A. Sackler Center for Feminist Art and Morris A. and Meyer Schapiro Wing, 4th Floor
    • Description: Global Feminisms. [03/23/2007 - 07/01/2007]. Installation view.
    • Citation: Brooklyn Museum Digital Collections and Services. Records of the Department of Digital Collections and Services. (DIG_E_2007_Feminisms)
    • Source: born digital
    • Related Links: Main Exhibition Page
    Exhibition Didactics ?
    • Introduction
      Global Feminisms is the first major exhibition to examine international feminist art at the turn of the twenty-first century. While previous exhibitions of feminist art have dealt with the art of the 1970s or the theoretical or conceptual art of the 1980s, Global Feminisms looks to the present and future rather than the past. It takes as its starting point the year 1990, designating it as the approximate historical moment when the intersections of race, class, sex, and gender were placed at the forefront of feminist theory and practice. Such issues had been explored throughout the 1970s, but it was only from the mid-1980s onward that they began to be articulated more consistently; the 1990s marked a move away from the Western domination of feminist art toward the inclusion of work by artists from regions outside of America and Europe. This exhibition illustrates that shift.

      Insofar as the present exhibition expands upon the many developments that have occurred in feminist theory and contemporary art practice over the intervening three decades, Global Feminisms also defines itself in counterpoint to the landmark exhibition Women Artists: 1550–1950, which was organized by the art historians Linda Nochlin and Ann Sutherland Harris and shown at the Brooklyn Museum in 1977. Unlike that exhibition, however, which presented an historical survey, Global Feminisms is devoted to contemporary art by women artists born since 1960.

      Presenting the work of 88 female young to mid-career artists from around the world, this exhibition includes a multitude of voices, calling attention to the fact that feminism is a truly global issue. By making feminism a plural noun, feminisms, we mean to imply that there is not one single, unitary feminism any more than there is a universal “woman.” Similarly, Global Feminisms seeks to challenge the concept of a “global sisterhood,” a term that assumes a universal sameness among women without taking into account social, racial, ethnic, economic, sexual, and cultural differences.

      The exhibition’s installation is neither chronological nor geographical but is instead organized loosely into four thematic sections within which diverse works can overlap. The sections are Life Cycles, Identities, Politics, and Emotions.

      It is our wish that this exhibition, though it does not pretend to be comprehensive, will provide a salutary precedent for future curatorial activisms with a global focus. Above all, we hope that this show constitutes not only a revelation of the creative energy of women and their art throughout the world, but equally, a reclamation of difference as a major positive force in the human situation, rather than a crippling predicament. It is only through the acceptance of difference in its many varieties that art, and society, can change.

      Maura Reilly and Linda Nochlin
      Curators of the Exhibition

    • Life Cycles
      The works in this section of the exhibition share a desire to break down the stereotypes that still “typecast” women today.

      This section charts the stages of life, from birth to death, but does so in a non-traditional and subversive fashion. Instead of offering the comforting, joyous, or serenely accepting images of pregnancy, motherhood, marriage, old age, and death that one might expect, artists in this section question the stereotypes associated with these milestones in life—challenging the familiar societal roles, expectations, and concepts that generally accompany them. Global Feminisms artists therefore prefer to explore lesbian motherhood, primate wet-nurses, male pregnancy, the dark underbelly of childhood, cyber-feminist marriages, honeymoons without husbands, and seductive tombstones.

    • Identities
      In the words of the feminist theorist Donna Haraway, identities are “contradictory, partial, and strategic.” This idea is central to Global Feminisms, which seeks to reveal that a person’s identity cannot be restricted to a single definition, and recognizes that identities—race, class, gender, sex—are fluid, and never stable. For instance, many of the artists in this section perform the role of the exotic, histrionic, transgender, or abject “other” so as to deliberately overturn derogatory or restrictive stereotypes. Others demonstrate the falsity of fixed notions of selfhood by celebrating hyperbolic or multiple selves.

    • Emotions
      In the history of art, women have always dominated the representation of emotions. This section explores the representation of various emotional and psychological states, ranging from ecstasy to self-loathing, contentment to psychosis, sexual pleasure to hysteria. While traditionally men are depicted as stoical and controlled, women are assigned the role of explicitly emotional and irrational expression. The word hysteria, after all, meaning a heightened, pathological emotional state, is derived from the Greek term for “uterus.”

      Some of the artists in this section consciously parody, through exaggeration or hyperbole, the conventional idea of women as hysterical victims of their emotions. Others evoke strong emotional responses in the spectator, who is confronted with passionate kisses, domestic violence, self-mutilation, fits of laughter, bouts of tears, or the display of sexually arousing poses. These representations dismantle the whole confining structure of what is “natural” for women, and men, to feel and express. Women are no longer envisioned as the bearers of the freight of emotional authenticity; emotions are seen as arising from specific social and political situations rather than being “natural.”

    • Politics
      Inverting the 1970s dictum that “the personal is political,” this section looks at the world through the eyes of women artists who declare that the political has now become deeply personal. Never content in their role as the historically silent female subject, the artists in Global Feminisms talk back and speak out in protest against the inequities and injustices in the world around them. They explore the problematic relationship between the individual and those institutional or political forces that give rise to war, apartheid, racism, hate crimes, sex trafficking, colonialism, geographical displacement, and industrial pollution.

    advanced 106,717 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."


    Recently Tagged Exhibitions

    Warning: Invalid argument supplied for foreach() in /home/www/default/views/opencollection/_tags_list.php on line 15

    Recent Comments

    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.


    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.