ALIEN SHE at Yerba Buena Center for the Arts, California

Alien She – Examining the lasting impact of Riot Grrrl

Fri, Oct 24, 2014 to Sun, Jan 25, 2015
Yerba Buena Center for the Arts, California, USA

Description of the exhibition and the video:

‘AlIEN SHE is the first exhibition to examine the lasting impact of Riot Grrrl, a pioneering punk feminist movement that emerged in the early 1990s in reaction to pervasive and violent sexism, racism, and homophobia in the punk music scene and in the culture at large. Emphasizing female and youth empowerment, collaborative organization, creative resistance, and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations. This exhibition focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl, in addition to a historical section sampling the movement’s vast creative output through hundreds of self-published zines, hand-designed posters, musical playlists representing different Riot Grrrl scenes internationally, video interviews, and more.

Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories. Featured artists include: Ginger Brooks Takahashi, Tammy Rae Carland, Miranda July, Faythe Levine, Allyson Mitchell, L.J. Roberts, and Stephanie Syjuco.’


ALIEN SHE is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University.

ALIEN SHE Curators Tour at Carnegie Mellon University – Archives Part I

ALIEN SHE Curators Tour – Part II Allyson Mitchell, Tammy Rae Carland, Miranda July

ALIEN SHE Curators Tour – Part III L.J. Roberts, F. Levine, S. Syjuco, G. Brooks Takahashi

Ulrike Mueller – Artist Talk, 2007

Artist Talk: Queer artist Ulrike Müller with Roger Conover, Executive Editor at MIT Press. Published by MIT TechTV, March 19, 2007

About Ulrike Müller

Ulrike Müller is an artist, who has created a feminist, theoretical, and activist body of work that situates art making as a means to (en)action, communication, and community making. From 2005 to 2007, along with K8 Hardy, Ginger Brooks Takahashi, and Emily Roysdon, Müller co-edited the journal LTTR – a gender queer collaborative artists cooperative that aimed at updating the feminism of the 1970s in a wide range of new genres and forms of expression. Austria-born Ulrike Müller is currently based in New York.

“Ulrike Müller’s practice investigates form as a mode of critical engagement. Employing a wide range of materials and techniques, from text to audio and video, performance, publishing, and, most recently, intimately scaled drawings and paintings, it moves between different contexts and publics, invites collaboration, and expands to other realms of production in processes of exploration and exchange.” – Barbara Schröder, DF Press, New York, 2012

Archiving Michigan Womyn’s Music Festival

Gender Studies and Body Politics Session 2 | published by The New School, Nyc. USA, 2010

Ann Cvetkovich, Professor of English and Professor of Womens and Gender Studies, University of Texas at Austin. Prof. Cvetkovich discusses the problems of continuity/discontinuity across feminist generations. What turns have we taken, and how do we assess those now? Prof. Cvetkovich shares her experience in archiving Michigan Womyn’s Music Festival. She also presents works by a new generation of lesbian feminist artists who embraces the 70s sisterhood and radical lesbian femininsm; among others works by Allyson Mitchell, Tammy Ray Carland, Ginger Brooks Takahashi and Angela Jimenez, and points out that art can be an innovative form of public archiving.

London: Films by Pauline Boudry and Renate Lorenz

Charming for the Revolution

Press photo: Charming for the Revolution, courtesy of Tate Modern and the artists.

Three films
by Pauline Boudry / Renate Lorenz
Friday 1 February 2013, 19.00
The Tanks at Tate Modern, London, UK

The work of Pauline Boudry / Renate Lorenz reflects on the interplay of sexuality, sexual perversions and representation, continuously returning to unrepresented or illegible moments in history.

The artists will introduce and reflect on each of the works followed by a Q&A after the screening. The film programme features:

Pauline Boudry / Renate Lorenz
16mm/DVD 11 min. loop , 2009
Performance: Werner Hirsch

“With a wink to Jack Smith, the New York underground performer and filmmaker from the 60’s to the 80’s, as well as to the history of queer and feminist calls such as “wages for housework!”, the film recreates the “housewife” as an ambiguous figure with an open future.”

No Future / No Past

Pauline Boudry / Renate Lorenz
Installation with two Super 16mm films / HD,
15 min and 15 min, 2011
Performance: Ginger Brooks Takahashi, Fruity Franky, Werner Hirsch, Olivia Anna Livki, G. Rizo

No Future / No Past is a film installation and part of a series of two films that both work on punk archives from the period between 1976 and 2031 investigating the radical negativity, the self-destructiveness and the dystopia of this past moment.
The ” four musicians (Ginger Brooks Takahashi/”Men”; Fruity Franky/”Lesbians on Ecstasy”; G. Rizo; Olivia Anna Livki), and a choreographer (Werner Hirsch)–stage and practice outmoded acts and sentiments of the past that have been deemed useless. The musician-performers provisionally take over the positions of four musicians from the punk movement: Darby Crash, the gay band leader of ”The Germs”, Poly Styrene the singer of the very influential band ”X-Ray-Spex”, Alice Bag, lead singer of the LA Band ”The Bags”, and Joey Ramone, singer of the band ”The Ramones”.”

Normal Work
Pauline Boudry / Renate Lorenz
Installation with film and
13 photographs, 2007
Performance: Werner Hirsch

“The film „normal work“ asks whether the cros- sings of social hierarchies of class, gender, and „race“ that Hannah Cullwick staged and that she obviously desired have today become generalized into a paradoxical requirement in the field of labor.”
In the film we watch the performer Werner Hirsch / Hannah Cullwick attempt to imitate poses of the 19th century photos of Hannah Cullwick as a maid, a slave, a bourgeois man and a woman.
Werner Hirsch / Hannah Cullwick orients him/ herself to his/her memory, to a mirror, or to a „model“ that is not in the image, or to instructions that are called out to him/her, also from outside the space of the frame.

About the Artists

Pauline Boudry / Renate Lorenz have collaborated since 1998 and their work has been extensively exhibited internationally. Recent solo shows include Les Laboratoires d’Aubervilliers (Paris Triennale), 2012; Swiss off-site Pavilion, as part of Chewing the Scenery, Venice Biennale, 2011; Les Complices, Zurich, 2010; Centre d’Art Contemporain, Geneva, 2010.

Pauline Boudry & Renate Lorenz say about their work: “Our works often revisit materials from the past, usually photographs or films, referring to and excavating unrepresented or unlegible moments of queerness in history. These works show embodiments which are not only able to cross different times, but also to draw relations between these different times, thus revealing possibilities for a queer futurity.”

Charming for the Revolution: A Congress for Gender Talents and Wildness

The above event is a part of Charming for the Revolution: A Congress for Gender Talents and Wildness February 1 – 3, 2013. To mark to start of LGBT month next February, Tate presents a series of events in The Tanks at Tate Modern which considers pressing questions around contemporary sexual and gender politics. This three-day event series includes films, performances and a symposium featuring work by Pauline Boundry & Renate Lorenz, Carlos Motta, and Wu Tsang. The series seeks to highlight a range of recent projects by this vibrant group of artists, activists and thinkers who have shaped the discussion of sexual and gender representation into one of the most exciting and urgent cultural debates.

Related Links

Read more about Charming for the Revolution: A Congress for Gender Talents and Wildness

Modern Women – Women Artists at The Museum of Modern Art

The opera lovers shout ‘Bravo!’ when they have heard a great opera aria. Eso!! the tango dancers’ acclamation, was the first thought that came to me, when I learned that MoMA has started looking the role, which women has played in the history of Museum of Modern Art in New York and realized that the MoMA has neglected telling the story about the female (feminist) artists. After 5 years of research they have published a richly illustrated art book/lexicon titled: Modern Women – women artists at the Museum of Modern Art. 48 scollars have contributed to the book with essays about women artists.

Modern Women: Women Artists at The Museum of Modern Art
The landmark publication ‘Modern Women: Women Artists at The Museum of Modern Art’, in which the museum now openly discusses gender issues, and how instrumental women have been in advancing the arts to where they are today, is the greatest piece of art news, which I have heard in 2010. – Now the museum is finally taking all the feminist artists, who have voiced their concern about the museums (subconscious or deliberate) strategy of giving more space and attention to male artists than women artists, seriously.

Works of art made by women (straight, lesbian, queer, white, black, or…) tell very interesting stories. Stories, which shouldn’t be forgotten by the museums and the main stream art world. The fact that MoMA, which is a role model for many museums, is about to set a new standard makes me smile and dance at my computer.

In the video below you can hear Michelle Elligott, museum activist and researcher talk about her work with the book Modern Women – women artists at the Museum of Modern Art.

I haven’t got my copy of the book yet, but I have had a quick look at book’s index of artists, (the “MoMA the hall of fame of female artists”), and I have picked the following artists, which may be of interest to lesbian and queer art lovers:

BERENICE ABBOTT (USA, 1898 – 1991), SADIE BENNING (USA, born 1973), CLAUDE CAHUN (France 1894 – 1954), LEONOR FINI (Italy, 1907 – 1996), SU FRIEDRICH (USA, born 1954), EILEEN GRAY (Ireland, 1878, 1976), GUERRILLA GIRLS (American group of radical feminist artists founded in 1985),
BARBARA HAMMER (USA, born 1939), HANNAH HÖCH (Germany, 1889 – 1978), FRIDA KAHLO (Mexico, 1907 – 1954), KÄTHE KOLLWITZ (Germany 1867 – 1945), GERMAINE KRULL (1897 – 1985), AGNES MARTIN (Canada, 1912 – 2004), TINA MODOTTI (Italy, 1896 – 1942), GEORGIA O’KEEFFE (USA, 1887 – 1986), EMILY ROYSDON (USA, 1977), CINDY SHERMAN (USA, born 1954), JOAN SNYDER (USA, born 1940), GINGER BROOKS TAKAHASHI (USA, born 1977), and RIDYKEULOUS (an American collaborative art project founded by A.L. Steiner and Nicole Eisenman).

For more details go to the list of all the artists in the book at MoMA’s website.

Modern Women: Women Artists at The Museum of Modern Art
Cornelia Butler (Editor, Introduction), Alexandra Schwartz (Editor), Griselda Pollock (Introduction)
Hardcover: 512 pages
Publisher: The Museum of Modern Art, New York (June 30, 2010)
Language: English
ISBN-10: 087070771X
ISBN-13: 978-0870707711