The Feminist Future: Theory and Practice in the Visual Arts - Scholarships Avail!
NYC Museum of Modern Art (MoMa)
January 26–January 27, 2007
9:30 a.m.–5:30 p.m. both days
Titus Theater 1
This symposium addresses critical questions surrounding the relationship between art and gender, bringing together international leaders in contemporary art, art history, and related disciplines. After the activism of the 1960s and ’70s, and the revisionist critiques of the 1980s and ’90s, this symposium will examine ways in which gender is currently addressed by artists, museums and the academy, and its future role in art practice and scholarship.
Keynote speakers:
Lucy R. Lippard, writer and activist
Anne Wagner, Professor of Modern Art, Department of History of Art, University of California, Berkeley
Panelists:
Ute Meta Bauer, Associate Professor and Director of the Visual Arts Program, Department of Architecture, Massachusetts Institute of Technology
Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art
Beatriz Colomina, Professor of Architecture and Director of the Program in Media and Modernity, Princeton University
Valie Export, artist
Coco Fusco, artist and Associate Professor, Columbia University School of the Arts
Guerrilla Girls, Frida Kahlo and Kathe Kollwitz, two founding members of the feminist activist group
Salah Hassan, Professor of Art History and Director of African Studies and Research Center, Cornell University
David Joselit, Professor and Chair, Department of History of Art, Yale University
Geeta Kapur, independent critic and curator, New Delhi
Carrie Lambert-Beatty, Assistant Professor of History of Art and Architecture and Visual and Environmental Studies, Harvard University
Richard Meyer, Katherine Stein Sachs CW'69 and Keith L. Sachs W'67 Visiting Professor, Department of History of Art, University of Pennsylvania
Helen Molesworth, Chief Curator of Exhibitions, Wexner Center for the Arts, Ohio State University
Wangechi Mutu, artist
Griselda Pollock, Professor of the Social and Critical Histories of Art and Director of Centre for Cultural Analysis, History and Theory, University of Leeds
Respondents
Catherine de Zegher, curator and art historian
Linda Nochlin, Lila Acheson Wallace Professor of Modern Art, Institute of Fine Arts, New York University
Tickets (per day: $12; Museum members $10; students and seniors $5) can be purchased at the Museum lobby information desk and the Film and Media desk. Tickets are also available at www.ticketweb.com.
A limited number of scholarship stipends to help offset the cost of attending MoMA’s The Feminist Future symposium will be offered to qualified undergraduate and graduate students.
An infrared sound amplification system is available for all programs held in the Titus Theaters.
The Feminist Future is made possible by The Modern Women’s Fund.
The Feminist Future Symposium Scholarships
DEADLINE: Monday, November 27, 5:30 p.m. EST
A limited number of stipends to help offset the costs of traveling to attend MoMA’s The Feminist Future symposium will be offered to qualified full-time undergraduate and graduate students. Only students traveling from outside the New York/Connecticut/New Jersey metropolitan area (i.e., students traveling over 150 miles to New York City) are eligible.
Stipends
$500 for students traveling within the United States and Canada (outside of the NYC metro area), plus one complimentary ticket to both days of the symposium
$1000 for students traveling internationally (outside the United States and Canada), plus one complimentary ticket to both days of the symposium
Please apply by e-mail to Alexandra_Schwartz@moma.org by Monday, November 27, at 5:30 p.m. EST.
Your application must include:
A letter of interest from you, outlining how attending the symposium would benefit your studies; your resume or curriculum vitae; a letter of recommendation from an academic adviser or department chair at your home institution. (This recommendation must be emailed directly from the referee to Alexandra_Schwartz@moma.org.)
You will be notified of decisions by mid-December. Only electronic submissions will be accepted. No phone calls, please.
Comments
this event sounds great!! but the next symposium at that venue should address the ridiculousness of the former symposium's access difficulties. and also the issues of "privelege" that surround being in the same room as these art stars. like, the only way for me to get to talk to, or even SEE (in actuality) ppl like Lippard and Fusco is to pay tuition or a fee for these types of events. we're thrown a video bone, as well as some needlessly beaurocratic scholarships for reduced travel costs...how 'bout a good old fashioned webcast? I'll probably wait for the youtube rip. don't you agree that thirty years ago (during an art market slump, even), this event would have taken place in some warehouse on crosby street for free? probably with some donated cheese and booze, too. and don't you also think that the organizers of this event (if they are old enough) believe that they have "come a long way" by having these types of events completely institutionalized?
the spectacle of this gross demonstration of the art world's culture of exclusivity is probably the most interesting thing about these types of events. like watching reality tv or bad sitcoms, the meta messages and texts, the interpretations are what make us think, the content or images is usually secondary. except to make us laugh.
i think this rant was set off by my recent purchase (15 bucks, even) of a WHO CARES publication of conversations among these and similar elites regarding the role of art in political action and activism. Lippard and Fusco railed against the market and defended the academy (anybody see a paradox there?) while moaning about the way politics is "embodied" in art, or how the news is "embodied" in the media. now they "embody" the latest texts and information about gender issues in art in what amounts to a crazy hybrid of lecture, symposium and limited-seating rock concert. it's like Live Aid for the art world, except the $$ doesn't go to africa, it goes into the professor's pockets. and maybe some obscure arts organization or something. and it's not on tv for free, either.
I'm sure the blame for the spectacular nature of this event falls squarely on the shoulders of MoMA's, and not the artists. but the failure or refusal of art world elites to recognize or change the mechanics behind the perpetuation of their privelege is the only issue in art worth considering today as a long or short term project for artists. it's time for REAL institutional critique again, and not the sorta witty, half assed gestures we've had these past twenty years or so. art can't address politics with any crediblity because the politics of art are so fucked that non-art-world politics are starting to look democratic. and that's truly fucked.
Posted by: sixfootsubwoofer | November 29, 2006 12:31 PM
this sounds great!! but the next symposium at that venue should address the ridiculousness of the former symposium's access difficulties. and also the issues of "privelege" that surround being in the same room as these art stars. like, the only way for me to get to talk to, or even SEE (in actuality) ppl like Lippard and Fusco is to pay tuition or a fee for these types of events. we're thrown a video bone, as well as some needlessly beaurocratic scholarships for reduced travel costs...how 'bout a good old fashioned webcast? I'll probably wait for the youtube rip. don't you agree that thirty years ago (during an art market slump, even), this event would have taken place in some warehouse on crosby street for free? probably with some donated cheese and booze, too. and don't you also think that the organizers of this event (if they are old enough) believe that they have "come a long way" by having these types of events completely institutionalized?
the spectacle of this gross demonstration of the art world's culture of exclusivity is probably the most interesting thing about these types of events. like watching reality tv or bad sitcoms, the meta messages and texts, the interpretations are what make us think, the content or images is usually secondary. except to make us laugh.
i think this rant was set off by my recent purchase (15 bucks, even) of a WHO CARES publication of conversations among these and similar elites regarding the role of art in political action and activism. Lippard and Fusco railed against the market and defended the academy (anybody see a paradox there?) while moaning about the way politics is "embodied" in art, or how the news is "embodied" in the media. now they "embody" the latest texts and information about gender issues in art in what amounts to a crazy hybrid of lecture, symposium and limited-seating rock concert. it's like Live Aid for the art world, except the $$ doesn't go to africa, it goes into the professor's pockets. and maybe some obscure arts organization or something. and it's not on tv for free, either.
I'm sure the blame for the spectacular nature of this event falls squarely on the shoulders of MoMA's, and not the artists. but the failure or refusal of art world elites to recognize or change the mechanics behind the perpetuation of their privelege is the only issue in art worth considering today as a long or short term project for artists. it's time for REAL institutional critique again, and not the sorta witty, half assed gestures we've had these past twenty years or so. art can't address politics with any crediblity because the politics of art are so fucked that non-art-world politics are starting to look democratic. and that's truly fucked.
Posted by: sixfootsubwoofer | November 29, 2006 12:35 PM