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Not Mine Alone, Nor Mine To Own: Some Reflections On The Young Girl, Jacqueline Mabey
Not Mine Alone, Nor Mine To Own: Some Reflections On The Young Girl, Jacqueline Mabey
Journal of Feminist Scholarship
This essay looks at the role of the young girl in the curatorial practice of Jacqueline Mabey. Mabey reckons with the young girl as the signifier of a spectrum of mutable cultural signifieds and young girls as subjects on their own terms in the two exhibitions under review, Miss World and Utopia Is No Place, Utopia Is Process. In doing so, she recognizes a shift in motivations from an interest in what the young girls mean as a narcissistic reflection to how she could work in service of the development of young girls.
Más Rudas Collective, 2009-2016 (An Archival Epilogue To An Epic Pachanga), Josh T. Franco
Más Rudas Collective, 2009-2016 (An Archival Epilogue To An Epic Pachanga), Josh T. Franco
Journal of Feminist Scholarship
Contemporary artists Más Rudas Collective (MRC) were active in San Antonio, Texas, from 2009 to 2016. This essay looks to primary source documents from preceding decades and keystone exhibitions of Chicana/o art to articulate MRC’s position in a network of art production and curatorial activity that takes Chicana/o identity as a conceptual framework and/or departure point. Specific examples of MRC members’ reappropriations of Mexican, Mexican American, and Chicana/o cultural elements are analyzed and considered as “weaponizations” against cultures of body shaming and misogyny. Their approach is compared to that of other artists and curators in order to highlight the variety …
Nonconsensual Collaborations, 2012-Present: Notes On A Shared Condition, Aliza Shvarts
Nonconsensual Collaborations, 2012-Present: Notes On A Shared Condition, Aliza Shvarts
Journal of Feminist Scholarship
"Nonconsensual Collaborations, 2012-present: Notes on a Shared Condition" is an extended performance text. It investigates the unmarked gendered dynamics of artistic collaboration, documenting a series of “nonconsensual collaborations”—that is, performances with other artists who did not agree to their participation. Presented here as written narratives, these nonconsensual collaborations frame everyday occurrences of violation, erasure, and misrecognition, exploring how discourses of consent arise from the raced and gendered histories of property relations. They call into question the politics of representation, the status of the document, the formation of evidentiary truth, and the interpenetration of sexual and aesthetic economies. These nonconsensual collaborations …