There is something truly distressing in that parallels between the struggles of Mexican feminist artists and those of 70’s feminist artists in the United States that shows how truly indoctrinated patriarchy is in a global context. That women globally had to push to make it know that yes, themes such as “sexuality, the body and quotidian aspects of life” can be just as poignant and communally shared as what men deem worthy to explore in their artistic practices – the female nude or their own masculinity. Even more disturbing are the parallels in the schisms between class and race within international women’s movements that have yet to evolve past the original issues of the first generation feminist movement that grew out of abolitionism. Since it is generally accepted that both first and second wave feminist movements grew out of the fight for civil rights for minorities, a wave of feminist art rising out of another politically and socially charged movement to bring awareness to violence and oppression in Mexico is not surprising. But for young Mexican feminists to be ostracized for their “confrontational” aspects as late as the 1980’s the same way young feminists in the late 1800’s and early 1900’s were for trying alternative, “confrontational” methods to try to win the vote after years of failure is truly unfortunate. That Mexican women who had worked to integrate themselves, refused to reach back and help another move forward, as it might upset the “their compañero”. That women are more likely to gain entry into the art world through their husbands like in the grupos or to be forced to alienate themselves in special showcases of female artists is a sad truth. Even today, featured in LACMA’s special exhibition In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States, Frida Kahlo still is trapped by patriarchy beyond the grave since her show plaque read “Wife of Diego Rivera” as if that was necessary information or legitimized her art.* Must it always an uphill battle, for those truly invigorated by their experiences of repression in their own craft or workplace due to something out of their control that must fight against those that settle for complacency?
* This is second hand citation since fellow classmate, Karla, informed me of this atrocity since I was too poor/cheap to pay the special exhibition fee to see the show.
True Story! According to a critic from the LA Times. I actually did't notice it when I went to see the exhibit myself, but im sure that has to do something with the way art history courses are taught. We always spend more time on Jackson Pollack then we do with Lee Krasner right?
In “Navigating the Labyrinth of Silence: Feminist Artists in Mexico”, author Edward J. McCaughan expands on the feminist artistic movement from the past to present along with the obstacles and hardships that women went through in order to be recognized and to have their voices heard. Although McCaughan focuses on the “practices which women artists are silenced, excluded, and marginalized” (44), he only seems to bring six well-known feminists into light: Mairs Bustamante, Lourdes Grobet, Magali Lara, Mónica Mayer, Rowena Morales, and Carla Rippey. It makes me question the author if his thesis of women being “navigated an often hostile labyrinth of silence erected by the art world, the Left, and even the feminist movement itself” (59) an overall summary or assumption of all feminist artists through the six individuals. Possibly, were there no other documentations of other feminist artists available?
Despite the author limiting the focus on six “major” feminist artists (in my own personal opinion), McCaughan explains the transition of the feminist art movement in a well-organized historical context, allowing the reader to see the changes created by the hard work of feminist artists. It was ironic to read that one of the obstacles of the feminist art movement was within the same-gendered group themselves: “However, the experience of women artists who participated in both movements reveals that their efforts were met with much resistance within the art world and even within the movements themselves” (49). It is quick to say that all feminist should see all the issues the same way, but there were women in the same time frame who were not willing to stand up for themselves and follow the norms of the patriarchal dominant society: “‘the other women were not interested either because (1) they saw no problem of being a women in this society, or (2) men wouldn’t allow them in the galleries if they were identified as feminists, or (3) their compañero wouldn’t like it”’ (56). However, through the efforts of women artists who have continued to fight their way into the male-dominant society that their works have continued to inspire women artist to this day.
My last question: What did Magali Lara mean when she said, "the grupos disappeared precisely because the patriarchs did not want to see their children grow up"?
In Edward J. McCaughan's article, "Navigating the Labyrinth of Silence" the author discusses the tumultuous history of two social movements that simultaneously emereded in Mexico during the 1970s, the "grupos" art collectives and the feminist movement. These two movements quicky intersected as female artist began to explore social and poltical issues pertaining to woman's equality.
Female artist like, Lourdes Grobet and Monica Meyer entered the Art World and were faced with a multidue of challenges. They were not taken seriously as fine artist within the art world and were questioned by the feminist movement. This article attempts to determine why these female artist where being marginalized within these two movements and how they learned to navigate in a patriarchal artistic community . One example noted by the author was that of the " Mexican artist aesthetic", specifically, Mexican female aesthetic. Mexican Feminist were being dismissed as artist in the international art world due to the stereotypes of what constitutes as a Mexican feminist genre. The author states "Representation of sensual, sexual female nudes by women...could not possibly be "authentically" Mexican ( or feminist), unless, of course, they are imitations of Frida Kahlo" (McCaughan,52). These stereotypes are being imposed by the patriarchal structures that dominate our culture even within the organization of the "grupos."
Why is it that in a during a time of social revolution women in Mexico continue to be seen as second class citizens? Why did these women have to seek alternative venues to exhibit their work? If art is meant to be a vehicle to convey political message why are some topics like female sexuality, still being ignored and seen as taboo? I would argue that this issue of women not being well represented in the art would continues to be an issue in the contemporary scene. For example, Magali Lara mentions to the author that when a female artist is involved in a romantic relationship with one of the men from el groupo her status in immediately elevated, in turn giving her validation as an artist. This brought back memories of a recent critique of the show "In Wonderland" at LACMA. This shows purpose was to highlight the under appreciated work of the female surrealist from Latin America but one critic noticed that the didactic mentioned the name of the artist husbands. Perhaps this is evidence that the art world hasn't changed.
In Navigating the Labryrinth of Silence: Feminists Artists in Mexico, author Edward McCaughan detailed the environment of the 1970s feminist movement in correlation to the grupos movement. The article opened with a quote by Janet Wolff, “Women’s writing and women’s art like women’s knowledge begins to articulate the silenced voice of women but it is obliged to do so in the context of dominant alien but ultimately enabling culture.” The quotation is germane in view of the fact that at the article’s core lies the suppressive context feminist artists where plagued by and of which they spoke of. Women are free to acquire membership or pursue prospects though their participation and success is not devoid of sanctions. McCaughan voiced the methods and attempts of hushing the women. Whether in the field of education or exhibition production, women encountered resistance. The unfavorable circumstances were not post specific. The writer stated censorship came in the form of for example, commission obstruction and lack of public domain opportunities. They were met with either subjugation, lack of faith or indifference. A description is given of their difficulties within the art world and the movement themselves. According to the author, women sought group affiliation out of frustration and a need for refuge from the Mexican schools. Mexicans schools were characterized as having subject matter that with a propensity to marginalize women’s experience and their artistic expression. Monica Mayer and Maris Bustammante are ascribed the title of founder’s for Mexico’s first feminist art Grupo. Themes of body, subjectivity, power, ambiguity, sexuality, duality of gender are tackled by the work of the feminist artists at the discomfort of the grupos and 1970 art world community. Paradoxically women made up one fourth of the artists population among the grupos yet the choice topics were seldom considered from a feminist perspective. As mentioned by McCaughan, Mexicos feminist artists could only look to themselves to convey the silenced voice of women and did so by creating new feminist structures, aesthetics and practices. The piece elucidated upon the feminist artist’s contributions, group shows and collaborative art projects along with the historic first mainstream museum exhibition to touch on matter from a feminist perspective. The conclusion articulated an optimistic outlook and noted the political left’s improved appreciation for the contributions of feminist artists. I find the quote fitting and ironic that measures were taken to silence the women trying to speak for the silenced. I would of thought the international feminist movement would be concerned and sympathetic to all pioneering activist efforts in relation to women. Their endorsement did not extend to those of the grupos movement of whom the feminist movement served as an inspiration. I can’t understand why female artists who did not identify as feminist neglected to champion a sister cause. My question is, what are the confrontational aspects of feminist art? I am aware that establishing oneself as a feminist carries a negative connotation however I don’t have an inkling why. I on the other hand do take issue with Carla Rippey’s citation on the Mexico’s classism uncuffing the shackles of sexism.
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ReplyDeleteThere is something truly distressing in that parallels between the struggles of Mexican feminist artists and those of 70’s feminist artists in the United States that shows how truly indoctrinated patriarchy is in a global context. That women globally had to push to make it know that yes, themes such as “sexuality, the body and quotidian aspects of life” can be just as poignant and communally shared as what men deem worthy to explore in their artistic practices – the female nude or their own masculinity. Even more disturbing are the parallels in the schisms between class and race within international women’s movements that have yet to evolve past the original issues of the first generation feminist movement that grew out of abolitionism.
ReplyDeleteSince it is generally accepted that both first and second wave feminist movements grew out of the fight for civil rights for minorities, a wave of feminist art rising out of another politically and socially charged movement to bring awareness to violence and oppression in Mexico is not surprising. But for young Mexican feminists to be ostracized for their “confrontational” aspects as late as the 1980’s the same way young feminists in the late 1800’s and early 1900’s were for trying alternative, “confrontational” methods to try to win the vote after years of failure is truly unfortunate. That Mexican women who had worked to integrate themselves, refused to reach back and help another move forward, as it might upset the “their compañero”. That women are more likely to gain entry into the art world through their husbands like in the grupos or to be forced to alienate themselves in special showcases of female artists is a sad truth. Even today, featured in LACMA’s special exhibition In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States, Frida Kahlo still is trapped by patriarchy beyond the grave since her show plaque read “Wife of Diego Rivera” as if that was necessary information or legitimized her art.* Must it always an uphill battle, for those truly invigorated by their experiences of repression in their own craft or workplace due to something out of their control that must fight against those that settle for complacency?
* This is second hand citation since fellow classmate, Karla, informed me of this atrocity since I was too poor/cheap to pay the special exhibition fee to see the show.
True Story! According to a critic from the LA Times. I actually did't notice it when I went to see the exhibit myself, but im sure that has to do something with the way art history courses are taught. We always spend more time on Jackson Pollack then we do with Lee Krasner right?
DeleteIn “Navigating the Labyrinth of Silence: Feminist Artists in Mexico”, author Edward J. McCaughan expands on the feminist artistic movement from the past to present along with the obstacles and hardships that women went through in order to be recognized and to have their voices heard. Although McCaughan focuses on the “practices which women artists are silenced, excluded, and marginalized” (44), he only seems to bring six well-known feminists into light: Mairs Bustamante, Lourdes Grobet, Magali Lara, Mónica Mayer, Rowena Morales, and Carla Rippey. It makes me question the author if his thesis of women being “navigated an often hostile labyrinth of silence erected by the art world, the Left, and even the feminist movement itself” (59) an overall summary or assumption of all feminist artists through the six individuals. Possibly, were there no other documentations of other feminist artists available?
ReplyDeleteDespite the author limiting the focus on six “major” feminist artists (in my own personal opinion), McCaughan explains the transition of the feminist art movement in a well-organized historical context, allowing the reader to see the changes created by the hard work of feminist artists. It was ironic to read that one of the obstacles of the feminist art movement was within the same-gendered group themselves: “However, the experience of women artists who participated in both movements reveals that their efforts were met with much resistance within the art world and even within the movements themselves” (49). It is quick to say that all feminist should see all the issues the same way, but there were women in the same time frame who were not willing to stand up for themselves and follow the norms of the patriarchal dominant society: “‘the other women were not interested either because (1) they saw no problem of being a women in this society, or (2) men wouldn’t allow them in the galleries if they were identified as feminists, or (3) their compañero wouldn’t like it”’ (56). However, through the efforts of women artists who have continued to fight their way into the male-dominant society that their works have continued to inspire women artist to this day.
My last question:
What did Magali Lara mean when she said, "the grupos disappeared precisely because the patriarchs did not want to see their children grow up"?
In Edward J. McCaughan's article, "Navigating the Labyrinth of Silence" the author discusses the tumultuous history of two social movements that simultaneously emereded in Mexico during the 1970s, the "grupos" art collectives and the feminist movement. These two movements quicky intersected as female artist began to explore social and poltical issues pertaining to woman's equality.
ReplyDeleteFemale artist like, Lourdes Grobet and Monica Meyer entered the Art World and were faced with a multidue of challenges. They were not taken seriously as fine artist within the art world and were questioned by the feminist movement. This article attempts to determine why these female artist where being marginalized within these two movements and how they learned to navigate in a patriarchal artistic community . One example noted by the author was that of the " Mexican artist aesthetic", specifically, Mexican female aesthetic. Mexican Feminist were being dismissed as artist in the international art world due to the stereotypes of what constitutes as a Mexican feminist genre. The author states "Representation of sensual, sexual female nudes by women...could not possibly be "authentically" Mexican ( or feminist), unless, of course, they are imitations of Frida Kahlo" (McCaughan,52). These stereotypes are being imposed by the patriarchal structures that dominate our culture even within the organization of the "grupos."
Why is it that in a during a time of social revolution women in Mexico continue to be seen as second class citizens? Why did these women have to seek alternative venues to exhibit their work? If art is meant to be a vehicle to convey political message why are some topics like female sexuality, still being ignored and seen as taboo? I would argue that this issue of women not being well represented in the art would continues to be an issue in the contemporary scene. For example, Magali Lara mentions to the author that when a female artist is involved in a romantic relationship with one of the men from el groupo her status in immediately elevated, in turn giving her validation as an artist. This brought back memories of a recent critique of the show "In Wonderland" at LACMA. This shows purpose was to highlight the under appreciated work of the female surrealist from Latin America but one critic noticed that the didactic mentioned the name of the artist husbands. Perhaps this is evidence that the art world hasn't changed.
xoxo
~*SeXxXyChiCkA*~
In Navigating the Labryrinth of Silence: Feminists Artists in Mexico, author Edward McCaughan detailed the environment of the 1970s feminist movement in correlation to the grupos movement. The article opened with a quote by Janet Wolff, “Women’s writing and women’s art like women’s knowledge begins to articulate the silenced voice of women but it is obliged to do so in the context of dominant alien but ultimately enabling culture.” The quotation is germane in view of the fact that at the article’s core lies the suppressive context feminist artists where plagued by and of which they spoke of. Women are free to acquire membership or pursue prospects though their participation and success is not devoid of sanctions. McCaughan voiced the methods and attempts of hushing the women. Whether in the field of education or exhibition production, women encountered resistance. The unfavorable circumstances were not post specific. The writer stated censorship came in the form of for example, commission obstruction and lack of public domain opportunities. They were met with either subjugation, lack of faith or indifference. A description is given of their difficulties within the art world and the movement themselves. According to the author, women sought group affiliation out of frustration and a need for refuge from the Mexican schools. Mexicans schools were characterized as having subject matter that with a propensity to marginalize women’s experience and their artistic expression. Monica Mayer and Maris Bustammante are ascribed the title of founder’s for Mexico’s first feminist art Grupo. Themes of body, subjectivity, power, ambiguity, sexuality, duality of gender are tackled by the work of the feminist artists at the discomfort of the grupos and 1970 art world community. Paradoxically women made up one fourth of the artists population among the grupos yet the choice topics were seldom considered from a feminist perspective. As mentioned by McCaughan, Mexicos feminist artists could only look to themselves to convey the silenced voice of women and did so by creating new feminist structures, aesthetics and practices. The piece elucidated upon the feminist artist’s contributions, group shows and collaborative art projects along with the historic first mainstream museum exhibition to touch on matter from a feminist perspective. The conclusion articulated an optimistic outlook and noted the political left’s improved appreciation for the contributions of feminist artists.
ReplyDeleteI find the quote fitting and ironic that measures were taken to silence the women trying to speak for the silenced. I would of thought the international feminist movement would be concerned and sympathetic to all pioneering activist efforts in relation to women. Their endorsement did not extend to those of the grupos movement of whom the feminist movement served as an inspiration. I can’t understand why female artists who did not identify as feminist neglected to champion a sister cause. My question is, what are the confrontational aspects of feminist art? I am aware that establishing oneself as a feminist carries a negative connotation however I don’t have an inkling why. I on the other hand do take issue with Carla Rippey’s citation on the Mexico’s classism uncuffing the shackles of sexism.