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Who are they?

Guerrilla Girls are an all female collective who remain anonymous by wearing gorilla masks and naming themselves after famous dead women. In 1998 the Guerrilla Girls' new book, The Guerrilla Girls' Bedside Companion to the History of Western Art, they wrote:

We are a group of women artists and art professionals who fight discrimination. We're the conscience of the art world, counterparts to the mostly male traditions of anonymous do-gooders like Robin Hood, Batman, and the Lone Ranger. We have produced over 80 posters, printed projects, and actions that expose sexism and racism in the art world and culture at large... We use humor to prove that feminists can be funny... We could be anyone; we are everywhere.

How did they form?

The group famously began in reaction to MoMA's An International Survey of Recent Painting and Sculpture 1984 exhibition. Although the exhibition was supposed to represent the top artists in the world, out of the 169 artists shown only 13 were women. To add insult to injury the curator, Kynaston McShine, stated in interviews that "any artist who wasn't in the show should rethink 'his' career."

A group of artists protested outside on the opening night. However, they noticed the onlookers weren't interested in their message, so a year later Guerrilla Girls formed with the aim of finding new ways to revolt using street art.

Why show in the places they attack?

Although Guerrilla Girls began as an activist group, they have gradually been embraced by the artworld and have shown their work in galleries such as MoMa and Tate Modern. This is how they reconcile their popularity with their work:

What do you do when the art world you've spent your whole life attacking suddenly embraces you? Well... you take your critique right inside the joint. We dissed MoMA at its own symposium on feminism. We criticized the Tate Modern and the Istanbul Modern.... The response? After we made fun of the National Gallery of Art, they vowed to change their ways. Ditto the Tate Modern and MoMA.
Guerilla Girls, Interview magazine

What are their key works?

The original of Do Women Have to Be Naked to Get Into the Met. Museum? was produced in 1989 after members of the group walked through the Met and counted the ratio of female artists to female nudes. What they discovered was that 'less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female'.

The figure in the image is taken from Odalisque and Slave painted by Jean-Auguste-Dominique Ingres. In order to reach their audience, the group rented advertising space on the New York buses. However, soon after 'the bus company cancelled [their] lease, saying that the image ... was too suggestive and that the figure appeared to have more than a fan in her hand.'

Guerrilla Girls' 1986 Report Card lists 17 Galleries, comparing the figures of female artists exhibited between 1985-6 and 1986-7 in their recognisably bold monochrome style. This poster, and others from their portfolio Guerrilla Girls Talk Back, borrow elements from advertising and fly-posting. Many of these posters were pasted up on New York's streets at night, following in the tradition of street-artists and activists.

Another motif used by the Guerrilla Girls, is this girly handwritten letter, Dearest Art Collector 1986. The pink paper and sad faced flower appear only to enhance their sarcasm. They have used this template for other public letters, most of which sign off with 'We know that you feel terrible about this and will rectify the situation immediately'. As usual the joke is on the art collector.

What the critics say ...

The posters were rude; they named names and they printed statistics. They embarrassed people. In other words, they worked
Susan Tallman, Arts Magazine

...waging what they call cultural warfare...where the main ammunition is wit
CNN

Kick-ass
Walter Robinson, Artnet Magazine

Guerilla Girls in quotes ...

We don't need money. We just need bananas
Kollwitz, The Independent

Artists should stop making art only for the one percent and start making some art for the rest of us
Interview Magazine

How can you really tell the story of a culture when you don't include all the voices within the culture?
Kahlo, NY Times

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Who are Guerrilla Girls? A brief look at the activist female artists who are changing the world one poster at a time.

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What Is a Feminist Picture? | Magazine | MoMA

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Read an exclusive excerpt from the Our Selves: Photographs by Women Artists from Helen Kornblum exhibition catalogue.

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Autonomy and Identity in Feminist Thinking

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Issues about women’s autonomy have been central to feminist thinking and action. Women have so often been in situations of powerlessness and dependence that any system of belief or programme of action that could count as ‘feminist’ must in some way…

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From translation to transgression: The feminism(s) of Shirin Neshat - ProQuest

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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.

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LIMINALITY IN THE INTERPRETATIONS OF THE BODILY IN CONTEMPORARY ART - PhD Thesis - SUMMARY
LIMINALITY IN THE INTERPRETATIONS OF THE BODILY IN CONTEMPORARY ART , 2021

The dissertation at hand is approached with a profound understanding and reverence for the vast scope and intricacy of the subject that is the focus of this research. The multidimensional nature of the interpretations of the body in contemporary art, as a subject of analysis, gives rise to a complex and dynamic structure that can be defined as a zone of registration, parameterization, and systematisation - the very edge. It begs the question, is there a clear boundary to the corporeal, or can we only consider liminality as a recognizable drive or a need for articulation and interpretation? The spectrum of interpretations encompasses somatic and even visceral experiences beyond our awareness, through objectification, and culminates in levels of abstraction such as schema, symbol, sign, number, and the many nuanced iterations in between. The theses espoused in this dissertation are formulated from the presumption that the perceived complexity of the relationship to the corporeal in art cannot be subjected to definitive generalisations or categorizations. Rather, it endeavours to mark the boundary which oscillates between uncertainty and ambiguity, the zone that resists unambiguous definition or signification, and where the use and presence of the body and the corporeal in contemporary art are defined. A thorough analysis of the subject necessitates the excavation of the historical context and arriving at an understanding of the fragmented nature of the body in art. This approach also enables us to identify potential directions for the development of the subject. An in-depth study of the interpretations of the corporeal in contemporary art cannot be separated from the philosophical discourse of the body, the understanding of social phenomena, and identity formation, and the scientific domain of physics. It demands that we examine the physicality of bodies and the physiology thereof, as they are sensually perceived. When considering the "body" as an abstraction, its schematic representation becomes a defining characteristic of its status quo within the existing social structure and values. This tendency to view the body as a generalised quantity is critical in the disregard of its properties and specificities. The variety of states and aspects of the corporeal and the uncertainty of the body are often marginalised within a social context, making the unconventionality of corporeality inapplicable to the general socio-cultural and aesthetic status of the body. The discourse related to the question of the body inevitably leads to ambivalent concepts, resulting in a transgressive entropic structure of the paradigm. The artistic approach to the corporeal serves as a means of marking the field of research, which is closely linked to the research process itself as an indirectly determined, latent experience. My work on the subject of inquiry aims to explore the potential overflow of essences from object to subject, the capacity to distinguish and allocate moral categories to subjective sensations. In this sense, the body can be perceived as a correlation; it is accessible only outside of itself-a state of indeterminacy and unconventionality. These aspects of the "body," which do not conform to "convention," enable it to be viewed as a mental resource that is consumable in a transgressive form of "ekphrasis"-a record of an indeterminate material in an intermediate state. An essential element of my dissertation work involves my artistic exploration of the subject, which interprets, through a series of works, the body's reflection in relation to ethical categories and social prejudices. The image of the body, through its dialectical categorization, is inherently limited to a linguistic convention, considered at the limit where the transformation from one state of matter to another occurs- an allegory that is disconnected from its original form, akin to a reflection of a reflection. In order to ensure the representativeness of the present study, it is imperative to examine instances of artistic interpretations concerning the body and corporeality, specifically within the spectrum in which the body transitions from being a means to an object of art. The mechanism of synergistic interaction, known as logos-iconos, is crucial to the focus of the present study, as it possesses a distinct and inherent connection with bodily qualities. In the field of visual arts, this mechanism is observable when art is created by, through, with, and at times, within the body. The array of paradigms, or theoretical tools, available to comprehend knowledge about the body within contemporary art is endless, contingent upon the way in which the body is perceived in its independent state, prior to its classification within thought categories. Thus, assertions of a universal paradigm related to the body are implausible, as approximations of the artistic experience to specific contexts are instead more applicable. Within contemporary art, interpretations of the corporeal and its boundaries or parameters, i.e., whether they exist or not, represent further questions. Singular or plural, whole or composite, the varied applications of corporeality within art form a primary concern of the dissertation in terms of predicting the future directions of the relationship between contemporary art and the corporeal.

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The "Eternal Return": Self‐Portrait Photography as a Technology of Embodiment

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The "Eternal Return": Self‐Portrait Photography as a Technology of Embodiment

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The All-seeing Eye and Female Bodies: the Reconstruction of Gender through the Medium of Photography in the Works of

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My paper seeks to explore interlinks between gender, photography and pleasure and how gender is mediated through photography in the works of Barbara Kruger, Orlan and Cindy Sherman, who use the female, gendered and erotic body in order to rewrite the