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Brand activism is when a brand actively promotes its values and stance to consumers through a series of promotions and marketing campaigns. Through extensive output (including regular marketing advertisements, social media campaigns, community events, participation in political activities, etc.), a brand can attract consumers who share similar values and attempt to change the existing perceptions of other consumers, even implanting new ideas. Brands aim to influence consumer behavior to guide public opinion, drive social change, alter the current social landscape and ultimately influence policymaking.

In a competitive marketplace, activism can help a brand stand out and establish a unique identity. However, the brand could also face a backlash from those who disagree with its stance. If the brand's activism is perceived by consumers as insincere or opportunistic, it could damage the brand's reputation and image.

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For example, a pet supply company could use advertising and marketing campaigns to express its support for animal rights and advocate for the establishment of animal protection laws. By organizing a range of public welfare activities such as rescuing stray cats and dogs, making donations and supporting adoption, the company can truly contribute to animal welfare and attract consumers who share the same values. At the same time, the company can raise awareness about animal protection in society, influence more people to support animal protection legislation, and thus promote the enactment of animal protection laws.

Activities that a pet supply company can start include:

#TNR (Trap-Neuter-Return) for Campus Stray Cats#

#3% of the profits from every product sold will be donated to rescue stray animals#.

#Weekend Adoption Event by XX Company#.

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As a feminist, my personal activism is focused on speaking up for women and promoting gender equality and women's rights. Academically, my research has to do with female occupational stereotypes. Through research, I hope to gather data and evidence to promote change in people's thinking and social change.

In daily life, I love to watch short videos. When I watch some high-quality short videos that promote gender equality, I would actively click like, write comments and retweet them to help the video expand its reach and spark discussion. When I met vulgar short videos that deepen the stereotype of women, I would immediately report and complain to the platform in hopes that they will remove them. While women around the world are fighting for gender equality, these sleazy bloggers are doing the opposite. It makes me feel so sad.

I will also actively support female artists, writers, directors, buying and promoting their works, to provide more stages for women's voices.

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​Lululemon advocates for diversity and inclusion.

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​Lululemon advocates for diversity and inclusion.

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​As a well-known athletic apparel brand, Lululemon is active in various brand activism initiatives. Lululemon advocates for diversity and inclusion. By using models with disabilities, from different races and of all body types in the product presentation, the brand conveys respect and inclusiveness for all people, reflecting the diversity of society. This helps to break down biases and promote social fairness and inclusivity.

Through the display of products by disabled models, firstly job opportunities are created for disabled people . Secondly, the combination of the lululemon and the disabled models show positive and tenacious vitality, bringing some mental encouragement to the disabled. They can resonate with consumers who are often overlooked by traditional media.

Such product displays appeal to a wider consumer base and allow brands to reach more markets. Such activities also increase public awareness and understanding of people with disabilities and other minority groups, and promote a more inclusive and inclusive society.

On social media, those propagandas has attracted the attention and discussion of citizens, most of whom are supportive and appreciative. So, I think this is a successful act of activism by lululemon.

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Activism is all about change:

Recognising the need for change

Taking action to make change happen

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Manfredi-Sánchez, J.L., 2019. Brand activism.

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Manfredi-Sánchez, J.L., 2019. Brand activism.

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"See you tomorrow" (Starbucks activity)

Negative：Starbucks' #RaceTogether campaign has been criticized because the brand does not share the corporate values it promotes.

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Ice cream maker Ben & Jerry's created the "Pecan Boycott" as a permanent protest against Donald Trump's policies.

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​As a well-known athletic apparel brand, Lululemon is active in various brand activism initiatives.

Lululemon's core philosophy is to promote an active lifestyle and overall well-being. By organizing community events such as yoga classes and fitness activities, they encourage people to maintain a healthy lifestyle.

Lululemon actively promotes diversity and inclusion and strives to reflect these values in its products, advertising, and employee team. Their advertising and marketing campaigns have also focused on showcasing diversity, aiming to resonate with and support a broader range of people.​

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周雯静

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周雯静说，一个艺术家拥有的最大权力就是对世界的诠释权。

1

去年，周雯静突然火了。

你可能没听过她的名字，但你一定在网上刷到过《女人系列·节 育环》这个作品。

周雯静作品《女人系列·节育环》

300 个铜质节育环，被整整齐齐、装扮精美地悬挂在蓝色丝绒墙面上，在灯光下绚烂闪烁。如果你不知道"节育环"是什么，远远看去甚至以为是女性的某种首饰。

是的，它也可以是"首饰"，但不是华美的代表，而是残忍的真相，装点在女性隐秘的部位，可能曾经就在你妈妈的子宫里。

这些形态各异的节育环，参照历史真实形状，按照原比例大小制作而成。

你看到多少个节育环，背后就有多少个女性。

世界卫生组织有这样一个数据：全世界佩戴节育环的女性有 2/3 在中国。国家卫健委历年统计年鉴数据表明，近 50 年中，有 5.4 亿人次女性曾安装金属节育器。

很难想象，冰冷的金属，是如何被嵌在女性温暖柔软的子宫里的。有网友形容，就像是在肚子里突然挂了一个鱼钩，令人不寒而栗。我在第一次看到这个展览的时候大为震撼，在网上搜索过后，得知背后创作人是一位青年女性艺术家。彼时周雯静已被很多知名媒体采访过了，但今天，我想以一个女孩的身份来对话另一个女孩。

我们在北京的一个冬夜相遇，穿过窄窄的西四老胡同，抵达一家还亮着灯的咖啡馆。

她很瘦，穿一件呢子大衣，一双柳叶眼，在橙黄色台灯的映射下清亮又温柔。她形容自己"很宅"，不擅长社交，也不喜欢出门，大多数时间都窝在家里看书、看电影、睡觉。

日子简单，灵魂澎湃。

我对眼前这个女孩莫名有些好奇，也许是生活中接触到的"艺术 家"不多，摘掉互联网名片和名校标签，我更想了解她的过去，想知道她为什么做《女人系列·节育环》这个作品，她成长在怎样的环境里，作为一个普通女性，她又是如何看待女性当下的处境的。

周雯静作品《红色系列N°6》

很多人并不清楚，作为社交媒体话题中心的"节育环作品"其实并不是周雯静近两年创作的，而是要追溯到更早。

2011 年，周雯静刚从四川美术学院本科毕业，升入同校的研究生院，她学的是舞台美术设计。

学校工作室常提供实践项目，需要外出到剧场工作，学校离市区很远，每天往返在剧场和宿舍的她并不知道，就在那个冬天，在老家湖南株洲的妈妈也时常奔波于医院和家之间。

彼时周妈妈刚绝经，想起佩戴了 20 多年的节育环还在子宫里，决定去医院拿掉。

没有想到的是，"取环"经历并不像想象中那么轻松，由于佩戴时间过长，铜环已嵌到身体里了，医生说需切掉一小块肉才能取出。

手术过程很煎熬，虽然医生成功把节育环取出，却引发了周妈妈的大出血。

在此之前没有人告诉周妈妈节育环长期不取会造成怎样的后果。

周雯静介绍节育环原理

"这些都是节育环的并发症，主要是佩戴时间过久，且没做过定期检查。"周雯静皱眉道，"这些细节我是后来才知道的，当时做取环手术，只有爸爸陪在她身边。"

周雯静的爸爸是军人，很典型的中国男人，正气凛然又规规矩矩。周妈妈则是在青年时期就喜欢西方文化的民主女性，喜欢读《安娜·卡列尼娜》，对自己的生活有要求，是要在亮晶晶的日子里保持仪 式感，在清汤寡水的日子里也能过得有滋有味的女性。

说实话，周雯静家已经算比较开明的家庭了，可即便如此，"性"这个词，在她家里依然讳莫如深。

在中国绝大部分家庭里，生育、避孕、男女器官都是不被允许摆到台面上来说的，不只是周妈妈一家，我们身边的家庭又何尝不是如此？

那些羞于表达的身体符号，最终的呈现方式只能变成体检报告。周雯静说："如果不是这场手术，我和妈妈可能永远都不会聊起节育环，我甚至都不会知道这个东西。做完手术赶上春节，医院的门诊紧张，病情又被耽误了一阵。

从那开始，我妈妈的身体状况就不太稳定，现在虽然恢复了，但仍需要定期去医院做检查和一些小的治疗，可以说，节育环带给她的伤害永远无法彻底抚平。"

T字型节育环

这时起，周雯静开始意识到，这不是她们一个家庭的故事，而是中国千千万万个家庭的缩影。

于是周雯静着手研究节育环，直到2014年创作出《女人系列·节育环》，使用了与早期节育环相同材料的"铜"，按照原比例大小制作而成，这是周雯静研究生时期的毕业作品，也是她的第一件当代艺术作品。

她以一个年轻人的视角，将两代女性对节育与避孕问题的讨论公开透明化，她不仅从一个艺术的角度出发，更是从人类学、社会学的视角去回顾"母亲们的一生"，探讨她们作为女性的权利与牺牲。

从 2014 年的毕业展到现在，"节育环"这个话题被彻底扯下遮羞布，成为大众讨论的一个话题。

随着新媒体发展和女性意识崛起，这个话题在这两年达到空前热度，周雯静的作品再次成为"引爆点"，带着尘封的被压抑的女性故事杀回我们眼前。

2

"没想到过了这么多年，它突然就火了。"周雯静喝了口咖啡，摇摇头，"我开始意识到在今天艺术介入社会的可能性。"

铺天盖地的媒体采访使得周雯静收到成千上万条私信，来自不同年龄、不同性别、不同生活背景的人主动和她分享关于节育环的故事（佩环和取环都有），有大龄母亲，也有心疼妈妈的女儿，还有主动关心身边女性朋友和家人的男生，他们口中这些触目惊心的真实故事比电影更有冲击力。

很多年轻人因关注到节育环而开始和母亲有了第一次深入交流。仅B站一条视频里，就有4000多人在弹幕上说他们的母亲也佩戴了节育环，还有人在微博上发起了"带妈妈取环"的话题。

微博话题

截至我写稿子的这一刻，微博话题已过 2445 万的阅读量，有超2000 万个真实的年轻人带着自己妈妈去取环。我随便翻了翻，就看到很多人分享出的细节，如因佩戴时间过久，很多妈妈的子宫发炎却不自知，长年佩戴导致子宫下坠造成腰疼，更有甚者诱发子宫肌瘤、子宫癌，许多妈妈到了医院才知道。

周雯静说："节育环本身是中性存在，但必须佩戴科学、谨慎注意佩戴时间、定时体检。任何工具的使用都是有规则方法的，但在过往的文化语境中缺失了这部分，才会导致一个又一个悲剧。"

山西太原人张雨，1992 年上环。但是因为她的宫口过于小，国内最小的环她都戴不上，于是她选择了一个进口的T 字形的环。可是佩环的几年，她一直不停地出血，时常从家里的卧室走到厕所就会滴一地的血。在此期间她不断地就医，可是医生给她的医嘱仅仅是- 你再忍一忍，等到 40 多岁你停经了，子宫萎缩了，就不会出血了。

可是这一忍就是 20 多年。医生对她说，因为你的身体里有异物，所以你的身体一直出现排异反应，你的子宫内膜在不断地增生。终于在她 55 岁的时候，医生对她说，你需要摘除整个子宫。

以上这个案例，来自周雯静在 App"全现在"与《财新》媒体采访中的自述。

有人说，被遗忘的节育环，犹如长进肉里的"定时炸弹"。

庆幸的是，在节育环话题被推到风口浪尖后，越来越多医生和学者开始在网络上科普，甚至还有人开始号召节育工具和技术手段革新。

在女人的一生中，子宫和脸一样重要。

和周雯静从节育环聊到女性的真实处境，其间有那么几个瞬间，我的脑袋是空白的，突然接不上话了。因为我发现，这个议题"太大" 了。这个背后有太多值得研究的东西- 节育环是怎么诞生的？它为什么存在？从妈妈辈到 90 后、95 后这一代经过几个流行阶段？现在它的使用方法被科学地普及了吗......

作为孩子，我们应该关心妈妈；作为女性，我们应该关注自己。同时，整个社会对于女性问题的关注度也应该提上日程。

而作为一个存在主义作家呢？

波伏娃在她的写作中提到，只有当女性能将自身置于两性差别之外，只有她对世界采取一种更广阔、更无私的态度，她才能成为一个真正的创造者。

2011 年的周雯静只是记录，2014 年的周雯静在表达。

到今天，我再问她为什么做这件事，她的回答是："比起宏大的艺术概念，我更关注真实的人、具体的人。"

3

周雯静不会给自己下任何定义。

她并不是一个擅长制造话题的人，她的"火"，本质在于对生活的洞察力。

生活中的她甚至有一丝清冷感，对娱乐八卦和时下年轻人流行的东西不太感冒，理性、谦虚、温柔、有主见，在喜欢的领域里像鱼一样自在地游来游去。

2018年11月，周雯静的《红色系列》作品第一次在国内展出，她给展览取名为"拒绝永恒"。

周雯静《红色系列Nº1》

周雯静《红色系列Nº3》

我下意识反问："艺术家们不是都喜欢谈永恒吗？"

"是呀，"周雯静点点头，继而露出少见的俏皮笑容，"我偏不，人就应该热烈地活在当下。"

周雯静形容自己从小就是一个"反叛意识"比较强的人，上幼儿园就对这个世界有了"自己的判断"，小到一个书包、一个杯子，都有自己的审美和要求。

"晓雨，你问过这种'傻问题'吗？我小时候特别喜欢缠着爸爸妈 妈，问我是从哪来的。我妈就会开玩笑说，从垃圾堆捡的、从肚脐眼里蹦出来的。"

我使劲儿点头："哈哈哈，全世界小朋友都是从一个垃圾堆里捡的。"

"可直到现在我才明白，小孩问这个问题，并不是想知道物理上自己的来源（生孩子），"周雯静指指自己的肚子，"他们或许是想问：这个世界上怎么突然多了'我'的存在？我对这个世界意味着什么？但是大人们听不懂，搪塞过去。长大以后我终于懂了，原来我做的所有事情都是在找这个答案- 我是谁。"

艺术也是一样，它有一个源头，那就是"我"的存在。没有自我的人是不真实的。

没有自我的创作也是不完整的。

从四川美术学院毕业后，周雯静前往法国求学，在那边又待了 7 年，站在更多元的视角去理解过世界后，她似乎更明白自己想成为什么样的人了。

在茫然的世界里，保持绝望，却不颓废。不用太纠结那些虚无缥缈的东西，去关注正在发生的具体事件。

2020 年 11 月，经过各种折腾，周雯静从巴黎艰难地回到上海酒店进行隔离，期间她回顾起疫情以来整个世界的兵荒马乱，大到经济危机，小到我们可能隔三岔五就要去做核酸，到处充斥着魔幻却被大众日渐习以为常的画面。

她把自己的经历串联起来，创作出新作品-《这个世界在燃烧》。新作完成的那天，周雯静一个人走在北京深秋的街道，脑袋里不断冒出那个经常被大众问到的问题-"艺术到底有什么用？"

《这个世界在燃烧》（归零 · 2021《画刊》封面计划），周雯静

秋风吹过，她不自觉裹紧大衣，停下来抬头看向深邃的黑色天空，轻声默念出莱布尼茨在 18 世纪说的那段话：

"无所事事使人愚笨，一个人应当总是找事情去做，去思考，去规划，同时心怀社会大众与人类个体。在这个过程中，如果我们的愿望得以实现，我们满心欢喜；如果没有，我们也不必悲伤。"

她说给我听的同时，仿佛也在说给自己听。

采访快结束时，我问了她一个问题，是《奇葩说》上的一个经典辩题：

"美术馆着火了，你是先救画，还是先救猫？"

她顿了顿："我不知道。"

"又或者哪个离得近救哪个吧。但更真实的情况可能是，哪个都来不及救，只能努力先跑出去。"周雯静真诚地笑笑，"其实人生很多时候都在为'伪命题'而陷入争吵。就像女孩问老公，你妈和我落水先救谁？我们总在为一些可能发生也可能不会发生的事而掉入陷阱。

也许，当有一天，我们不再为'人生无意义'的伪命题而去焦虑，专注在当下，才能活得清醒又有力。"

入夜。

我在 Word 里写"一个人，拯救了 2000 万个妈妈"，这句话听起来很标题党，但它是事实- 我们在讨论艺术到底有没有意义的时候， 有些东西，已经先行。

艺术也好，创作也好，都是一层层递进，将无意义变成有意义，最终回馈或影响到我们真实的生活。

这样就够了，不是吗？

在这本书上市前，我要争取带我妈妈去医院取掉节育环。

文丨摘自《体验派人生》

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原标题：《她用作品，拯救了 2000 万个妈妈》

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她用作品，拯救了 2000 万个妈妈

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澎湃，澎湃新闻，澎湃新闻网，新闻与思想，澎湃是植根于中国上海的时政思想类互联网平台，以最活跃的原创新闻与最冷静的思想分析为两翼，是互联网技术创新与新闻价值传承的结合体，致力于问答式新闻与新闻追踪功能的实践。

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Without knowing the CRAAP worksheet, I had to rely on my own empiricism to assess the reliability of the paper. This assessment helped me clarify the vague criteria that had emerged in my experience. Let me have a clearer evaluation criteria to choose the paper as reference materials.

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My presentation is too long and the audience will be easily distracted. I should shorten my copy, choose some simple words, increase the interaction with the audience, attract their attention, as if I were chatting with them. Next time, we need to add some keywords in the poster to remind everyone to pay attention. At the end of the report, it is necessary to add summary and concluding remarks to improve the whole presentation process.

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Summary of Barbara Kruger

Barbara Kruger is best known for her silkscreen prints where she placed a direct and concise caption across the surface of a found photograph. Her prints from the 1980s cleverly encapsulated the era of "Reaganomics" with tongue-in-cheek satire; especially in a work like (Untitled) I shop therefore I am (1987), ironically adopted by the mall generation as their mantra. As Kruger's career progressed, her work expanded to include site-specific installations as well as video and audio works, all the while maintaining a firm basis in social, cultural, and political critique. Since the 1990s, she has also returned to magazine design, incorporating her confrontational phrases and images into a wholly different realm from the art world. Associated with postmodern Feminist art as well as Conceptual art, Kruger combines tactics like appropriation with her characteristic wit and direct commentary in order to communicate with the viewer and encourage the interrogation of contemporary circumstances.

Accomplishments

The economy of Kruger's use of image and text facilitates a direct communication with the viewer. Within a short declarative statement, she synthesizes a critique about society, the economy, politics, gender, and culture.

Kruger merges the slick facade of graphic design with unexpected phrases in order to catch the viewer's attention using the language of contemporary publications, graphic design, or magazines. Rather than attempting to sell a product, her works aim to sell an idea to the viewer that is meant to instigate a reconsideration of one's immediate context.

Kruger appropriates images from their original context in magazines and sets them as the background against which she emblazons confrontational phrases. From her use of clearly legible font to her jarring palette of red, white, and black, each element of the final artwork is crucial to its effectiveness as both an artistic expression and a protest against facets of postmodern life.

The Life of Barbara Kruger

Important Art by Barbara Kruger

Biography of Barbara Kruger

Childhood

Barbara Kruger was born in Newark, New Jersey in 1945. Her mother was a legal secretary and her father a chemical technician. An only child, Kruger attended Weequahic High School in Newark, and enjoyed what was by all accounts a typical middle-class upbringing. She was accepted to Syracuse University as an undergraduate, where she enrolled in a number of art and design classes. After only one year at Syracuse, Kruger moved to New York City to take more advanced art and design classes at the Parsons School of Design.

Early Training

While enrolled at Parsons, Kruger's instructors included the American photographer Diane Arbus and graphic designer Marvin Israel. Israel in particular had a dramatic influence on Kruger, encouraging her to prepare a professional portfolio when she was becoming disenchanted with art school. At this early stage in Kruger's training, she had yet to assimilate mass media imagery, language, and signage into her work, and instead focused largely on architectural photography, painting, craft, and erotic imagery. Upon leaving Parsons, Kruger found work as a designer and editor with a number of publications based in New York, including House and Garden, Aperture, and then Mademoiselle, becoming lead designer within a year of being hired and at the age of twenty-two. Despite her early success in editorial work, she felt compelled to pursue a career in art, having said, "I basically wasn't cut out for design work because I had difficulty in supplying someone else's image of perfection." In 1973, Kruger received her first big break, when curator Marcia Tucker, who would eventually found the New Museum of Contemporary Art in New York, selected several of Kruger's works for the Whitney Biennial exhibit.

During the late 1970s, while living and teaching in Berkeley, California, Kruger developed an interest in the written word - poetry in particular - and began writing and performing her own poetry and narratives, while still pursuing painting. The pull of language proved too much, and Kruger stopped painting and went back to her initial interest in photographs and words. This fascination led to explorations of physical space and boundaries, manifested most notably in her 1978 self-published "Pictures/Readings." The book included photographs of building exteriors accompanied by a narrative text on the opposite page in the form of a dialogue, dilemma, or dramatic scene. Kruger's unique juxtapositions of image and text, allowing each one to inform the other however concretely or abstractly, would become the foundation of her mature, conceptualist body of work.

Mature Period

Shortly after publishing "Pictures/Readings", Kruger completed a similar photographic study of hospitals, only this time the accompanying text was far shorter and more declarative, including phrases like "Go away" and "Not that." This motif of image and text in her work would soon mature into phrases that explored issues of social power dynamics, technology, death, violence, and the human condition, often taking the form of abstract concepts and postulations, i.e. "The illumination of the physical" and "The comfort construct." A crucial change in her work also took place during the late 1970s, as Kruger decided to abandon original photography in favor of found images, most often derived from mass media sources like magazines and newspapers. By the early 1980s Kruger became more ambitious in both her use of rhetoric and imagery. Kruger would later claim that her chosen motif of overlaying pictures and words was due to their "ability to determine who we are and who we aren't." Indeed, with slogans like "I shop, therefore I am" and "Your body is a battleground," Kruger was exploring text that addressed issues of feminism, consumerism, desire, and personal autonomy. Recalling the context in which she created her critical works, Kruger stated, "People write about the art world of the '80s as a glitzy time - it just makes my head explode - because it was also a time when issues of criticality came to the fore." Her use of a reduced red, white, and black palette and clear typography is influenced by the aesthetics of the Russian Constructivists, in particular Alexander Rodchenko.

Another significant shift in Kruger's career took place in 1991 with her self-titled solo exhibition at Mary Boone Gallery in New York in which she transitioned to immersive installations, covering nearly every inch of the gallery's interior with text accompanied by images, effectively transforming a white-cube gallery into a red, white, and black "arena of hostility." Of note, Kruger was the first female artist signed to the blue-chip Mary Boone Gallery, in 1988, which was best known at the time for representing macho, Neo-Expressionist male artists. The 1990s also marked for Kruger a return to magazine design, creating covers for publications like The New Republic, Ms., Newsweek, and Esquire, among others. Using her work within an entirely commercial medium carried with it a sense of irony, as much of her text can be seen as a direct challenge to consumerist culture.

Within the last two decades Kruger's oeuvre also expanded, quite literally, to include large-scale installations for museums and public spaces around the world. One such example was the landscape architecture piece Picture This (1995) for the sculpture park at the North Carolina Museum of Art. She maintains her criticality of contemporary life, still asking viewers to re-consider their contexts, and has stated of her work, "I think that art is still a site for resistance ... I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level." Kruger has taught at California Institute of the Arts, the School of the Art Institute of Chicago, University of California, Berkeley, and is currently a member of the faculty at University of California, Los Angeles. She has also written a number of critical essays and reviews for publications like The New York Times, Artforum, and The Village Voice. In 2005 Kruger participated in The Experience of Art, the 51st Venice Biennale - the first Biennale curated by two women. The artist splits her time between New York City and Los Angeles.

The Legacy of Barbara Kruger

Barbara Kruger's work has an integral place in the history of feminist, postmodern, and conceptual art. Connected with this, Kruger dissects contemporary culture in her unique combinations of image and text, often targeting multiple oppressions or hypocrisies. Kruger's aesthetic is among the most recognizable of contemporary artists, along with the likes of Jeff Koons, Cindy Sherman, and Damien Hirst. More importantly, as a successful artist in both the commercial and high art arenas, Kruger continues to influence many artists who struggle to make that same crossover. A clear connection to Kruger's approach is found in the work of artists like Shepard Fairey, the Guerilla Girls, and Lorna Simpson, through their use of image and text, as well as cultural critique. Kruger's wide variety of work, from her early prints, to her magazine covers, installations and t-shirt designs, has ensured that she has and will continue to have a wide influence on artists and non-artists alike.

Influences and Connections

Useful Resources on Barbara Kruger

Similar Art

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Barbara Kruger is best known for her silkscreen prints where she placed a direct and concise caption across the surface of a found photograph. Her prints from the 1980s cleverly encapsulated the era of "Reaganomics" with tongue-in-cheek satire; especially in a work like (Untitled) I shop therefore I am (1987), ironically adopted by the mall generation as their mantra.

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Elephant and Artsy have come together to present This Artwork Changed My Life, a creative collaboration that shares the stories of life-changing encounters with art. A new piece will be published every two weeks on both Elephant and Artsy. Together, our publications want to celebrate the personal and transformative power of art.

Out today on Elephant is Nkgopoleng Moloi on Simone Leigh's Brick House.

You might imagine the moment when artwork changes your life to be in the hall of a grandiose gallery. Standing in front of Michaelangelo's David (1501-04), for example, stunned by its sheer magnitude; seeing Bosch's The Garden of Earthly Delights (1490-1510), your feet aching from being firmly planted in front of the painting; or having an epiphany while contemplating in the Rothko room at Tate Modern.

But I have never actually seen the piece of art that has meant most to me in person. That's because I've never been to Los Angeles, where the 9-foot square silkscreen print of Barbara Kruger's Untitled (Your body is a battleground) (1989) is displayed at The Broad. I have only ever seen reprints on postcards, T-shirts, the sides of buildings, and hanging in bedrooms. But that doesn't seem to matter: Purposefully anti-hierarchical, Barbara Kruger's work shows that a meaningful interaction with art doesn't have to be cultivated in a traditional setting.

And that is exactly how I first encountered her work, or rather a tribute to her work, in a moment when I most needed to see it.

In September of 2018, I was on the second day of a new job when someone gestured for me to come into a small corner office. My coworkers were crowded around a TV, watching a prosecutor trying to dissect Christine Blasey Ford's credible accusations against then-Supreme Court Justice nominee Brett Kavanaugh on national television.

Later in the week, I walked to the subway still in a dazed fury from what had transpired at the testimony. On the ground near the East River, I read scuffed white graffiti in small letters: "Your body is a battleground." At the time, I didn't know who Barbara Kruger was. (Although in a sense, I suppose I did subconsciously, as few artists have been so widely imitated.)

What is it that makes a phrase, like a song lyric or a smart aside from a friend, stick in your mind for days at a time? Is it the alliteration? The wit? That it gets at some kind of inherent truth? Or maybe it is something less enigmatic: that it's very simple.

Almost nothing is more complex than all the ways in which patriarchy is historically intertwined and embedded into our culture, politics, and thought processes. Why can we openly debate whether women have reproductive rights? How did Brett Kavanaugh comfortably end up on the United States Supreme Court? Why is the female form always over-surveilled and under-protected?

And yet the answer, Kruger almost cruelly reveals, is staring us in the face.

I Googled the sentence on my ride home, and staring directly back at me from my phone screen was a woman's face-both beautiful and alarming-intersected in black and white. In her iconic white font encased in red, Kruger directly addresses the viewer.

Untitled (Your body is a battleground) was made for the Women's March on Washington in 1989 to protest a new wave of anti-abortion laws chipping away at Roe v. Wade. Like much of Kruger's work- I shop therefore I am (1987) and You are not yourself (1981)- Battleground deals with feminism, personal autonomy, and anti-consumerism by reappropriating mainstream images combined with striking phrases to reframe them.

Her artistic style mimics and simultaneously mocks propaganda by turning it into protest. And though the piece is tied to a specific political moment-because women's rights and bodily autonomy are seemingly under constant threat-the power of the work is no less persuasive than it was in the 1980s. In the same corporate advertising style Kruger hijacks, the "simple" message is seared into the subconscious.

Nothing really prepared me for the metaphorical whack on the head of the Kavanaugh nomination; I was consumed with fear about living in a country that did not take women seriously. Using our short attention span against us, Kruger offers a quick counterpunch of vindication when grappling with what it means to have a body under perpetual scrutiny.

I have generally suffered from being too "in the weeds"-trying to get across too many convoluted ideas at once. And despite trying hard to read feminist texts or stay well-informed on maliceous forms of power and authority, I have found myself embarrassed that I don't have a shrewd debating ability, or a way with words when it comes to complex discourse. Kruger legitimized what I think and how I feel in straightforward, forceful terms.

The point of art, I had thought before encountering Battleground, was that it didn't spell things out ("show, don't tell"). But plain profound language is both an art form and a dissent. This type of language, of course, does not represent an admonishment of complicated opinion or nuanced thought, but rather helps us acknowledge the value of confidently embracing our sometimes overlooked convictions. Kruger dares the viewer to grapple with the trials women face, but perhaps more crucially, she encourages us, too, to speak directly and boldly.

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Barbara Kruger's "Untitled (Your body is a battleground)" Changed My Life | Artsy

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Barbara Kruger dares the viewer to grapple with the trials women face, but perhaps more crucially, she encourages us, too, to speak directly and boldly.

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周雯静微博话题

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about周雯静

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也许你还记得，前不久年轻的中国艺术家周雯静，她的女性主题系列艺术作品，在网络上掀起了怎样的惊涛骇浪。

那些手术刀、节育环、避孕药、增生的乳腺、怀孕的身体......混合着血与痛，用水彩与石膏再现。 它们唤起了每一个女性切身的共情，也让中国大众第一次把目光，投射到女性主义艺术上。

用周雯静自己的话说："它关于疼痛，关于自我意识的觉醒，关于与母亲，关于爱。红色的第一层隐喻意义是'血液'。

流血，是女性身体在生物性层面上所遭遇的最频繁的经历，不论是经期，生育，受伤，疾病，它都是女性身体的真实景况。石膏缓慢吸水、变化，浮现出某种病理特征，它诉说着疼痛、欲望与恐惧。"

如同评论家ChristianeCarlut所说："妊娠过程不是洁白无瑕的，她展现了化学过程与复杂有机体的变化。我们不能忽视，在今天，女性身体仍然存在于被蒙昧主义排斥的位置。

女性身体仍然在惯常的工具化过程中被定义，陷入身体现实的复杂冲突之中。女性身体在世界进程中，有许多话要说。"

是的， 女性身体在世界进程中，有许多话要说。

在 《现代艺术史》这本现代艺术百科全书式著作里，就 记录下女性主义艺术的发展历程 。 从50年前开始，就有无数先驱者用艺术作品为女性正名， 她们同样需要被看见。

我们 从书中节选摘录部分 ，并稍作编辑，以飨读者。以下为全文。

女性主义在当代艺术的波澜，起源于1960年代。彼时全球左翼运动兴起，欧洲和美国到处都是游行示威，学生、工人和民权组织抗议经济、社会和军事政策。抗议的焦点包括越南战争、为美国黑人争取民权，以及为妇女争取全面的经济和社会权利。

1968年民权运动领袖马丁·路德·金和反战总统候选人罗伯特·F. 肯尼迪遇刺丧生，暗淡了美国改革者们的希望。苏联对捷克斯洛伐克"布拉格之春"运动进行了暴力镇压，给中欧蒙上了类似的阴霾。

正如前卫艺术家在回应第一次世界大战时放弃了传统西方艺术的理想，1960年代创作的进步艺术家 开始质疑他们自己审美价值的基础 。他们对于这种质疑的回应，以千万种方式表现出来。

有些艺术家彻底放弃创作他们习惯创作的艺术作品，转而走向行为艺术、身体艺术，或者其他如邮寄艺术、涂鸦等为时短暂的媒介方式。

80年代，戴着大猩猩面具在街头粘贴告示的女性主义团体"游击队女孩"

01

延伸的竞技场：行为艺术与视像

一些艺术家发现书写文字的材料局限性，他们更偏爱 行为艺术 的无边界性。

行为艺术不仅让艺术家从艺术作品中解放出来，而且还使他们得以自由地采用看起来适于其创作目的的任何题材、媒介或者材料。再者，它使艺术家能够在任何时间，不论时间长短， 在任何场地创作他们的作品，并且与观众有直接的联系。

1978 激浪派婚礼

个人的即是艺术的，这种直觉认识只差一小步就被认为具有政治含义。这种认识是 激浪派 小组的核心，这个小组在1962年开始成形，它是一个松散的国际群体，成员中有雕塑家、画家、诗人和行为艺术家。

属于激浪派的艺术家经常从政治角度去理解他们的作品，但通常又避免教条性的宣言。激浪派拒绝把生活转化为艺术，因为他们相信这两者已经是不可分割的。

激浪派婚礼，图中夫妻两人在婚礼现场互换服装和假发

行为作品能够最好地表明生活与艺术之间的相互融合，激浪派成员还因此上演了各种各样的活动，从激浪节（许多参与者举办历时数日的音乐会和行为表演），到模仿偶发艺术的激浪派离婚（其中一个例子就是一群参与者真的就把夫妻的所有财产当场对半分割）；

激浪派婚礼，妻子为丈夫换上裙装

再到麦西纳斯1978年与碧丽·哈钦的 "激浪派婚礼" （Flux Wedding of George Maciunas and Billie Hutchin），婚礼当中两人双双穿着传统结婚礼服到场，然后再仪式性地相互交换服装。婚礼来宾纷纷表演各种即兴的活动和事先排演过的行为。

1965 小野洋子

激浪派的方法在日本出生的美国艺术家小野洋子的作品中做了很好的总结。

她创作于1966 年的两个行为艺术作品《呼吸》 （Breathe Piece）与《大笑》（Laugh Piece）中，让观众按照题目中所提示的单词指导去参与。

在她1965年的 《切片》 （Cut Piece），艺术家坐在舞台上， 旁边是一把大剪刀，她无言地等着观众把自己的衣服剪碎，明确地表明了很多激浪派作品中显然存在的轻松搞怪做法，传递了对日常生活所做的政治性的尖锐评论。

02

当艺术变成了艺术家：身体艺术

身体艺术是行为艺术的一种形式，常常在表演者与观众之间引发一种强迫式的亲密关系 ，其结果可能是愉悦的、诗意的、震惊的，也可能令人不适。

女性艺术家对身体艺术在1960 年代后期和1970年代的发展，做出了最为巨大的贡献。 女性艺术家对于弗洛伊德的格言"生物学就是命运"既对抗又拥抱，她们把自己的身体视作表达自己愿望、恐惧和沮丧的最为有效的媒介。

卡洛琳·史尼曼（Carolee Schneemann）和汉娜·威尔克（Hannah Wilke），创作了一些最早的也是最有影响的身体艺术作品。

1975 史尼曼

1960年代，史尼曼的《肉之乐趣》（Meat Joy）是四个男人、四个女人、一个侍女与生鱼、鸡、 油漆、塑料、香肠之间的一场仪式化、色情意味的嬉闹。其灵感来自当代舞蹈和偶发艺术，用以表达美国波普艺术和欧洲抽象艺术中被压抑了的无意识之类的东西。

《肉之乐趣》于1964 年第一次在巴黎表演，史尼曼在叙述上和身体上的杂乱感，挑战了伊夫·克莱因在《人体测量学》中指导性的控制，也挑战了她的美国同行们的经典主义。《肉之乐趣》 是关于解放、感觉和精神的，而不是关于审美的。

到了1970 年代，史尼曼的行为表演集中在文化、 意义与女性身体的关系之上。 《内部卷轴》 （Interior Scroll）是这十年当中创作的与体内最有关系的作品之一。

它包括阅读、大幅人物的绘画，最后是史尼曼慢慢地展开表演之前塞在阴道中的一个小手卷。她一边打开文本，一边阅读，讲述她与一个男性电影制作人之间的针锋相对。

正是搅乱引导当代艺术接受的审美规则的能力， 继续使得像史尼曼这样的作品能够如此具有挑战性。带着避免落入对男权的简单反对的敏感，史尼曼认真地思考在独立于男性象征的女性经验中发现意义。

她解释说："我从很多层面去思考阴道--身体的、观念的：作为一种雕塑形式，一种建筑性的参照，神圣知识的源泉、狂想、产道、转化。"史尼曼从自己的身体内部去描述生命，去挑战艺术世界的符码。

1974 威尔克

与史尼曼一样，汉娜·威尔克的行为表演再次强调了她的个人立场，即她的生命是由扮演女性艺术家角色而界定的。她把肖像作为作品的核心文件，为照相机和观众上演各种各样的事件。正如她所解释的，她即使睡着了，也是在摆出姿势。

但与史尼曼不同的是，威尔克是在社会的预料范围内进行创作，把自己作为一个漂亮女人而摆出姿势来展示她的身体，扮演着诱惑者的角色。她呈现自己时，对图像会做一些加工，以显示出物质上的愉悦和这种物化的个人代价。

威尔克关心的是 "如何把你自己变成一件艺术作品， 而不是让别人把你变成你可能不赞同的某种东西" ， 因此她鼓励观众去享受身体的感官性--她的身体和他们的身体--同时也鼓励他们去认识到，欲望不是没有代价的。

威尔克 1977 年的作品《与......交媾》（Intercourse with...）表达了她裸露身体的特殊性质。

作品中，艺术家摆出各种姿势，而旁边有一台应答机播放着她的朋友和家人的留言。 留言中的词句塑造了她的身体，界定了她的行为。

然后她脱掉衣服，用留言者的名字覆盖自己的身体。名字随后被慢慢地移去，留下了没有衣物或者留言群保护的身体。

《求救--被凝视的物体系列》

在《求救--被凝视的物体系列》（S.O.S. Starification Object Series）中，她在自己的身体上标出痛苦而不是关怀的符号。

作品由众多的系列照片组成，这些照片原本是模仿时装图片。 然而，粘附在她身体上的是被嚼过的口香糖，这些口香糖被叠成了形似女性外阴的形状。

口香糖雕塑以外在的符号破坏了人物姿势和照片所具有的诱惑力，艺术家把这些符号称为"内在的伤口"。 她用口香糖去暗示社会对女性和少数族群的咀嚼和唾弃。

1977 门迭塔

古巴出生的艺术家安娜·门迭塔（Ana Mendieta）的作品，其核心是身体的戏剧性。

她以女性的生理去象征大自然的生、腐烂和再生的循环往复。 她的雕塑"过程"作品，诱发人们联想到古代生殖礼仪的氛围。

这些作品常常是从身体的直接印迹中产生的，比如门迭塔用火药在地上勾勒出她自己的轮廓，然后把火药点着，这样就把自己的身形烧在了土壤之中。

最后形成的图像， 用艺术家自己的话说，就是"将自己与大自然相结合"的一种办法。

《Silueta Works in Mexico》系列

03

激进的替代：女性主义艺术

观念艺术一直坚持具有政治和颠覆倾向的前卫性。在最积极响应其政治和社会可能性的艺术家当中， 包括活跃于1960年代在欧洲和美国开始盛行的女权主义运动中的一群艺术家。

正如我们前文中所讨论的， 女性主义艺术家利用身体艺术的潜能，既挑战又肯定性别的差异。 女性主义艺术家也转向其他媒介，她们选择的材料和技法常常与女性的历史或者传统的家庭职责有特殊的关系。

1972 《女人之屋》

加利福尼亚州立大学弗雷斯诺校区的 女性主义艺术项目 （Feminist Arts Program），是最初有组织地创作直白的女性主义艺术的努力之一。

这个项目旨在从机构的角度讨论 艺术中的不公平。这个项目极力通过公开和私下的话语、提升意识觉醒的课程时段、个人的表白和技术上的训练，去努力"帮助女性重构她们的个性，以便更适合她们成为艺术家的欲望，并 帮助她们从女性的经验出发去建构自己的艺术创作 "。

这个项目于1972年转移到加利福尼亚艺术学院。在这里，教师和学生追求的是这个专业中的主要艺术诉求，即 《女人之屋》 （Womanhouse）。

《女人之屋》是1970年代最大的装置作品之一。

访客受邀进入传统的家庭女性空间，发现操持家务被政治分析所取代。一位新娘走下台阶，她的婚服长摆在她直接走向厨房时被弄脏，厨房里装饰着色彩明亮的乳房，其中有两个滑进了平底煎锅而形成了两个煎鸡蛋。

在这里，作品抓住了杜尚和马格利特等艺术家早年对于女性家居生活和性别的揭示，进而将之转化并重设语境，以达到女权主义的目的。

在房子的另一部分，厕所的壁柜把一个女人固定在了一种生活的陷阱之中，这种生活--就像作品中 的一个行为表演所演示的--是由一张不停被熨烫的无限长的床单来界定的。

这件《女人之屋》作品中最令观众不安的房间，也许是 月经期卫生间 ，它暴露了女性生活中可能最有效隐藏的方面。

在一个干净得一尘不染的白色卫生间里，洗手池下面放着一个垃圾桶，里面装满了这个无法承受的沉重经期的证据。大量的小雕塑隐喻了这个屋子本身具有的爆炸性的实质。

《女人之屋》这样做的结果， 就是大量证明了艺术史书籍和博物馆中很少突出的潜在的艺术群体和题材。它鼓励了一代女性艺术家去探索 在艺术界中被边缘化 ，但是对于许多女性的经验具有核心意义的内容和媒材。

1974 《晚宴》

这一时期出现的最具有视觉性的作品是朱迪·芝加哥创作于1974年至1979年的作品 《晚宴》（Dinner Party）。这件作品是 对女性历史的精致纪念 ，它以故意的夸张手法，利用诸如刺绣和瓷器彩绘等典型的女性化和装饰性的艺术媒材来完成创作。

整个作品的组构是以一个三角形来安排的，这种形式是女性和平等的原始象征。在围合的地板区域， 铭刻着历史和传说中999位女性的名字 ， 从古代世界到现代人物，比如伊莎多拉·邓肯、乔治 亚·奥基夫和弗里达·卡罗。

乔治亚·奥基夫作品《带有白布玫瑰的牛头骷髅》

这张三角桌子的每一边都以13组餐具套件，这多少有一部分是在诙谐地评论最后的晚餐--唯独有13位男性参加的晚餐聚会， 另一部分则是承认 女巫聚会 （coven）中女巫的人数。

39套餐具是对39位著名女性的致敬，她们每个人的名字都被绣在餐桌装饰布上，而装饰布的刺绣风格都与人物所处的历史时期相吻合。

《晚宴》中最具有挑衅意味的姿态，就是桌上的餐盘所展示的是依据女性生殖器官制作的绘画或者雕塑母题。

餐盘极具活力的设计，把阴道转变成为对无处不在的男性生殖器官象征的有力反制。

这样的反转招来了批评，一是因为作品以人体解剖结构来凸显并界定每个女性的本质，二是因为作品把女性的权力视觉化为异性伪装的男性生殖器力量。

作品的本质化做法及其二元划分的实质使它饱受争议，而其政治含义和制作工艺也使其成为性别史和工艺史上的核心性作品。

2006 年，《晚宴》被永久性地安置于布鲁克林博物馆的伊丽莎白·A. 赛克勒女性主义艺术中心，确定了这件作品在拓展艺术和机构实践中的核心地位。

04

抹去艺术与生活之间的界限：

女性主义艺术专业的中所学到的教训之一，就是 "直接说出来，去描述你日常生活的方方面面，这会变得具有政治性意义"。 生活是一种行为表演，而生活的呈现就是艺术和政治。

到了1970 年代后期，女性主义艺术家从描绘性的项目，转向了审视生活方式是如何被学会的以及知识是如何被创造的之类的项目。

1974 凯利

这个时期最为引人注目的作品之一，是玛丽·凯利（Mary Kelly）的 《产后文献》 （PostPartum Document）。

凯利出生于美国，但这个时期居住在伦敦，她用图示方式将她儿子童年早期的成长与她自己初为人母的心理变化进行比较。

《产后文献》是一系列的记录：尿布污渍的印痕、手印、艺术作品、各种清单、医疗和教育记录、图表和自白笔记。

《产后文献：记录一，经过分析的大便斑迹和哺乳图表》

其中一些最为令人震撼的书页记录石板上 男孩的书写和母亲的解释 ，这既令人想到学校的黑板，也让人联想到古代埃及的罗塞塔石碑，而关于她想请日间护理的高度矛盾心态的笔记，也都一一展示出来。

这是母子关系开始转变的时刻。 对于孩子来说，意义开始转而存在于外部的世界，需要他通过语言去翻译，而不是由母亲给予。

同样，孩子在母亲那里作为意义的主要承载者的角色，开始以一种令人困惑不解且经常令人痛苦的方式逐渐消退。

凯利对母性和心理的惊人探究所提出的内容和形式，结合了观念艺术、女权主义政治和心理分析理论，来审视在1970年代的艺术界仍然被当作禁忌的女性经验的诸多方面。

1985 游击队女孩

1985年，一群匿名的女性主义者以大猩猩面具伪装，在公众面前亮相。她们开始在大街小巷和公共汽车上张贴看似公共服务通告的各种广告。

这个 群体自称 "游击队女孩" ［Guerrilla Girls，是与大猩猩（gorilla）的谐音双关语，同时也指涉她们旨在提升觉醒意识的非正统策略］。

她们以"艺术界的良心"为职责，对于画廊、博物馆和艺术界权力位置上只有少数女性被代表的事实，感觉沮丧和厌倦。

虽然女权主义的活动在1970年代打开了通往这类机构的大门，但只有极为少数的女性被接纳。这个群体早期的一幅招贴作品， 讽刺性地列举了作为女性艺术家的好处 ，其开头就是"没有成功的压力而创作着"。

另一个招贴上则说，花在贾思培·琼斯一件作品上的1770万美元，可以购买67位重要的女性艺术家每人一件作品，其中包括玛丽·卡萨特、弗里达·卡罗、乔治亚·奥基夫和阿尔泰米西娅·真蒂莱斯基。

游击女孩共同采取了各种各样形式的公共宣传，包括在城市街道张贴海报、 租用广告牌和公共汽车、举办公共讲座（穿着全套的大猩猩装束）、出版艺术史著作和运营网站（www. guerrillagirls.com）。

1992 安托尼

珍宁·安托尼（Janine Antoni） 创作的 《啃噬》 （Gnaw），乍看起来似乎是一对极少主义的立方体，只是在边缘有些磨损、散发出怪异的有机气味。

事实上，其中的一个立方体是用脂肪做成的，另一个则是用巧克力制作的。作品边缘的磨损，实际上是艺术家啃食其雕塑的结果，她一口一口地啃掉了猪油和巧克力。

在一次行为表演中， 安托尼啃到了让自己呕吐的地步，这让人联想到贪食症的幽灵，这是女性采取的极端做法之一，目的是获得主要 被消费文化制造出来的所谓美的理想 。

安托尼与这两个立方体生活在一起，直到她从上面啃出足够的材料，用这些材料重新构造成鲜红的口红和心形的糖果盘，然后把它们陈列在陈列高档珠宝的高雅玻璃柜中。

尽管制作过程和装置都很复杂， 但是《啃噬》在表达上惊人地简洁精炼。

三种熟悉的物体--口红、巧克力和极少主义立方体--通过行为表演而并置在一起，这个行为虽然是观众看不到的，但它就像行为艺术家卡洛琳·史尼曼的行为表演一样具有身体意识和政治意识，它还催生了 女权主义对艺术、时尚和消费不折不扣的批评 。

05

从隐形到显形：艺术与种族政治

一批艺术家利用视觉艺术去面对1960年代随着民权运动而跃上战后美国政治舞台的种族问题， 这场民权运动迫切要求给予美国黑人以充分的公民权和法定权利。

正如人们常常所讨论的，视觉艺术非常迟缓地在种族斗争中找到了角色。

1978 派珀

阿德里安·派珀（Adrian Piper） 是一位检视种族主义令人不安的有色眼镜的艺术家。

派珀曾经解释过，她的艺术发端于"一种冲动， 即以建构性的方式去体现、转变和利用作为有色女性的经验，以使自己不再感到无能为力。"

派珀作品的灵感来自于她作为浅黑肤色女性的身份，以及这个身份为她提供的对黑人和白人社群的洞察卓见，这些作品审视了种族态度在美国的个人和社群身份的形成中扮演的中心角色。

在她的《政治自画像第 2 号（种族）》 （Political Self-Portrait #2 [Race]）中， 文字部分列数了她在成长过程中所遭遇的种种偏见 。

这些文字被用作一个纱网，透过纱网可以看到分裂的艺术家本人的图像。 对被种族偏见支配的生命的叙述，给对身体的观看蒙上了颜色 。

《政治自画像第2号（种族）》

派珀对偏见的叙述，传递的是语言（尤其是对种族的所指）对于我们对个体的认知和社群的制造上产生的侵犯性。

派珀所接受的训练以及她早期的作品包括观念艺术和行为艺术，她获得过哲学博士学位，也一直从事哲学教学和研究。

1980 年代中期，她把这三个方面集合到了 《联系卡》 （Calling Cards，1986-1990 年）中， 这是一系列的小张笔记卡片，上面显示了艺术家作为非裔女性的身份。

《卡片第1号：为晚餐和鸡尾酒会做的回应式游击行为表演》（Card #1 A Reactive Guerrilla Performance for Dinners and Cocktail Parties），其设计是出于这样一种策略，即在被迫挑战他人的种族主义行为时，将正面冲突最小化。

为了避免发生口头和公开的正面冲突，她给冒犯者递上这样一张卡片，上面的文字开头写着 "亲爱的朋友，我是黑人。我肯定你在说出 / 嘲笑 / 同意刚才的种族主义言论时，没有意识到这一点" ，结尾写着"我很遗憾我的在场给你带来的任何不适，正如我相信你也对你的种族歧视给我带来的不适感到抱歉"。

这些卡片的散发，在必要时艺术家随后会用公开的讨论时间，来解释和讨论刚才的行为。

在最为成功的几次《联系卡》讨论中，大多数白人观众一开始感受到的防卫性敌意，在听到这个"行为"对艺术家自己来说是多么具有伤害性时，反而让位于一种不自在的接触。

派珀的作品不同于那些更流行的对结合所有种族的人性的宣言，而是以窘迫和痛苦的遗憾为基础，以一种艰难的社会互动方式将黑人与白人结合起来。

她的行为表演遵循了激浪派的格言， 即 世界已经足够艺术了，并进而以一种政治性的态度发出"这个世界必须被转变"的信息 。

回到我们开头所说的中国青年艺术家周雯静。

她自言："我关注身份，性别，身体，疾病，权力等问题。 从个人经验出发，以微观历史的角度生产与介入有关情感与物、权力与异化、个人与公共，以及有关身份、时代、社会伦理、地缘政治等问题 。

《女人系列》是关于中国计划生育与改革开放政策期间的两个微观事件，是我把家庭、母亲的个人历史，用载玻片放到了以政治、社会学为框架的显微镜下的成像。而《红色系列》是我在法国两年中创作的主题，它关于疼痛，关于疾病，关于自我意识的觉醒，关于与母亲，关于爱。"

《女人系列*节育环》

女性主义艺术从60年代轰轰烈烈一路走来，我们很高兴能看到，如今中国的年轻艺术家也接过了前辈的交接棒，用作品讲述属于中国女性的故事。

我们在 《现代艺术史》 中回顾女性艺术发展的道路，更期望下一次修订更新时，能加入属于这个世代的篇章。

责任编辑：

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当女孩戴起猩猩面具走上街头：你不知道的女性主义艺术发展简史_激浪

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在她1965年的 《切片》（Cut Piece），艺术家坐在舞台上， 旁边是一把大剪刀，她无言地等着观众把自己的衣服剪碎，明确地表明了很多激浪派作品中显然存在的轻松搞怪做法，传递了对日常生活所做的政治性...

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Barbara Kruger’s background

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Printable PDF
Parades, pickets, demonstrations, marches, rallies, protests. No matter what they are called, perhaps the single most powerful, peaceful way to bring about social change is for people to stand together publicly on behalf of an important cause.

For many women, a mass action like NOW's 2004 March for Women's Lives is an unprecedented opportunity to speak out and do grassroots organizing, a celebration of strength and unity, and a defining moment in their lives.

"Many women I talk with say they got hooked on being an activist the moment they stepped off a bus and into a crowd of hundreds of thousands of other feminists," said former NOW President Patricia Ireland.

The history of mass political actions organized by U.S. women dates back to the turn of the century. As early as 1903, labor reformer Mary Harris "Mother" Jones organized children working in factories to parade in front of city hall in Kensington, Pennsylvania, with their maimed fingers and hands held high in the air.

The Suffragist Example

Although the movement for women's right to vote began in the latter half of the 19th century, evolving out of women's activism in and frustration with the abolition (anti-slavery) movement, the first mass demonstrations for suffrage weren't held until 1911. They were organized by suffragist leader Alice Paul, who had been impressed by the tactics of the British suffrage movement while she was traveling in England.

A suffrage parade in 1913 on the eve of President Wilson's inauguration was marred by violence, but also increased the integration of the movement. Members of the Black sorority Delta Sigma Theta marched as a delegation, while Black journalist and anti-lynching activist Ida B. Wells marched side-by-side with white women from Illinois.

In 1916 and 1917 suffragists picketed the White House, with one silent picket leading to the arrest of 218 women from 26 states. The women were jailed and force-fed at the Occoquan workhouse, a prison in Virginia, and their mistreatment led to public outrage and helped with the campaign. The 19th amendment guaranteeing women the right to vote passed Congress in 1919 and was ratified in 1920.

Women of Color Early Leaders

During those early years, and throughout the 20th century, women of color were leaders of mass actions on behalf of many causes. In 1914 and 1915, Black leftist Lucy Parsons led mass demonstrations of homeless and unemployed people in San Francisco and Chicago. In 1917, Black women in white dresses were prominent in the front lines of a 15,000-person march in New York protesting lynchings and racial discrimination.

In the latter part of that century, Latinas like Delores Huerta, who co-founded the United Farm Workers Union with Cesar Chavez, organized and marched on behalf of improved working conditions.

With a single carefully-planned act of protest, refusing to give up her seat on a bus, NAACP activist Rosa Parks gave new vigor to the civil rights movement in the early 1960s. Black women were among the protesters arrested during a May 1963 civil rights march on Birmingham, Alabama, and were key organizers across the country for the 1963 civil rights March on Washington that featured Dr. Martin Luther King, Jr.'s " I Have A Dream " speech.

Second Wave's Early Protests

Many young women joined in Vietnam era student marches and protests that drew record crowds to Washington in 1969 and 1971. But something was missing for women in the radical student movement and many of the other movements of the 1960s.

"Many of our earliest activists were women who felt squeezed out of leadership in these movements, and were drawn to possibilities for them in the women's movement," says Ireland.

And the possibilities were endless, with the energetic new movement using creativity, daring and sometimes both the costumes and techniques of the suffragists.

In perhaps the first picket ever by NOW members, activists in August 1967 dressed in vintage clothing to protest the old-fashioned policies of The New York Times, which then segregated help-wanted ads by gender. In December of the same year, NOW held its first national day of demonstrations in five cities, targeting the Equal Employment Opportunity Commission for issuing guidelines approving of the ads.

In September 1968, New York NOW members and other women's liberation activists picketed the Miss America pageant in Atlantic City, New Jersey, and though no bras were actually burned that day (some were thrown into a trash can), this is the event from which the myth of the bra burners evolved.

On August 26, 1970, on the 50th anniversary of women's suffrage, NOW activists organized a "Women's Strike for Equality." Approximately 50,000 women marched in New York and another 100,000 women participated in demonstrations and rallies in 90 cities, 42 states.

In 1973, NOW activists organized "Take Back the Night" marches and vigils around the country, which protested sexual assault and other violence against women, and those events continue to this day on many campuses and in many communities.

The ERA's Heyday

Marches on behalf of the Equal Rights Amendment began in May 1976, when NOW brought 16,000 supporters to Springfield, Illinois, to urge ratification by the Illinois legislature, many of them arriving from the East Coast on the ERA Freedom Train. In August 1977, 4,000 women and men marched down Pennsylvania Avenue to demand that President Carter take a more active role in efforts to ratify the ERA. Days later, activists donned jogging shoes for the first of what became five annual ERA walk-a-thons that together raised over $1.7 million for the ratification campaign.

The next year NOW organized over 100,000 people to march on Washington in 95-degree heat, in a sea of purple, gold and white banners (reflecting the suffragist colors), to press for an extension of the time limit on ratifying the ERA. Having won the extension, NOW activists organized a record 90,000 people to march on Chicago, again urging Illinois' ratification, in the 1980 Mother's Day March for ERA.

After ERA, the Storm of Abortion Rights Marches and other Protests

After the defeat of the ERA in 1982, NOW did not organize another major march on women's rights until the East Coast/West Coast March for Women's Equality/Women's Lives in March 1986, when over 120,000 women and men demonstrated in Washington, D.C., and the following weekend in driving rain in Los Angeles, against the impending threat to abortion rights.

During the interim, NOW was a major organizer of the 1983 March for Peace, Justice and Equality - the March for the Dream, a celebration of the 20th anniversary of the 1963 Martin Luther King march, as we have been for each of the subsequent anniversary marches in 1988, 1993 and 2003.

The threat to reproductive rights again became palpable in 1989, with Missouri's anti-abortion laws pending before the Supreme Court, and the Bush administration siding with abortion foes, explicitly urging reversal of Roe v. Wade. NOW's April 1989 March for Women's Lives drew crowds that had not been seen in Washington since the Vietnam protests of 1969 and 1971. After organizing a recording-breaking crowd of 600,000 in April, we followed up with a rally of 350,000 that fall - the November, 1989 "Mobilize for Women's Lives" at the Lincoln memorial - then broke our own record by bringing 750,000 abortion rights supporters for a massive April 1992 March for Women's Lives as another threatening case, Casey v. Planned Parenthood, was pending in the Supreme Court.

These mass marches forced the issue of abortion rights into the forefront of political debate going into the 1992 elections and provided strong, new networks of activists and contributors.

Lesbian and gay rights marches on Washington in 1979, 1987 and 1993 and in New York in 1994, each drew crowds from hundreds of thousands to over 1 million, and reflected the growing power of that movement. The largest to date was the Millennium March in 2000.

In 1995, more than 200,000 people gathered in Washington, D.C., on April 9 for the Rally for Women's Lives, the first and largest mass action to stop violence against women. Organized by NOW and endorsed by a record 702 national and local groups, the rally coincided with NOW Foundation's Young Feminist Conference, brought in many new activists, especially young activists from more than 200 college campuses.

1995's Million Man March in Washington, which focused on African American men, was followed in 1997 by a Million Woman March, in which African American women filled the streets of Philadelphia with demands of justice and equality.

NOW marched again on April 14, 1996, when over 30,000 women and men gathered in San Francisco to Fight the Radical Right. The march, organized by NOW, united activists from a range of causes and organizations to actively support affirmative action; economic justice; abortion rights and reproductive freedom; civil rights for people of color; lesbian, gay and bisexual rights and efforts to end violence against women.

Over 140 countries around the world participated in the October 2000 World March of Women, demanding an end to poverty and violence, and NOW was the U.S. organizer of the march in Washington, D.C. Over 20,000 women and men came from across the country, including many who joined us from other countries, and NOW Foundation organized the Women's International Symposium on Health (WISH) Conference to coincide with the World March.

In 2001, after the elevation of George W. Bush by the Supreme Court decision in Bush v. Gore, NOW organized a "Zap Action for Women's Lives," which brought 30,000 marchers to the Capitol for a rally and march to draw attention to Bush's threat to women's reproductive rights and to focus public attention on the danger of Bush stacking the federal courts.

2004 March for Women's Lives

The April 25, 2004, March for Women's Lives drew a record 1.15 million people to Washington, D.C., to protect and advance access to a full range of reproductive health care options, including abortion, birth control and emergency contraception. The such march that was not organized solely by NOW, this massive event was coordinated by an unprecedented coalition of women's rights and social justice groups - led initially by six core groups: NOW, Black Women's Health Imperative, Feminist Majority, NARAL, National Latina Institute for Reproductive Health, and Planned Parenthood, with the ACLU joining the leadership in the final months. Activists came from all parts of the country, angered by the anti-woman policies imposed by President Bush, making the 2004 March for Women's Lives was the largest protest in U.S. history.

Why Demonstrate?

Marches build and rejuvenate the various movements for women's rights by sending a message to those in power, and by forever changing the lives of participants.

"When women work to mobilize and fund a group of local participants for a big event like our March for Women's Lives, they are often transformed from enthusiastic but inexperienced activists into community leaders," said Ireland.

"I've seen it happen over and over again. We count on it. The other transformation I have seen hits everyone from the most seasoned pioneer activist to the college sophomore. Standing side by side with a sea of kindred spirits, each of us finds renewed strength to wage the struggle for women's equality."

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History of Marches and Mass Actions | National Organization for Women

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Printable PDF Parades, pickets, demonstrations, marches, rallies, protests. No matter what they are called, perhaps the single most powerful, peaceful way to bring about social change is for people to stand together publicly on behalf of an important cause.

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The history of the Chigang Tower, Guangzhou

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The history of the Chigang Tower, Guangzhou

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The picture shows the Chigang Tower surrounded by ponds and farmland at the end of the Qing Dynasty. Until the 1990s, housing began to be built. This is my own history of Guangzhou. My family and I moved here after the house was built. The construction of Guangzhou Tower began in 2005, and I watched the construction brick by brick until 2010. Now we can see that the vicinity of Chigang Tower has become a popular tourist area, with the ancient and modern towers complementing each other.

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L&N：Take notes in shorthand. Don't get too hung up on details and spelling. It's easy to miss something later. Through mock exam, I roughly know where to pay attention to the details, such as: match of names, actions, events . More attention will be paid to these places next time.

R&W：Before the exam, read the guide carefully and find the text specified in the guide. Read the questions before you start writing. Pay attention to the construction of the framework. Each body paragraphs should have a topic sentence, a supporting sentence and a concluding sentence. collect some transition signals , academic words before the test.