-
CAM uses hybrid mediums, bold outlines, text, and moralism to depict themes of cultural identity relevant of Mexican indigenous and American identities. CAM art thematically focuses on cultural and racial identity through investigations of class, race, and gender. Recent themes of empowerment and resistance are present in this frequently collaborative art works.
-
FAM's foundation of 2nd wave feminism interrograted the patriarchal culture and history of both culture and the art world. New expansive mediums were integrated such as performance art, film, and photography expounding on themes of gender identity, women's experiences, discrimination, and hierarchy's of power surrounding arbitrary rules of the gender binary. FAM utilized the body as a new embodied subject, rather than an object. The works challenged normative ideas of women's roles in society.
-
The BAM, most active between 1960-80 utilized afro-centirc bold aesthetics to communicate politically charged and confrontational artworks meant to inspire, educate, and uplift Black American cultural heritage. The iconography of resistance was deeply intwined with major moments of the era such as the government assassination of Malcom X, the community activism of the Black Panthers,
-
Yoko Ono
Cut Piece
Carnegie Recital Hall, New York In Ono's performance art she sits monk-like in the center of a stage with a pair of scissors, offering the audience to interact by coming on stage and cutting her clothing. This work shows the sacrifice of feminine domesticity, as well as the casual violence against women in sexual objectification. This work shows a huge amount of trust in the viewer, and evokes fear. As the work goes on the audience becomes more emboldened, taking more. -
David Hammons
Spade (Power for the Spade)
Grease, pigment, and silkscreen
51"x33"
Private Collection Using his own body as a stamp, Hammon's uses language in a neo-dadaesque way in his work. A play on the title's slur and its association with the playing card suit. His silhouette is also a 2D rendering of classic Black Panther imagery of a black person in side view with an afro and a closed fist signifying black power. -
Bringing the War Home
Martha Rosler
photomontage
20” x 24”
MoMA Rosler’s series highlight the American compartmentalization of war-time. This export of violence maintains the appearance of an imaginary American purity. Referencing the post WWII return to domesticity for many women as solider’s returned from war and reclaimed employment.
This work shows the stark contrast and surreal expectation of a return to a so- called “normalcy.” Framing recalls Grant Wood's 1939 Parson Weem's Fable. -
Betye Saar
The Liberation of Aunt Jemima
Assemblage
11”x8” x 2
UC Berkeley Museum of Art In a reflection of infinite mirrors, Saar arms Aunt Jemima in a revolutionary empowerment, while reflecting racist imagery of stereotypical reductive imagery of the black woman as the "mammy" figure the passive, maternal slave. This politically charged work liberates the character of Aunt Jemima from the prison of racist representations in minstrel advertisements. -
Melesio Casas
Humanscape 70 (Comic Whitewash)
Acrylic
72 x 97”
CBMMA, Arkansas Humanscape 70 makes a clear statement about the lack of representation in the classic mid-cetury icon figures of superheroes. The image is literally white washed, with a comic painting of white smattered across the center. This image recalls BAM's Barkley Hendricks Icon for My Man Superman (Superman Never Saved Any Black People—Bobby Seale) -
Yolanda López
Portrait of the Artist as the Virgin of Guadalupe
oil pastel and paint on paper
30" x 22" This work elevates the earthly artist to the spiritual realm in representation. Referencing the religious symbol of the Virgin of Guadalupe, the artist's self portrait shows an empowered and embodied woman stomping on the angel of American colonialism, and racism, proudly grabbing a snake by it's throat, the veil of the virgin wrapped over her shoulders like a comic superhero. -
Ana Mendieta
Untitled: Silueta Series
Color photograph
16” x 20”
Mariam Goodman Gallery Mendieta’s earth-body work Silueta Series depicts figural forms enflamed, engulfed, and entrenched in the earth. These images communicate an often overlooked theme in modernity: our human connection to nature. Mendieta's film/performance works discuss themes of violence against women, and there is a connection here to a tandem environmentalist ideology- personifying violence against Mother Earth. Ophelia! -
Dara Birnbaum
Technology/Transformation: Wonder Woman
MOMA In this film Birbaum utilizes video editing and sampling to create a disorienting video collage of the 1970’s Wonder Woman TV show. The explosive disruptions discomfort the viewer into considering the impact of transformations women make to adapt to feminine expectations. This video has a proto-meme quality to it in - the y2k dadaesque video formats called “YouTube Poop” collaging video into an estranged recreation of the source. -
Ester Hernandez
Sun Mad
screenprint
20" x15"
Smithsonian In a visual alteration of Sun Maid Raisens, this work references labor and product strikes of agricultural workers due to unsafe working conditions surrounding harvesting. The use of the skeleton denotes death and decease, a fate often suffered by migrant workers exposed to toxic chemicals in the name of over production. This is a work of agitprop as it is straightforward, compelling, and makes a statement about social conditions. -
Jenny Holzer
Lustmord Table
bones, engraved silver, wood table
MoCA Referencing violence in Yugoslavian war, Holzer utilizes her trademark text to label human bones, associating them with women violence against them. This disturbing work uses text-on-flesh in tandem to illustrate sexual crimes of power played out on women’s bodies. Her language comes from the perspective of the trinity: perpetuator, victim, and observer. This work confronts the viewer with bodily tools. -
David Hammons
Hair Relaxer
chaise-longue and human hair.
Private Collection Hammons uses language as a tool in this work, with a play on words of cut black hair "relaxing" in a lounge chair. The pun is multifaceted: referencing the racist Eurocentric beauty standard that falsely deems black hair as needing straightening or chemical relaxing, causing for physical and emotional damage. This work also is in reference to Manet's Olympia and her black hand maiden's position of servitude.