Guerrilla Girls - reinventing the "f" word

"In 1985, a group of women artists founded the Guerrilla Girls. They assumed the names of dead women artists and wore gorilla masks in public, concealing their identities and focusing on the issues rather than their personalities. Between 1985 and 2000, close to 100 women, working collectively and anonymously, produced posters, billboards, public actions, books and other projects to make feminism funny and fashionable." (Guerrilla Girls)

I became aware of this protest movement/group during my last year of undergrad, and it has once again resurfaced during my Master's program. I would like to thank my friend that made me aware of this group... you know who you are!! :) I also hope to buy one of their published works eventually (but I am a poor student, you all know that feeling...) If I am able to, a book review could come out as a separate blog post, who knows...

Origin Story (superhero vibes for sure... which arguably they could be)...

Picture NYC 1985, Wall Street booming (the movie coming out only 2 years later), people in suits walking the streets. NYC was also the centre of culture, museums like the Met, MoMA, and the Guggenheim, thriving. But then picture being a woman... going to see an art exhibit at any one of these museums.

More specifically at the MoMa, and an exhibition called "An International Survey of Recent Painting and Sculpture." Imagine your surprise when seeing that of the 165 artists, only 13 are female. Even smaller the number of artists of colour, none of which were female. Being the 1980's, maybe a little more acceptable, not encouraged but what can you do, right? Wrong of course. It wasn't until the curator, Kynaston McShine (that's really their name, I am not kidding) showed even further gender bias, something had to be done. Seven women agreed that this was the last straw and protested directly in front of the MoMA. Thus the Guerrilla Girls were born.

This protest was unfortunately unsuccessful, which resulted in the adoption of alternative protest (poster projects, billboards etc...). The group then expanded their focus to include racism within the art world, and expanded outside of NYC.

Since their origin, they have increasingly made aware sexism within the art world and supported greater accountability of curators, art dealers, collectors and critics. They have also paved the way for greater dialogue around these issues, and have brought both national and international attention to its discussion.

Does this look familiar....

This poster is one of the key works by the Guerrilla Girls. The original was produced in 1989 after members of the Guerrilla Girls walked through the Met and counted the ratio of female artists to female nudes. The figure in the image is taken from "Odalisque and Slave" by Jean-Auguste-Dominique Ingres, but given the Guerrilla Girls trademark Gorilla Mask. The poster was first advertised on NYC buses, however the bus company cancelled their lease saying that the image was too suggestive. It has now gone on to be displayed in various Art Museums, including the likes of the Tate Modern, and V&A in London...

But why the Gorilla Mask...

Rumours of the origin of this trademark 'uniform' come from a misspelling during one of their early meetings. Apparently someone wrote gorilla instead of guerrilla, and the imagery just stuck. Although this might have been an accident, many do believe that this imagery also fits into their overall message. Most notably the gorilla is typically associated with masculinity; however, as seen in the Met poster, this imagery is juxtaposed with the hyper-sexualized female body from Ingres's "Odalisque and Slave." This addition in effect detracts from the 'male gaze' and changes the way in which viewers perceive this hyper-sexualization. As well this imagery questions and modifies the stereotypical ideals of female beauty within art and culture, especially within popular culture (another goal as stated by the Guerrilla Girls).

1985 to today...

After one of their more popular projects (1989) as seen above, increasingly the Guerrilla Girls have gained more recognition, especially within the art world. They have since exhibited at several museums, previously many of those that they sought to undermine or protest. These include: the Tate Modern, Venice Biennale, Centre Pompidou, and MoMA. Many have criticized them for this very fact, believing they are 'selling-out'; however I do not believe that this is necessarily the case.

Yes, it might just be an elaborate ploy of these museums to quiet this organization, appease them by giving free reign of their own exhibition, or a facade of equal opportunity for female artists. Possibly, even a 'sell-out' of the Guerrilla Girls; however it is effective, these institutions do allow for greater awareness, even if the group continues to hold anonymity as a main factor of their practice. Greater awareness, especially in regards to creating a more widespread dialogue is important. The content is also still true to the Guerrilla Girls message and tactics. These exhibitions showcase the continued critique and protest issued by this group and it doesn't seem like the Guerrilla Girls would ever go quietly.

Another critique is involved in the use of 2nd wave feminism within the organization. Intersectionality in particular is not yet prominent in their output, it has begun but obviously not to a large extent. Currently within their own organization, although they prize anonymity, many believe their 'leaders' are two white females and have set a certain hierarchy within the group. I do not know if this is true, and it is hard to determine because of the anonymous nature of the organization. That is all I will say on the matter, I am not studied enough in this particular subject as of yet, but do find it interesting in the debate about internal workings of groups that started off as informal and anonymous becoming more capitalist as the years progress. (make money = gotta live somehow?)

I do believe however that there is always room for improvement, especially since recently feminism has become so much more inclusive, and rightfully so. Fundamentally this group is worthy of note and important in the discussion of feminism within the art world.

Just a little bit of theory...

2nd and 3rd Wave Feminism: Representation and intersectionality

The 2nd wave of feminism was defined by broadening into issues of sexuality, family, the workplace, reproductive rights, and inequalities (legal and de facto). Most remember it with the pay gap debate. This movement is said to have ended around the early 1980s, (perfect kick-starter for the Guerrilla Girls in 1985). This movement also paved the way for many other movements, including the civil rights movement and student's rights movement, as women sought equality within them.

The 3rd wave of feminism began around the early 1990s, and was grounded in embracing individualism and diversity and sought to redefine what it means to be a feminist. This is the origin of intersectionality within feminism. Intersectionality is the theory that considers all human aspects, such as class, race, sexual orientation, and gender as influential and interwoven relationships, and as important in understanding the human condition. (In laymen's terms and in regards to feminism - feminism should cover all 'human' aspects in regards to equality, no matter the colour of your skin, the body you were born in, or who you identify as). This will be addressed further in a separate blog post about intersectionality within the museum***

Activism in the Museum:

During one of my classes, we had a lecture and discussion about activism within the museum, I would say very relevant to this blog post (especially since the Guerrilla Girls were used as an example).

Topics that surfaced included:

- Moral Activism: protesting against the museum, representing protest within the museum and museums as agents of protest and social justice

- institutional critique: framing the presentation of art within social and cultural frameworks (this is where Guerrilla Girls comes in)

- displaying protest: for example the exhibit "Disobedient Objects" at the V&A (included a section about the Guerrilla Girls - July 26th 2014 to Feb. 1st 2015) - literally an exhibit about multiple forms of protest, including relevant protest surrounding museums

- politicizing the museum - museums are not neutral, historically museums have been considered to be hierarchal, imperialist and sexist, sometimes even political [conservative or liberal (dependent on who runs them, and who views them)] which is completely true, Museums are not neutral in their representation of objects, 'world cultures' and people, but that doesn't mean they can't be or attempt to be advocates or even agents for social change

Just to recap...

- GG formed in 1985 in NYC as a response to the MoMA's exhibition "An International Survey of Recent Painting and Sculpture"

- members: anonymous, feminist, female artists (intersectional?)

- mission: bring gender and racial inequality into focus within the greater arts community

- tactics: culture jamming (tactic to subvert media culture and mainstream cultural institutions - expose the methods of domination of mass society to foster progressive change)

- format: posters, books, billboards and public appearances

- "uniform": gorilla masks and pseudonyms referencing deceased female artists

- criticisms: intersectionality and 2nd wave feminism?; selling-out?; hierarchy within an informal and anonymous collective?

- relevance to protest within museum theory

Lastly, check them out here...

https://www.guerrillagirls.com/#open

References used:

Guerrilla Girls website

Wikipedia (don't be scared of it, it's your friend I promise)

Signing off... see ya later gals!