Modern women : women artists at the Museum of Modern Art

267 Pages·2010·36.492 MB·English

by  Butler, Cornelia H., Schwartz, Alexandra

WOMEN ARTISTS AT THE MUSEUM OF MODERN ART
WOMEN ARTISTS AT THE MUSEUM OF MODERN ART
Edited by CORNELIA BUTLER and ALEXANDRA SCHWARTZ
with essays by
ESTHER ADLER / PAOLA ANTONELLI / CAROL ARMSTRONG /
SALLY BERGER / JOHANNA BURTON / CORNELIA BUTLER / YENNA CHAN /
CHRISTOPHE CHERIX / BEATRIZ COLOMINA / HUEY COPELAND /
ARUNA D’SOUZA / MICHELLE ELLIGOTT / JENNIFER FIELD / STARR FIGURA /
SAMANTHA FRIEDMAN / YUKO HASEGAWA / JODI HAUPTMAN /
JENNY HE / JUDITH B. HECKER / JYTTE JENSEN / LAURENCE KARDISH /
JULIET KINCHIN / PAT KIRKHAM / SUSAN KISMARIC / NORA LAWRENCE /
ANDRES LEPIK / BARBARA LONDON / ROXANA MARCOCI /
MARY MCLEOD / SARAH HERMANSON MEISTER / HELEN MOLESWORTH /
ANNE MORRA / LUIS PÉREZ-ORAMAS / PAULINA POBOCHA /
GRISELDA POLLOCK / CHRISTIAN RATTEMEYER / EVA RESPINI /
ALEXANDRA SCHWARTZ / ROMY SILVER / T’AI SMITH / SALLY STEIN /
SARAH SUZUKI / EMILY TALBOT / ANN TEMKIN / LILIAN TONE /
ANNE UMLAND / GRETCHEN L. WAGNER / DEBORAH WYE
THE MUSEUM OF MODERN ART, NEW YORK
TITLE 3
CONTENTS EARLY MODERN
8 / FOREWORD / GLENN D. LOWRY 72 / SUSAN KISMARIC / JULIA MARGARET CAMERON
76 / SARAH SUZUKI / KÄTHE KOLLWITZ
10 / ACKNOWLEDGMENTS / CORNELIA BUTLER AND ALEXANDRA SCHWARTZ
80 / JENNY HE / LILLIAN GISH
12 / THE FEMINIST PRESENT: WOMEN ARTISTS AT MOMA / CORNELIA BUTLER 84 / JODI HAUPTMAN / SONIA DELAUNAY-TERK
88 / JYTTE JENSEN / ASTA NIELSEN
28 / THE MISSING FUTURE: MoMA AND MODERN WOMEN / GRISELDA POLLOCK 92 / ANNE UMLAND / GEORGIA O’KEEFFE
96 / JUDITH B. HECKER / SYBIL ANDREWS
56 / “FLOAT THE BOAT!”: FINDING A PLACE FOR FEMINISM IN THE MUSEUM
100 / ANNE UMLAND / FRIDA KAHLO
/ ARUNA D’SOUZA
70 / EARLY MODERN 104 / WOMEN ON PAPER / CAROL ARMSTRONG
232 / MIDCENTURY
124 / CROSSING THE LINE: FRANCES BENJAMIN JOHNSTON
370 / CONTEMPORARY
AND GERTRUDE KÄSEBIER AS PROFESSIONALS ANDARTISTS

/ SARAH HERMANSON MEISTER
/ WOMEN ARTISTS AND THE RUSSIAN AVANT-GARDE BOOK, 1912–1934
140
514 / MODERN WOMEN: A PARTIAL HISTORY / MICHELLE ELLIGOTT
/ STARR FIGURA
523 / INDEX
/ A COLLECTIVE AND ITS INDIVIDUALS: THE BAUHAUS AND ITS WOMEN
158
528 / TRUSTEES OF THE MUSEUM OF MODERN ART / T’AI SMITH
/ DOMESTIC REFORM AND EUROPEAN MODERN ARCHITECTURE:
174
CHARLOTTE PERRIAND, GRETE LIHOTZKY, AND ELIZABETH DENBY / MARY MCLEOD
192 / WOMEN AND PHOTOGRAPHY BETWEEN FEMINISM’S “WAVES” / SALLY STEIN
/ WITH, OR WITHOUT YOU: THE GHOSTS OF MODERN ARCHITECTURE
216
/ BEATRIZ COLOMINA
MIDCENTURY CONTEMPORARY
234 / ANNE MORRA / IDA LUPINO 372 / ESTHER ADLER / ADRIAN PIPER
238 / EMILY TALBOT / ELIZABETH CATLETT 376 / NORA LAWRENCE / LYNDA BENGLIS
242 / ROMY SILVER / AGNES MARTIN 380 / CHRISTOPHE CHERIX / HANNE DARBOVEN
246 / LILIAN TONE / LEE BONTECOU 384 / EVA RESPINI / NAN GOLDIN
250 / SAMANTHA FRIEDMAN / ANNE TRUITT 388 / ESTHER ADLER / ANA MENDIETA
254 / JENNIFER FIELD / BRIDGET RILEY 392 / ANDRES LEPIK / ZAHA HADID
258 / ANN TEMKIN / EVA HESSE 396 / CHRISTIAN RATTEMEYER / CADY NOLAND
262 / SUSAN KISMARIC / DIANE ARBUS 400 / PAOLA ANTONELLI / IRMA BOOM
266 / PAT KIRKHAM AND YENNA CHAN / DENISE SCOTT BROWN / LELLA VIGNELLI 404 / SARAH SUZUKI / LIN TIANMIAO
270 / LAURENCE KARDISH / AGNÈS VARDA 408 / PAULINA POBOCHA / JANET CARDIFF and GEORGE BURES MILLER
274 / DEBORAH WYE / LOUISE BOURGEOIS
278 / WOMEN, MoMA, AND MIDCENTURY DESIGN / JULIET KINCHIN 412 / MIND, BODY, SCULPTURE: ALICE AYCOCK, MARY MISS,
JACKIE WINSOR IN THE 1970s / ALEXANDRA SCHWARTZ
300 / MAYA DEREN’S LEGACY / SALLY BERGER
428 / FUNDAMENTAL TO THE IMAGE: FEMINISM AND ART IN THE 1980s
/ ABSTRACTION, ORGANISM, APPARATUS: NOTES ON THE PENETRABLE
316
/ JOHANNA BURTON
STRUCTURE IN THE WORK OF LYGIA CLARK, GEGO, AND MIRA SCHENDEL
/ LUIS PÉREZ-ORAMAS 444 / RIOT ON THE PAGE: THIRTY YEARS OF ZINES BY WOMEN / GRETCHEN L. WAGNER
/ PERFORMATIVITY IN THE WORK OF FEMALE JAPANESE ARTISTS / FROM FACE TO MASK: COLLAGE, MONTAGE,
334 462
IN THE 1950s–1960s AND THE 1990s / YUKO HASEGAWA AND ASSEMBLAGE IN CONTEMPORARY PORTRAITURE / ROXANA MARCOCI
352 / FROM VIDEO TO INTERMEDIA: A PERSONAL HISTORY / BARBARA LONDON 480 / IN THE WAKE OF THE NEGRESS / HUEY COPELAND
498 / HOW TO INSTALL ART AS A FEMINIST / HELEN MOLESWORTH
FOREWORD
This publication celebrates a sustained research effort exploratory process spearheaded by Mary Lea Bandy, To celebrate the publication of this book, a series of on the Museum’s board of trustees, who lead by example
focused on women artists whose work is in the collection Deputy Director for Curatorial Affairs and Chief Curator new collection installations will unfold over a six-month through their unflagging commitment and support. In
of The Museum of Modern Art. Their contributions have of Film and Media, a cross-departmental group of curators period in 2010, in the Museum’s medium-based collection particular I acknowledge the leadership and generosity
shaped not only the history of our institution but also was formed to begin research on women artists in the galleries, its archives, and its theaters. Each curatorial of Jerry I. Speyer, Chairman, and Marie-Josée Kravis,
the history of modernism for which it stands. Museum’s collection and to develop and lead a series of department has devised a strategy for highlighting its President.
It also bears witness to the many other women— public initiatives exploring the subject. In support of this holdings of work by women artists, with the goal of subtly I am deeply grateful to Sarah Peter, whose continued
curators, founders, administrators, philanthropists— ongoing project, the Modern Women’s Fund was estab- yet assertively increasing the presence of women artists commitment has ensured the completion of this mile-
who have, with these artists, contributed to the formation lished in 2005. Bandy retired, and that year Deborah Wye, throughout the building. The Architecture and Design stone publication and the exhibitions that coincide with
and continuity of the Museum and to the quality of its Chief Curator of Prints and Illustrated Books, took over Galleries will feature kitchen design, highlighting the and celebrate it.
collections and exhibitions. as leader of the group, which evolved to include Sally recent acquisition of Margarete Schütte-Lihotzky’s
Modern Women: Women Artists at The Museum of Berger, Assistant Curator, Department of Film; Cornelia Frankfurt Kitchen (1926–27); film exhibitions will focus Glenn D. Lowry
Modern Art represents the culmination of a five-year Butler, Chief Curator of Drawings; Tina di Carlo, Assistant on such figures as Maya Deren, Lillian Gish, and Sally Director, The Museum of Modern Art, New York
initiative known internally as the Modern Women’s Curator, and Alexandra Quantrill, Curatorial Assistant, Potter; a major, recently acquired sculpture by Lee
Project. It is our ambition that this unprecedented, insti- Department of Architecture and Design; Susan Kismaric, Bontecou will anchor an in-depth presentation of her
tution-wide effort will ultimately influence the narratives Curator, Department of Photography; Barbara London, work in the Painting and Sculpture Galleries, and works
of modernism the Museum represents by arguing for a Associate Curator, Department of Media and Performance by women artists (many recently acquired) will be on
more complex understanding of the art of our time. The Art; Alexandra Schwartz, Curatorial Assistant, Department display in various public spaces throughout the Museum;
title of this volume, Modern Women, immediately maps of Drawings; and Anne Umland, Curator, Department of a collaboration between curators of drawings and prints
the territory of its contents. This is not a history of Painting and Sculpture. In 2007 Butler took over for Wye, and illustrated books will highlight the work of Mona
feminist art or of feminist artists, although a number of and the group gained new members: Leah Dickerman, Hatoum, Yayoi Kusama, Anna Maria Maiolino, and Alina
the artists featured here claim feminism’s accomplishments Curator, Department of Painting and Sculpture; Juliet Szapocznikow, among others, in an installation exploring
or insist on a feminist discourse to contextualize their Kinchin, Curator, Department of Architecture and Design; the intersection of abstraction, architecture, and the body;
work. With some important exceptions, this is not a group and Eva Respini, Associate Curator, Department of the Photography Galleries will feature a history of photog-
of artists that coheres beyond the rubric of gender. And, Photography. I am grateful to these colleagues, particularly raphy told through the work of women artists; and the
certainly, it is only a sampling of the work by women Cornelia Butler and Alexandra Schwartz, the editors of Media and Performance Art Galleries will feature Joan
artists in the Museum’s collection. This publication is, this volume, for their development of a series of initiatives Jonas’s work Mirage (1976/2003). A retrospective exhibition
in a sense, a work in progress, an artifact of a continuous at the Museum on the subject of women artists and of the performance and media art of Marina Abramovi´c
effort to research our collection and rethink the consensus modernism, including an international symposium, a will occupy the large, sixth-floor galleries and atrium of
of art history. major publication, educational programs, and exhibitions, the Museum.
This period of particular focus on women artists at and for catalyzing an ongoing and affirmative push for Starting in 1929, with Lillie P. Bliss, Abby Aldrich
the Museum was sparked by Sarah Peter, a philanthropist greater scholarship on the women artists in the collection, Rockefeller, and Mary Quinn Sullivan, the Museum’s three
and artist. With true generosity of spirit, she approached past, present, and future. Their rigorous and passionate founders, MoMA has benefited from the intelligence,
the institution in 2004 with a broad proposal for the commitment has foregrounded an ongoing discussion generosity, and adventurous spirit of the women who
development of programs to benefit women at MoMA. within the institution around issues of gender and art. have been the backbone of this institution, and I am
After a wide range of possibilities were discussed in an grateful to them. As always I thank the women and men
8 9
ACKNOWLEDGMENTS
Modern Women: Women Artists at The Museum of Modern Publications. Kara Kirk, Associate Publisher; Emily Hall, Development, played an important role throughout. Former We warmly thank the staff of the Museum Library and
Art is the product of five years of intensive research and Associate Editor; Rebecca Roberts, Senior Assistant Museum staff members Fereshteh Daftari and David Little Archives, including MacKenzie Bennett, Sheelagh Bevan,
preparation, and we are enormously grateful to the many Editor; Christina Grillo, Production Manager; Hannah also contributed greatly to the project. Throughout, we Michelle Elligott, Michelle Harvey, Milan Hughston, David
people who have been part of that process. Kim, Marketing and Book Development Coordinator; and were aided by numerous researchers and interns; in Senior, and Jenny Tobias, for their invaluable assistance
Our most profound thanks go to Sarah Peter, who in Sam Cate-Gumpert, Carole Kismaric Mikolaycak Intern in particular we extend our thanks to Romy Silver, Research with research; the staff of the Department of Imaging
2005 established the Modern Women’s Fund, dedicated to Publishing, were truly heroic, bringing this book to fruition Assistant; interns Jessica Fain, Frances Jacobus-Parker, Services, including Thomas Griesel, Robert Kastler, Erik
research on work by women in the Museum’s collection. with astonishing skill, care, and grace under enormous Joyce Kuechler, and Julia Monk; and the students in the Landsberg, Jonathan Muzikar, Roberto Rivera, Jennifer
This book is the centerpiece of that initiative, and we are pressure. Christopher Hudson, Publisher; David Frankel, Columbia University art history graduate seminars Sellar, Rosa Smith, and John Wronn, for the huge amount
deeply grateful for her generous support and leadership Editorial Director; and Marc Sapir, Production Director, “Women Artists at MoMA” (team taught; led by Deborah of new photography undertaken for this book; and the
and her great enthusiasm for this project. She has been— devoted huge amounts of time and effort to this project. Wye, spring 2007) and “Feminist Practices and Art office of the General Counsel, particularly Nancy Adelson
and will continue to be—an inspiration to everyone at We are most grateful for their guidance, wisdom, and Institutions” (Cornelia Butler and Alexandra Schwartz, and Dina Sorokina, for advice regarding image rights and
the Museum. expertise. We are no less indebted to Bethany Johns, spring 2008), who provided research assistance and oppor- permissions. Great thanks go also to the staff of the
This book would not exist without the contributions whose impeccable design, tireless work, and terrific tunities for exploration and discussion. Department of Drawings, especially Esther Adler,
of its numerous authors. We are deeply grateful to the patience quite literally made the book. We would like to We are tremendously grateful to our many colleagues Geaninne Gutiérrez-Guimarães, Ji Hae Kim, and John
following scholars: from outside the Museum, Carol thank the Museum’s editorial board, which offered helpful at MoMA. We would like particularly to thank Glenn D. Prochilo, for their support and good cheer. Among other
Armstrong, Johanna Burton, Yenna Chan, Beatriz Colomina, advice in formulating the book, as well as Kyle Bentley, Lowry, Director, for his vision and leadership, and Kathy past and present MoMA staff, we would like to particu-
Huey Copeland, Aruna D’Souza, Yuko Hasegawa, Pat Kate Norment, and Susan Richmond, whose editorial Halbreich, Associate Director; Michael Margitich, Senior larly thank Carla Bianchi, Caitlin Condell, Sarah Cooper,
Kirkham, Mary McLeod, Helen Molesworth, Griselda contributions were invaluable. We also extend our thanks Deputy Director for External Affairs; Peter Reed, Senior Kathy Curry, Carrie Elliott, Paul Galloway, Whitney
Pollock, T’ai Smith, and Sally Stein; and, from inside the to Sharon Gallagher and Avery Lozada of Distributed Art Deputy Director for Curatorial Affairs; and Jennifer Gaylord, Alexandra Lee, Erica Papernik, Jennifer Schauer,
Museum, Esther Adler, Paola Antonelli, Sally Berger, Publishers/D.A.P. for their enthusiasm for this project. Russell, Senior Deputy Director for Exhibitions, Collec- Emily Talbot, Lilian Tone, Steve West, and Gillian Young,
Christophe Cherix, Michelle Elligott, Jennifer Field, Starr The book was developed at the Museum by a working tions, and Programs, for their ongoing support. Chief who provided essential help with imaging, captioning,
Figura, Samantha Friedman, Jodi Hauptman, Jenny He, group of curators that was deeply involved at every stage Curators Barry Bergdoll, Klaus Biesenbach, Peter Galassi, and other matters. Many thanks go as well to Carol
Judith B. Hecker, Jytte Jensen, Laurence Kardish, Juliet of its progress. We would like to thank the members Rajendra Roy, Ann Temkin, and Deborah Wye, with Armstrong, Rosalyn Deutsche, Richard Meyer, and
Kinchin, Susan Kismaric, Nora Lawrence, Andres Lepik, of this group: Mary Lea Bandy, former Deputy Director Wendy Woon, Director of Education, offered generous Elisabeth Sussman.
Barbara London, Roxana Marcoci, Sarah Hermanson for Curatorial Affairs and Chief Curator of Film and Media; guidance and the full cooperation and assistance of their We are profoundly grateful to the rights holders of
Meister, Anne Morra, Luis Pérez-Oramas, Paulina Pobocha, Sally Berger, Assistant Curator, Department of Film; Tina departments. As the book neared completion and an the many works pictured in this book for their generosity
Christian Rattemeyer, Eva Respini, Romy Silver, Sarah di Carlo, Assistant Curator, Juliet Kinchin, Curator, and extensive roster of exhibitions and educational programs in allowing them to be reproduced.
Suzuki, Emily Talbot, Ann Temkin, Lilian Tone, Anne Alexandra Quantrill, Curatorial Assistant, Department celebrating it were planned, numerous other colleagues Finally we must salute the hundreds of artists whose
Umland, Gretchen L. Wagner, and Deborah Wye. Their of Architecture and Design; Leah Dickerman, Curator, became involved in the project, including Laura Beiles, works are highlighted in this book and housed in the
essays speak for themselves, and their research has and Anne Umland, Curator, Department of Painting and Sara Bodinson, Allegra Burnette, Maggie Lederer D’Errico, Museum’s collection. Theirs is a history and production
contributed immeasurably to our ongoing study of the Sculpture; Susan Kismaric, Curator, and Eva Respini, Margaret Doyle, Beth Harris, Jenny He, Pablo Helguera, too profound to be contained within the pages of any
Museum’s collection. Associate Curator, Department of Photography; Barbara Jytte Jensen, Roxana Marcoci, Sarah Hermanson Meister, volume. It is to them we give our deepest respect
A book of this size and scope is inevitably a complex London, Associate Curator, Department of Media and Kim Mitchell, Anne Morra, Aidan O’Connor, Veronica and thanks.
endeavor, and we had the great fortune to work with Performance Art; and Deborah Wye, Chief Curator of Roberts, Daniela Stigh, Sarah Suzuki, Jenny Tobias, and
an extraordinary team in the Museum’s Department of Prints and Illustrated Books. Lisa Mantone, Director of Leslie Ureña, and we extend sincere thanks to them. Cornelia Butler and Alexandra Schwartz
10 11
THE FEMINIST PRESENT:
WOMEN ARTISTS AT MOMA / CORNELIA BUTLER
I would call “feminine” the moment of rupture and What is remarkable about this text is how ahead of its
negativity which conditions the newness of any practice. time it was. “Many women artists still deny the idea of a
—Julia Kristeva1 female art,” Sauzeau-Boetti wrote. “Art is good or bad, but
has no sex.” Speaking from a European point of view, mid-
I don’t believe in “feminist art” since art is a mysterious way through the decade in which second-wave feminism
filtering process which requires the labyrinths of a took hold in the West, she both identified feminism’s
single mind, the privacy of alchemy, the possibility of deficiencies while deploying another, unexpected patri-
exception and unorthodoxy rather than rule. mony for women’s work in her nod to Duchamp, claiming
—Anne-Marie Sauzeau-Boetti2 for feminism the radical proposal of a fluid, ready-made
artistic identity. She suggested that feminist practice, or
rather the practices of some women artists, launch “a pro-
When in 1976 Anne-Marie Sauzeau-Boetti wrote an impor- cess of differentiation. Not the project of fixing meanings
tant but little-known article titled “Negative Capability but of breaking them up and multiplying them.”5 Sauzeau-
as Practice in Women’s Art,” she appropriated for women Boetti’s understanding of the possibilities of an artistic
artists the notion of the productive space of the margin. practice ignited by negative capability was provocative
What she called, in that article, “the double space of in its encouragement of an equal critical playing field for
incongruence” is a reworking of an idea first penned by male and female artists. But what might her Keatsian or
John Keats in 1817, in which he described the ideal state of Duchampian model mean for curatorial and museological
mind of the poet or artist as “capable of being in uncer- practice in the twenty-first century? Is there a way to
tainties, mysteries, doubts, without any irritable reaching internalize negative capability in an institution such as
after facts and reason.”3 The idea of embracing uncertainty The Museum of Modern Art, whose role in the very
and doubt as a framework for making art (and life) seems construction of Western art history requires persistent
extremely relevant for the current shifting economies and reexamination? What might a feminist present—a history
international discourse of change. Flexing the muscle of set in motion by such examination—look like at a place
poetic license Sauzeau-Boetti takes Keats a step further. like MoMA?
Claiming his position for the feminine, she knowingly To begin to answer these questions, let us consider
declared in a sly aside that Keats and Marcel Duchamp three examples of disruption, three instances when the
“let their own feminine identity bloom quite freely,” spirit of a negative capability might be said to have been
referring to Duchamp’s reinvention of himself as his provocatively and even humorously enacted. In each of
female alter ego in his infamous self-portrait in drag, these cases women artists actively blurred the boundaries
Rrose Sélavy (1921).4 of curatorial and artistic praxis, questioning the locus
of power and authorship. Each a product of their respec-
tive historical moment, they include an exhibition as
1. View of the exhibition Projects 70: conceptual provocation in 1971; exhibition as historical
Janine Antoni, Shahzia Sikander,
recuperation in 1995; and exhibition as intervention
Kara Walker (Banners Project, Series
3), The Museum of Modern Art, New in 2000.
York, November 22, 2000–March 13,
2001. Photographic Archive. The
Museum of Modern Art Archives,
New York 13
On December 2, 1971, an advertisement ran in the work now in MoMA’s collection, Ono has recalled at
Village Voice for a one-woman exhibition, showing an the time feeling compelled to address the absence of her
image manipulated and altered by the artist, Yoko Ono, own representation as an artist; by occupying the sculp-
of The Museum of Modern [F]art, with Ono carrying the ture garden, the sidewalk, and the liminal spaces of the
missing f emblazoned on a shopping bag as she walked viewer’s attention and response, she infiltrated an institu-
beneath the Museum’s marquee. A one-hundred-page tional situation to which, as a woman artist, she had no
catalogue, sold for one dollar, would, according to the other access.7
advertisement, document the event. For a period of two As part of MoMA’s exhibition series Artist’s Choice,
weeks visitors encountered, on the sidewalk outside Elizabeth Murray was invited in 1995 to organize an
3. View of the exhibition 4. View of the exhibition Sense
MoMA’s entrance, a man wearing a sandwich board bear- exhibition from the collection. Artist’s Choice had been Artist’s Choice: Elizabeth and Sensibility: Women Artists
ing a message about flies that had been released into the conceived in 1989 “to see the collection of The Museum curator of the Department of Painting and Sculpture, Murray, The Museum and Minimalism in the
of Modern Art, New York, Nineties, The Museum of
Museum’s sculpture garden carrying the artist’s perfume. of Modern Art in a new way” and functioned as a means of described the exhibition as one that took the viewer “into
June 19–August 22, 1995. Modern Art, New York,
His presence was the only physical evidence of the bringing artists directly into the institutional discourse.8 a different territory, opening onto the sociological histo- Photographic Archive. June 15–September 11, 1994.
purported exhibition; visitors were variously amused, Murray’s exhibition (no. 3) featured paintings and sculp- ries of modern art and of this Museum, and embracing The Museum of Modern Photographic Archive. The
Art Archives, New York Museum of Modern Art
mystified, or disgusted by the ruse, and the Museum’s tures solely by women artists, a selection criterion that unresolved debates about the interplay of biological and
Archives, New York
box office found it necessary to put a small, handmade was, as she states in her frank introduction in the exhibi- societal factors in an individual’s creativity.”10 I was deeply
sign showing the Village Voice ad in its window, stating, tion’s brochure, the first and only idea that occurred to her affected by that exhibition, which, literally bringing to textual manipulation was subtle, subversive, and openly
“THIS IS NOT HERE.”6 A self-proclaimed feminist with as a curatorial premise.9 Kirk Varnedoe, then the chief light many works that had rarely been on view, was a rev- hilarious: “MoM,” rendered in the same classic Helvetica
elation and profoundly moving. That Murray would have that declares MoMA’s cultural authority as much as its
one of the only retrospective exhibitions in the Museum’s graphic identity, thus performing a sly institutional drag.
history devoted to a woman painter—her survey exhibi- Simultaneously an announcement of institutional self-
tion, organized by Robert Storr, opened in 2005, not long criticality, a matriarchy not yet realized, and a critical
before her untimely death in 2007—makes her Artist’s riff on the monolith of modernism, Antoni’s banner had
Choice selection that much more prescient. In what an uneasy succinctness that resonated with both uniniti-
Varnedoe described as a “remaking of ancestry,” Murray’s ated viewers and art-world insiders, making its own
inclusive curatorial strategy issued a challenge to subse- revisionist case.
quent generations of curators and proposed a kind of And there have been other disruptive moments in
feminist potential for rethinking knowledge production.11 the Museum’s history.12 In 1988 Barbara Kruger organized
2. “But Is It Art? Security
By 2000 MoMA, like most museums exposed to a Picturing Greatness, essentially a proto–Artist’s Choice
officer Roy Williams pleads
with nude young men and decade of globalism, was more aggressively attempting to exhibition (no. 5). At the invitation of Susan Kismaric and
women to leave Museum of
redress its history not only with women artists but also the Department of Photography, Kruger selected photo-
Modern Art pool, where
Maillol’s sculpture, Girl with artists from diverse cultural positions. As part of graphic portraits of famous artists in order to explore
Washing Her Hair [sic], the Projects series, which highlights emerging artists, notions of “greatness.” For the wall text introducing the
reclines. Impromptu nude-in
Fereshteh Daftari, an assistant curator of Painting and exhibition she wrote, “Vibrating with inspiration yet impla-
was conception of Japanese
artist Yayoi Kusama (right). Sculpture, selected a trio of artists, Janine Antoni, Shahzia cably well behaved, visceral yet oozing with all manner of
Crowd takes it in stride,” New
Sikander, and Kara Walker, to alter the banners that greet refinement, almost all are male and almost all are white.”13
York Daily News, August 25,
1969, cover. Archives pedestrians on West Fifty-third Street on the approach to And in the early years of political feminism there was
Pamphlet Files: Sculpture the Museum (the same block on which visitors would Lucy R. Lippard’s contribution to Kynaston McShine’s
Garden. The Museum of
have encountered Ono’s sandwich board) (no. 1). Antoni’s legendary exhibition Information in 1970, the same year
Modern Art Archives, New York
14 THE FEMINIST PRESENT BUTLER 15
that she led Women Artists in Revolution (WAR), in pro- Women: Women Artists at The Museum of Modern Art,
test against the paltry representation of women artists thanks to a confluence of curatorial interests and enlight-
in the Whitney Annual. In the midst of a personal trans- ened patronage, provides a similar occasion for deep
formation from critic of Conceptual art to curator and research as well as for serious reflection on the history
champion of feminist art, Lippard upended her own con- of women artists, designers, photographers, architects,
tribution to the exhibition’s catalogue, executing, instead curators, and patrons with the institution. It celebrates
of the conventional index she had been invited to author, the great wealth and diversity of practices by artists
an essentially conceptual document made up of randomly whose contribution to the avant-garde movements of
generated information for each of the artists. Anarchic the twentieth century has been enormous, if frequently
in spirit and use value, this index interrogated the very underrecognized.
nature of canon formation, asking how an artist’s pedigree Like most major modern and contemporary art insti-
is formed, and by whom.14 tutions, MoMA has steadily and consciously increased
These disruptions unfold as a narrative post-1965, its acquisition of work by women artists in the postwar
but we should also give credit to the Museum’s collecting period, but individual curators have also been committed
patterns and curatorial proclivities under its first director, to single figures along the way, collecting and supporting
Alfred H. Barr, Jr., which were much more adventuresome specific women artists as they were deemed integral to
and nuanced than conventional accounts would have us broader impulses and movements of the time—Diane
believe. In addition to his canny eye and nervy acquisition Arbus and street photography; Eva Hesse and Minimalism,
of masterpieces emerging from the studios of artists of his Lee Krasner and Abstract Expressionism; Marisol and
generation, Barr included the work of self-taught artists, Pop—and other artists who have reached canonical status:
championed Latin American modernism, and voraciously Lygia Clark (no. 6), Louise
pursued the “new,” bolstered by what now seems like a Bourgeois, Julia Margaret 6. Lygia Clark (Brazilian, 1920–
radical program of deaccessioning designed to keep the Cameron, Agnes Martin, 1988). Poetic Shelter. 1960.
Painted metal, 5 1/2 x 24 x
Museum’s holdings current and responsive to history. Charlotte Perriand, Mira 20 1/8" (14 x 63 x 51 cm).
His desire for MoMA to be a living archive representing Schendel, Agnès Varda, The Museum of Modern Art,
New York. Gift of Patricia
all the visual arts was reflected in his efforts, as early Walker, and many others.
Phelps de Cisneros in honor
as 1939, to start a film program and the Museum’s short- of Milan Hughston
lived Department of Dance and Theater Design, a distant
precursor of the current Department of Media and
Performance Art. In short, what he envisioned was the
lively telling of modernism as an integrated, multivalent
narrative reflecting all of art’s practitioners.
The Museum’s publications program has long been
able to reflect a greater internationalism and pluralism
5. View of the exhibition of viewpoints than its curatorial program, including such
Picturing Greatness, The
in-depth inquiries as the Studies in Modern Art series,
Museum of Modern Art, New
York, January 14–April 17, which contains adventurous thinking and expansive
1988. Photographic Archive.
research, often introducing artists before their work
The Museum of Modern
Art Archives, New York appears in MoMA’s collection. The appearance of Modern
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