Friday, February 12, 2021 from 5:00 – 8:00pm (EST) Live on Zoom
Saturday, February 13, 2021 from 12:30 – 5:30pm (EST) Live on Zoom
The Feminist Art Project’s Day(s) of Panels at the College Art Association Conference 2021
Free and open to the public.
Tatiana Flores, Rutgers, The State University of New Jersey; Ana María Reyes, Boston University; Laura Anderson Barbata, FONCA, México and LACIS, University of Wisconsin, Madison
Eileen Crist critiques the use of the term Anthropocene to characterize our current era, referring to its foregrounding of Man as “a Promethean self-portrait [of] a genius if unruly species.” Feminist theory upends this heroic Western masculinist discourse along with other hegemonic forms of knowledge production. The Feminist Art Project’s 2021 Day(s) of Panels on Ecofeminisms joins this effort, exploring the intersection between feminism, the visual arts, and the environment. We bring together artists, curators, scholars, activists, and thinkers to help us make sense of the fraught relationship between contemporary humans and the earth and to ponder ways forward for the sake of our planet and the life it sustains.
As feminist scholars ranging from Val Plumwood to Sylvia Wynter have demonstrated, the long history of colonialist patriarchy has treated women, Indigenous people, and nature as resources available for subjugation and extraction. The struggle for gender, Indigenous, and ecological rights are therefore closely linked. Environmental activism is at least as old as European imperialism, arising in relation to its accompanying white “possessive logics,” to use terminology coined by Australian Indigenous scholar Aileen Moreton-Robinson. Stacy Alaimo critiques environmental efforts that cloak asymmetrical power relations: “Moving from the small-scale history of conservation movements to the vast scale of the proposed geologic epoch of the Anthropocene renders the homo sapiens and the planet more abstract, obscuring even the most entrenched systems of oppression.” Feminist inquiry complicates the human-nature binary that the Anthropocene enacts by turning to relational ontologies, interspecies relations, and more-than-human worlds, emphasizing the interconnectedness of all living beings and calling for an aesthetics of immersion and entanglement.
In shifting discourse away from the human-centered Anthropocene, Donna Haraway proposes the Chthulucene, which “is made up of ongoing multispecies stories and practices of becoming-with in times that remain at stake, in precarious times, in which the world is not finished and the sky has not fallen—yet.” In this day of panels, we look to feminist art for answers, and hope. At this excruciating time in our history, it is not only more important than ever to address these topics, but also to recognize the women who have been doing this work all along. Their example will help us envision and co-create new futures.
Schedule – Friday, February 12, 2021 (Live on Zoom)
TFAP Ecofeminisms, part 1 – Environmental Activism
5:00 – 6:30pm (EST)
Opening with introductory remarks, this panel explores the intersection of art and environmental activism from a gendered perspective.
Alicia Grullón, CUNY and School of Visual Arts – Notes from an Artist: From Climate Change to Pandemic in the Bronx
Monika Fabijanska, Independent Art Historian and Curator – The Evolution of Ecofeminism(s)
Diane Burko, Independent Artist – My 50 Year Journey from Feminist Activist to Environmental Activist: From Observer to Investigator to Communicator
TFAP Ecofeminisms, part 2 – Climate Change
6:30 – 8:00pm (EST)
This panel focuses on climate activism through art, curation, and scholarship. Keynote by Elizabeth DeLoughrey.
Anuradha Vikram, University of California, Los Angeles – Feminism Beyond Humanism: Artists Bridging Gender and Ecology in the Chthulucene
micha cárdenas, University of California, Santa Cruz – The Poetics of Trans Ecologies
Elizabeth DeLoughrey (keynote), University of California, Los Angeles – Blue Ocean Being
Schedule – Saturday, February 13, 2021 (Live on Zoom)
TFAP Ecofeminisms, part 3 – Landscapes
12:30 – 2:00pm (EST)
Opening with introductory remarks, this panel addresses feminist approaches to the representation of nature in contemporary art.
Nicole Awai, University of Texas at Austin – Oozing Between: Transgressive Material Realities
Lilian Garcia-Roig, Florida State University – Cumulative Nature
María Elena González, San Francisco Art Institute – Tree Talk
TFAP Ecofeminisms, part 4 – Waterways
2:00 – 3:30pm (EST)
This panel focuses on water as a subject of ecofeminist critique in art and scholarship.
Gina Tarver, Texas State University – Testing the Waters: Alicia Barney’s Río Cauca, 1981–82
Deborah Jack, New Jersey City University – Intertidal Imaginaries: The Resistant Geographies of the Shore(coast) in the Aftermath of Saltwater (storm surges)
Lizabeth Paravisini-Gebert, Vassar College – Nereids, Naiads, Seaweed: Ecofeminism in the Ecotone in Caribbean Art
Nadia Huggins, Independent Artist – Bodies Under Water: The Sea as a Democratic Space
TFAP Ecofeminisms, part 5 – Decolonial Ecologies
4:00 – 5:30pm (EST)
This panel foregrounds indigenous ecologies, land rights, and extractivism. Closing keynote by Cecilia Vicuña.
Jolene Rickard, Cornell University – Indigenous Gendered Power Structures and Feminism
Macarena Gómez-Barris, Pratt Institute – Liquidity as Decolonial Cuir Potential
Cecilia Vicuña (closing keynote), Independent Artist – An Ancient Silence Waiting to be Heard
Symposium Chair Bios
Tatiana Flores is a Professor in the Department of Latino and Caribbean Studies at Rutgers, The State University of New Jersey, with a joint appointment in the Department of Art History. A specialist in modern and contemporary Latin American art, she is the author of Mexico’s Revolutionary Avant-Gardes: From Estridentismo to ¡30-30! (Yale University Press, 2013). A revisionist and interdisciplinary account of Mexican modern art as seen through two avant-garde movements, the book was awarded the 2014 Humanities Book Prize by the Mexico Section of the Latin American Studies Association. A 2017-18 Getty Scholar, Flores received the 2016 Arts Writers book prize from the Andy Warhol Foundation and was the 2007-2008 Cisneros Visiting Scholar at the David Rockefeller Center for Latin American Studies at Harvard University. She is President of the Association for the Study of the Arts of the Present (ASAP), past chair of the editorial board of Art Journal, and also serves on the boards of ASAP/Journal and Latin American and Latinx Visual Culture. Professor Flores is active as an independent curator. She was an invited expert for the launch of the Getty Foundation’s initiative Pacific Standard Time: LA/LA. As part of this program, she curated the critically acclaimed exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago for the Museum of Latin American Art (MOLAA) in Long Beach, CA and was also an adviser for the Skirball Cultural Center exhibition Another Promised Land: Anita Brenner’s Mexico.
Ana María Reyes is an Assistant Professor in Latin American art history at Boston University, Associate Researcher at Harvard University, and founding member of the Symbolic Reparations Research Project (SRRP). Her research focuses on issues of victim commemoration, cultural production as activism, and social discrimination as representational violence in Latin American art. Her book The Politics of Taste: Beatriz González and Cold War Aesthetics (Duke University Press, 2019) studies symbolic violence in the context of Cold War aesthetic and modernization discourses. She co-edited with Maureen Shanahan Simón Bolívar: Travels and Transformations of a Cultural Icon (University Press of Florida, 2016) on cultural bolivarianisms as a case for the arts and humanities in democratic practices. Reyes is currently working a book manuscript on commemorative practices and the Colombian Peace Process.
Laura Anderson Barbata is an artist, author, performer, and transdisciplinary artist based in Brooklyn and Mexico City, born in Mexico. Since 1992 she has worked primarily in the social realm, and has initiated projects in the Venezuelan Amazon, Trinidad and Tobago, Mexico, Norway, and the United States. In 2005 she campaigned for the repatriation of Julia Pastrana, which resulted in the removal of Pastrana’s body from the Schreiner Collection in Oslo and its successful repatriation and burial in Sinaloa, Mexico, Pastrana’s birth state. The project continues with upcoming publications, exhibitions and performances. Her work is in various private and public collections, including the Metropolitan Museum of Art, New York; el Museo de Arte Moderno, México D.F.; Landesbank Baden-Württemberg Gallery, Stuttgart, Germany; Fundación Cisneros, American Express Co., México; Museo Carrillo Gil, México; Museum of Contemporary Art, San Diego, California; Museo Jaureguía, Navarra, Spain and Thyssen-Bornemisza Art Contemporary. Recipient of the Anonymous Was a Woman 2016 Award; Defense of Human Rights Award 2017, Instituto de Administración Pública de Tabasco, México; honorary fellow of LACIS (the Latin American, Caribbean, and Iberian Studies Program), University of Wisconsin, Madison; fellow of the Thyssen-Bornemisza Art Contemporary TBA21 The Current program. Miembro del Sistema Nacional de Creadores, México (2014-2017) and professor at Escuela Nacional de Escultura, Pintura y Grabado La Esmeralda of the Instituto Nacional de Bellas Artes (2010-2015).
Presenter Bios and Abstracts forthcoming