I associate the phrase “Live Through This” with Hole’s 1994 album of the same name—itself a nod to Vivien Leigh’s Gone With The Wind monologue, or perhaps Courtney Love’s own tumultuous coming of age. New York-based photographer Dese’Rae L. Stage (above) sees it instead as a mantra for those who have survived suicide attempts. In a way, “Live Through This” is a dare.
An Oregon Christmas tree farm worker, photographed as part of the Pineros project.
In 100 different homes across Portland this winter, Christmas trees were adorned with unusual ornaments: instead of tiny Santas and candycanes, the evergreen branches were also graced with glass ornaments etched with the name of a farmworker who helped grow and harvest the tree.
The scene is familiar to any fancy home design magazine reader: the perfectly appointed living space full of gleaming surfaces, fluffed up pillows, artfully arranged flowers next to tasteful objets d’art. But painted in to this pristine domestic landscape is the woman who is actually responsible for the polishing and dusting and cleaning of the space—Edith, a brown-skinned woman waiting for her check.
From February 25th through March 8th, an exciting exhibition of women's socially engaged graphic art called Feminist Pencil filled the Borey Gallery in St. Petersburg, Russia. Curators Victoria Lomasko and Nadia Plungian collected comics, posters, and street art from Russian, Ukrainian, and European activist artists.
On April 5, when you walk down your street, you may see women’s faces looking back at you from the walls you pass. Women whose gazes tell you they are: Defiant. Assertive. Proud. Strong. Brooklyn-based artist Tatyana Fazlalizadeh drew these women for her Stop Telling Women to Smile art project.
For a few hours on Saturday, March 1, 100 red quilts covered in words lay over the west lawn of the US Capitol. Together, the bright squares formed the first public display of a project called The Monument Quilt, a crowd-sourced story collection and art project about sexual violence.
“I will read, believe and be transformed by every story here,” one anonymous visitor wrote on a blank swatch of fabric. “I so badly needed an ally to be there for me when I came forward with my own story.”
It's well known that female artists are underrepresented in art museums, but what about in our more modern and malleable institutions?
Next week, groups of artists and tech-savvy folks around the country are taking aim at gender imbalance in representation of female artists on Wikipedia. The "Art + Feminism Edit-a-Thon" being held in New York on February 1st has inspired simultaneous editing marathons in 17 other cities, all focused on adding more female artists to the public encyclopedia and fleshing out the meager entries of existing women artists.
Every year on Halloween, evangelical religious groups set up hell houses: horrific theatrical events that showcase sins like fornication, abortion, and same-sex relationships—sounds like a scarring experience for those who don’t take shame in these ‘sins.’ Yet for the participants in these hell houses, their artistic efforts are a form of activism. This year, Toronto-based feminist artist Allyson Mitchell, along with a crowd of community members, constructed and performed Kill Joy’s Kastle: A Lesbian-Feminist Haunted House. Outlining the horrors of feminist pasts and presents, the hand-made installation and queer-crafted performance exorcised from the grave things which scare those both outside and inside of Mitchell’s artist, activist, and academic community.
I took a trip to the lesbian-feminist haunted house to experience the spookiness.