Over the summer, the Brooklyn Museum of Art opened a feminist art wing. They started with the exhibition "Global Feminisms," which I went to and thought was extremely good. They're now showing a selection of works from that exhibition. Also on display is an exhibiton of contemporary Caribbean art. I highly recommend the Brooklyn Museum. It's a great place and worth the trip. It's out in Park Slope, but you can make a day of it by going to the Botanical Gardens, Prospect Park, and exploring nearby Park Slope, which has lots of restaurants, stores, coffeeshops, etcetera. A New Yorker friend of mine once told me Park Slope is where all the Williamsburg hipsters go once they turn 30, so if that's your thing, enjoy, and if not, beware. You can take the 2 or 3 there. They're closed Mondays and Tuesdays, open 10-5 on weekdays, 11-6 on weekends, and 11-11 on the first Saturday of each month. It's $4 with student ID, and if you want to go to the Botanic Gardens also, you can buy a double ticket for $7.
Description of the exhibition:
"August 3, 2007–February 3, 2008
Elizabeth A. Sackler Center for Feminist Art, 4th Floor
This exhibition of forty recent works was selected from Global Feminisms, the international survey of contemporary art that inaugurated the Elizabeth A. Sackler Center for Feminist Art. Like its widely praised predecessor, this new presentation seeks to offer an alternative that moves beyond the Western brand of feminism. Many of the artists are from countries that seldom figure in the discourse about contemporary art, such as Guatemala, Kenya, Pakistan, Thailand, Korea, and India. Their works, in a wide range of media, deal with racial and gender identity, politics, and oppression.
In her video White House, for example, Afghan artist Lida Abdul shows herself whitewashing a building in bombed-out Kabul. Similarly, in her performance videotape Who Can Erase the Footprints, made in memory of murdered Guatemalan women, Regina José Galindo leaves a trail of bloody footprints from the Guatemalan Court of Constitutionality to the country's National Palace. Japanese artist Ryoko Suzuki contributes a mural-sized installation of three photographs in which her face is bound by pig intestines and she is bullied into mute, anonymous submission. Australian artist Tracey Moffatt's Love is a twenty-one-minute video montage of brief clips from Hollywood films showing women in encounters with men ranging from the classic kiss to brutal confrontations.
Among the other artists represented are Ghada Amer (Egypt), Arahmaiani (Indonesia), Pilar Albarracín (Spain), Pipilotti Rist (Switzerland), and Adriana Varejão (Brazil).
The specific works have been chosen by Co-Curators Maura Reilly, Curator of the Elizabeth A. Sackler Center for Feminist Art, and Linda Nochlin, Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts, New York University.
(http://www.brooklynmuseum.org/exhibitions/global_feminisms_remix/)
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