ARTISTS FOR WOMEN FOR WOMEN INTERNATIONAL
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This project was born from friendship, passion, hope, optimism and a strong belief that we are the architects of our future. Last
ARTISTS WOMEN WOMEN INTERNATIONAL
winter Jenny Saville and I were seated next to each other at a Women for Women International lunch party at the House of Lords in London. We had both been invited as a way of saying thanks for our participation — she as an artist, me as a producer — in a project that raised money for the organization. Jenny and I knew we wanted to be more involved. Listening to Women for Women’s impetuous founder, Zainab Salbi, it came to us naturally that another art auction should be organized this year to support what WFWI is doing to help women in war-torn countries
Artists for Women for Women International Exhibition 27th September — 1st October 10.00 am — 6.00 pm
rebuild their lives and their communities. We decided to organize it together and wrote letters to artists we both admire to invite them to participate. It might feel sometimes that the world is falling apart and we don’t
6-24 Britannia Street WC1X 9JD
know what to do about it, or where to start. There are so many good causes to fight for. If I feel so committed to WFWI it is because there is no question that for a shift to happen, the situation of women must
Post-War & Contemporary Art Day Auction
be the starting point. While half of humanity is denied basic human
8 King Street, SW1Y 6QT
rights just because of its gender, how can we evolve as a civilization
Auction Saturday 15 October Viewing Sunday 9th October Monday 10th October Tuesday 11th October Wednesday 12th October Thursday 13th October Friday 14th October
Noon Noon – 5pm 9am – 8pm 9am – 5pm 9am – 5pm 9am – 6pm 9am – 3.30pm
Contacts Carolyn Hodler email@example.com +44 (0)20 7389 2723 Edward Tang firstname.lastname@example.org +44 (0)20 7389 2194
and make this world a better place to live? Women’s rights are the source of the solutions. And they concern all of us. As I’m writing, America is commemorating the anniversary of September 11th. What we westerners learned from this tragedy is that what happens in remote mountains on the other side of the world can have a dramatic impact on our lives. We believe that in places of war and violence, sustainable peace won’t be achieved without equality of rights for women. So let’s get involved! Nadja Romain, London, September 11th, 2011
Enquiries about Artists for Women for Women International Nadja Romain email@example.com +33 (0) 6 84 64 99 97 Press Julia Huff, Purple PR firstname.lastname@example.org +44 (0)20 7434 7082 Information about Women for Women International Philippa Halliday +44 (0) 20 7922 7765 email@example.com
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â€œSwarovski is honoured to support Artists for Women for Women International. This project is a wonderful means of raising funds, and of raising awareness for the exemplary work the charity carries out in making a difference to the lives of women affected by conflict.â€? Nadja Swarovski
Member of the Executive Board Swarovski Crystal Business
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I’ve been working in international development for seven years, and for the last two with Women for Women International. I’ve been fortunate to be able to spend time visiting projects and see how aid and development are delivered in many countries across Africa and Asia. Whilst I’ve always been happy to call myself a feminist, I felt that women’s equality had largely been achieved – other than in really extreme cases – until I started travelling with my development work. More often than not it was the women I met who were doing everything – not just the household and caring jobs, which are huge in communities without services and torn apart by HIV/ AIDS, but also the heavy-duty work on the land. And yet at meal times, I saw that the women and girls would always be the last to eat. And when it came to rights, forget it. That’s where the women were especially vulnerable. If they were widowed or separated from their husbands, then it was very rare, and often legally impossible, for them to inherit land. I spent the best part of a month in Nepal, working alongside Sumitra, who lives in a remote village in the foothills of the Himalayas and was campaigning – for the first time ever – for her right to have a say in how the land in her community is managed. Sumitra had never even seen a bus before, but she became her community spokesperson and joined with other women who travelled to the capital to demand their land rights. It was at this point that I met Zainab Salbi, and when she told me about Women for Women International and the way the organization worked, I felt that I had to be a part of it. I’m not alone in feeling this way. Every day I meet new supporters who feel equally moved by the Women for Women mission and the work we do. I know this is how Jenny Saville and Nadja Romain also feel. The power of this feeling and the compulsion to do something to act on it so we all can make a real difference in helping women in war-torn countries is quite staggering, and very inspiring. What is most striking about the work of Women for Women is that it makes such sense. A woman’s life is much better if she has an income; it gives her independence. That’s the same whether you’re an Afghani, British or Congolese woman. For most of us, it means having a job, with a reliable, sustainable source of income. So, the first thing that we do with women who enrol on one of our year-long programmes is to identify what market opportunities are open to them that also match their interests. These are usually in the informal local economy and, of course, vary from region to region, but agricultural and manufacturing work, such as food production or making bricks or clothes, are often key income sources. Sometimes they are more servicerelated, such as setting up a restaurant or hairdresser’s. Another favourite of mine is bee-keeping, which is big in the Balkans and Afghanistan. Women for Women provides specialized vocational training which more or less ensures that all women will go on to have a longterm sustainable income source and will no longer be reliant on aid or handouts.
This is what we call ‘economic empowerment’. It’s an important part, but not the only part of the equation. Once underway with her job training, a woman can start to engage with the more emotional aspects of her healing and recovery. Violence against women is a scourge in most of our societies and in war-torn countries – where stress levels are very high and the fabric of society is being pulled apart – it can be horrific. Rape is commonplace. The women we help are in groups of seven to ten and, with a trained facilitator, have the safe space and support around them to share their experiences and draw strength from each other. It is quite humbling how much the women hold in, and they stay strong because they have to for their children and their families. But for them to be able to turn their lives around, our support is critical. We also provide rights awareness training. Sometimes, when a woman has been raped, her husband and his family will turn their backs on her as they say that she brings shame on them. Sometimes they will keep her children against their mother’s will. In most countries, this is illegal – but still it happens. So, to know that this is illegal can be the first step a woman can take to regain custody of her children. And then we provide useful wellness advice – such as hygiene and how to stay strong and healthy – which helps her to take back the power over her body, and to feel so much better about herself. This work makes a huge difference to each individual woman who goes through our programme – and since 1993 there have been 316,000 of them. We have a saying at Women for Women that ‘one woman can change anything and many women can change everything’. I find this so inspiring, and it’s this spirit that has driven the hugely successful Join Me on the Bridge campaign, which has been going for two years now and happens on International Women’s Day, 8 March. This year, 75,000 women and men met together on 464 bridges in 70 countries, all saying ‘No to War’ and ‘Yes to Peace’. This started as a grain of an idea between our Country Directors from Congo and Rwanda, who thought that it would be amazing to bring together women on the small bridge that connects their two nations, to show that by uniting, women can build the bridges of peace for our future. This is going to be the women’s century, and by being the women’s century I think it will also be the men’s century. This project, Artists for Women for Women International, is going to enable thousands more women to rebuild their lives. The power of each one of those women – and of all of us – to change the world is what we strive to unlock every day. Thank you so much to everyone who is supporting this project to make it happen.
Kate Nustedt UK Executive Director Women for Women International
“Women’s rights are the bellwether for the direction of a society.”
a tertiary phase that was about striking a balance
What is your personal history with violence?
between expanding our operations and refining the
original model. That is where we currently stand
The idea behind women for women goes beyond just
with the programme.
violence against women. It is about violence created
in war: the explosions, the casualties and the fear
content added to and enhanced?
that war generates. Besides the displacement and
the killing of loved ones, women during wartime
conflicts and post-conflict areas. We create
are specifically targeted and often abused or raped.
women’s centres, or places that I call women’s safe
My own experience with violence stems for my first
havens. At our centres are women who are largely
marriage; it was an arranged marriage that lasted
socially and economically excluded. We provide two
only three months. I married a verbally and sexually
kinds of training to classes of 25 women per class.
abusive man, which is my personal connection
One of our training classes teaches women about
to rape. The reason and spirit behind ‘Women
their rights and touches on subjects including
for Women’ is to understand war from a female
economy and politics, health, education and
perspective. I felt that I needed to acknowledge
society. We discuss everything from nutrition to the
women affected by war; to empower women by
importance of voting or sending their children to
helping them find a vehicle for their stories and
school. This type of training is predominantly about
assist them with the rebuilding of their lives.
raising women’s awareness and teaching them
Women for Women started in reaction to the
How would you like to see the programme’s We work with women survivors of wars in
about their rights.
atrocities perpetuated against women during the
A second training we provide teaches women
war in Bosnia, such as the infamous rape camps of
vocational and business skills such as where they
Milosevic. You started the organisation in the United
can acquire compensated employment and sustain
States and brought it to Bosnia where you opened an
their income. In this training we teach skills like
office to assist women survivors. The organisation
commercial farming, soap production and the
has since grown rapidly. How did you develop the
manufacturing of various commercial goods. We
programme and what were the different stages?
teach basic business skills, including how to open
ZS During the first four years of the organisation
a bank account, write a business plan, and basic
I focused on the content and the model of the
numeracy, with the expressed aim of providing them
programme: what we do, how do we do it. Once
with the rudimentary skills necessary for obtaining
that was established the next steps happened
work at the end of the programme. A global
organically and were much more outward looking.
sponsorship initiative makes this training possible.
We needed to find a way to generate attention and
Women from around the world sponsor one woman
we were fortunate enough to catch the attention
by donating $30 per month, or £22 per month. The
of Oprah Winfrey, which generated enormous
sponsorship includes a regular exchange of letters
public awareness of our organisation. We reached
and pictures between women as a gesture of support
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during the one-year training programme. This is
NR Over the years, have you seen a shift in
a basic summary of our services. So far we have
consciousness in the places you’ve been working?
helped 300,000 women, affected positive change
ZS I see a shift of consciousness in the women
in the lives of 1.4-million family members, and
themselves. There is also a shift in consciousness
distributed $95 million to outreach programmes for
for some of their husbands. Often husbands come
women. Job accessibility is another aspect that can
to us saying “thank you so much for helping my
always be improved. Women, in my opinion, learn very
wife; she’s happier” or cleaner or working, so we’re
fast about their social, political, health and education
finding out—which is, I would say, basic knowledge—
rights. It is much harder, not only for woman but
the happier the woman is, the cleaner, the more
for men, to create job opportunities, particularly in
independent she might be, which is ultimately better
economies that are static. Now we’re working on
for marriages. This feedback lets us know that we
public and private sector partnerships. In Rwanda,
have an impact on the women and their families.
for example, we’re looking into possible partnerships with home construction in the country. We can teach women to make bricks that they can supply housing developers with to build homes in Rwanda.
NR What’s the profile of your female country directors? ZS These women have each gone through their own journeys. None of them are women who have been cut off from society or who are a part of the elite.
NR Do you get any support from local governments?
Each director faced the horrors of war in different
ZS We receive different types of support from
ways. From the Bosnian director who was living in
different governments. It’s rarely cash, and mostly
besieged Sarajevo for four years, worrying about
government endorsements. This could mean
food and surviving, to the Congolese director who
anything from allowing us to operate independently
became a refugee herself. Then there is the Rwandan
in their countries to not interfering with our
director who lost her entire family to genocide.
programmes. This is immensely helpful, especially
Every director’s story is different. Their commonality
in places like Rwanda, where the government
is that they all have heart and soul, leadership
leased us land for a $100 an acre or sometimes a
and business skills. I feel so committed to their
$100 a year for two hundred acres. It’s a symbolic
determination to build their business and develop
payment and that’s how they are supporting us.
their leadership skills. Absolute commitment to our
Most countries don’t have access to cash, but can
cause and to the issue that we support is critical to
help us get access to land; or they pave a road to
them. They are concerned with much more than just
make land accessible to us and so on. That’s the
building their business skills. They carry the torch of
kind of support that we get from governments.
our organization and for that, I love them
NR Do they realize the importance of your work in
NR Which country are the most in need?
terms of educating the population and building better
ZS African countries: Congo, Rwanda, Southern
Sudan and Nigeria. Those are the places where we
ZS They usually don’t get it. I will never forget the
need the most support and where the support has
time that I was sitting next to an Iraqi Prime Minister,
the highest and most immediate impact.
who, when I told him that I run an international
NR How is the situation in Iraq after the war? Did the
group called Women for Women, looked at me and
conditions of women improve or get worse?
laughed. Men usually make a lot of jokes about the
ZS Legally speaking it is better. Now there are
name Women for Women. But in this particular case
women in the parliament, they have more equal
with the Iraqi Prime Minister, I had a report with me
rights and they can be part of the diplomatic
based on a survey of women that detailed what they
proceedings. Where fighting is worse, because of
thought of his current government and the changes
insufficient security and continuing violence, we
they wished to see. In a second he transformed from
see women retreating back into their homes. In
someone who makes jokes about our organisation
efforts in Rwanda to find and create work for 10,000
these places fewer women are working. Socially speaking, things are worse. Again, because of continued violence, the vast majority of women are being more socially conservative in their attire by wearing headscarves. Iraq was a country that was always accepting of both, but right now, if you are a woman that does not wear a headscarf, you are part of the minority. When I grew up in Iraq, which is only twenty years ago, women that wore headscarves were part of the minority. I don’t take issue with
women a year is very significant for the country.
this decision, but I do take issue when there is no
to someone who was actually interested. I presented our research to him, reminding him that these were his constituents that can put or remove him from office. I reminded him that, at a grassroots level, women do have power. Some governments are supportive. Rwanda’s government knows that we are helping build their economic development. Our
space for women to express themselves in the way
“We have been running the world from a very male oriented perspective for the longest time.” space for women to express themselves in the way
running the world from a military perspective. If
they want to. So in that sense, since the American
you take the U.S. in Afghanistan for example; the
invasion of Iraq, life for women has became more
predominant discussion is about the military. I am
socially conservative and that is due in part to
not a military expert, but I do know that we have been
economic hardship and violence.
seeing things and solutions purely from a military
NR Does Afghanistan seem to be the worst place though? ZS Afghanistan breaks my heart. Women are really
other ways of addressing difficult social issues.
trying to stand on their feet and work hard. I met
The military doesn’t bother to think about women.
women who rebuilt their lives while our governments
They have a very linear approach to social
made compromises on women’s issues. It breaks my
governance and it is about killing and damage.
heart because the starting point in Afghanistan is very
The military doesn’t necessarily think about how
different from the one in Iraq. Iraq’s starting point
woman actually play a major role in society. They
was actually decent for women. In Afghanistan, the
are a major asset to be tapped into and we have to
starting point was really bad but slowly progressed.
activate them. We have been running the world from
We are not certain if they can hold off and continue
a very male oriented perspective for the longest
that progression or not.
time. Unless we wake up we will destroy ourselves,
There is a debate right now about how long NATO can stay in Afghanistan. The debate is about how to compromise with the Taliban. A lot of the politicians that I speak with say women will have to compromise but that their compromise will be marginal, concerning things like dress and social mobility. For any compromise is a problem. Women’s rights are a bellwether for the direction of a society.
especially if we continue to run the world from a purely male perspective. We must incorporate a woman’s perspective into the agenda and we must look into alternative solutions to the ones that we have. Media coverage about Afghanistan or Iraq is from a military perspective on the frontline. There is rarely any serious discussion about women’s stories behind the frontline. Frankly, I spend as much of my time as possible raising awareness about what it
NR It is shocking that NATO and our governments are
means to be a woman in conflict and post-conflict
ready to compromise on women’s rights. What kind of
countries. I raise awareness about the implications
equality and peace can be achieved that way?
of making compromises on women’s rights, and
ZS Precisely! It is actually impossible to gain peace and
the benefits of energising women by giving them
equality agreements, or stability, if we compromise
on women’s rights. The compromise will start with women but it will not end there. It’s very hard to argue that one can happen without the other.
perspective. We don’t allow room for examining
NR What is the project If You Knew Me You’d Care? ZS Where war is concerned, we usually see woman portrayed as victims. And in my experience of being
NR You are a key campaigner for raising awareness
in a war myself and working with women that
about the discrimination of women in places where
survived wars, I can say, in a manner of speaking,
issues like equal salaries are less important than
yes they are victims. But also there is a whole other
rights like access to food, healthcare, education. Why is
aspect to their identity. These women have hopes,
it still so difficult to raise awareness about these basic
dreams, courage, resilience, accomplishments,
issues? What you are saying about Afghanistan does
and amazing power and strength. They love, hate,
not even make headlines and it should, it does affect
forgive, become furious, have mercy, and dream of
us. There is a ripple effect to the situations created by
peace. When we narrow down their identity to one
violence against women in a country like Afghanistan.
aspect we are missing out on who they are and not
ZS There is a Talmudic saying that goes “we see
connecting with them in a comprehensive way. If I
things as we are, we do not see things as they are,”
told you about, let’s say, an Afghan or a Congolese
and for a very long time in history we have been
woman who has been raped by a soldier, and if I
told you that she doesn’t know when she became
raped and all of her children and her husband were
HIV positive or how she got pregnant and lost her
killed. She was pregnant when she was raped, and
child in the middle of the pregnancy; or that she lost
the soldiers left her with her stomach cut and the
everything in her life because she spent it on her
baby killed when she woke up. She miraculously
healthcare, it would be hard for you to identify with
survived and was dancing on the bridge saying,
that woman. Women in the western world rarely
‘Enough is enough. I am done with all the rape,
get raped by a soldier or encounter any of these
whether it is against Rwandan women or against
life chances, but they might have more of a support
Congolese women. It does not matter.’ So it
network than the Congolese woman ever had.
started with this very beautiful feeling in the first
What if I gave you a fuller picture of this Congolese woman’s life? What if I told you that she wanted to be a doctor when she was a child but her father died when she was 13 and she had to leave school to work and support her family? Or what if I told you about a woman who, at the age of 19, fell in love with a nice boy, married him, and had many children. They lived happily for many years until her husband started drinking too much and beat her so violently that she had to go to the hospital. Is the story then
year. Women from twenty countries organized on their own and some of them we knew, some of them we helped organize. Others we did not know, but the following year women from 76 countries started organizing themselves in 468 cities. We only organized ten ourselves. The spirits of these women are wonderful, especially when they get together on bridges and speak up. It is time with a capital T. This is the time for women to rise, unite and speak up, not tomorrow, but today!
more understandable if the information about the
NR What advice would you give to anyone that wanted
rape follows a more relatable background about
to become an actor in a new global society where
women’s rights are respected?
There are all these points of suffering. There are many women who wanted to be a doctor and could not. There are many women who fell in love and there are many women who were abused by their husbands. We can relate better and assist better when we know a complete story about a person. The whole spirit of If You Knew Me You’d Care is actually through portraits and interviews. I worked with the photographer Rennio Maifredi to create a link among women from different parts of the world, even though the circumstances are different. NR You have initiated the global campaign ‘Join me on a Bridge’ which is now becoming a worldwide movement for women’s rights and sustainable peace.
ZS I would say that the journey always starts with you. I would ask what is the action in your life that makes you feel truer to yourself, your values, and your happiness? You can’t save others if you are not saving yourself first, and you cannot help others if you are not helping yourself first. So my first advice is start with yourself. When the self is healthy then it is easier to reach out to others, and this does become about serious giving. There are so many ways of helping others in your communities or different places throughout the world. At Women for Women I ask women to sponsor a woman and that is one way of going about helping another woman from far away. But that’s only one
How was it started?
way. How can we connect with other women in our
ZS I was in the Congo and Rwanda a couple of
own communities and meet on our own bridges
years ago with both our Congolese and Rwandan
for raising awareness? Again, for me, it starts
directors. I asked them how they felt about getting
with yourself, then your community and then the
together on a bridge that links the two countries and
world. And you can do it all at the same time but
together announce, ‘enough violence!’ It started
you can’t do anything if you have not taken care of
from the simple idea for Congolese and Rwandan
yourself. It’s like a relationship between a mother
woman to connect with each other and to build
and child on a plane. Put the seatbelt on first and
bridges of peace by speaking up about what is
then go to the world. If it’s the opposite way around
happening to them. The first year was beautiful.
then it is unhealthy.
One of the women from Rwanda was dancing on her way to the border to that bridge. She was gang
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WOMEN INTERNATIONAL AUCTION
DRAWING RESTRAINT 17: Evelyn McHale cast polycaprolactone on May 12, 1945 edition of Life Magazine in artist’s high density polyethylene frame 16 1/2 x 13 1/2 x 3in. (41.9 x 34.3 x 7.7cm.) Executed in 2011, this work is number one from an edition of ten plus two artist’s proofs £7,000-9,000 / US$11,000-14,000
in Japan featuring Barney and his partner Bjork, who also wrote the soundtrack. Between 1994 and 2002 Barney developed another film epic that explored the process of creation: the Cremaster Cycle. The series also unfolded through
Born in San Francisco, 1967; lives in New York.
photographs, drawings, sculptures and installations.
Matthew Barney hit the artworld like a meteorite at
The cremaster is the muscle which controls testicular
the begining of the ’90s. The Yale graduate, whose
response to external stimuli and ‘the project is rife
ongoing series Drawing Restraint was first staged
with anatomical allusions to the position of the
at the university’s athletics complex, fascinates
reproductive organs during the embryonic process
with an enigmatic body of work, a universe of
of sexual differentiation … As the cycle evolved over
hybrid creatures and singular cross-media fusions
eight years, Barney looked beyond biology as a way
of film, performance and installation that have
to explore the creation of form, employing narrative
established him as one of the most important
models from other realms, such as biography,
American artists of his generation.
mythology, and geology.’ (Nancy Spector).
Barney’s entire artistic practice investigates the
Barney received the Europa 2000 prize in 1993 and the
development of form, and the Drawing Restraint
Hugo Boss Prize in 1996. He has exhibited worldwide,
series has its origins in the idea that form
including at the San Francisco Museum of Modern
emerges through struggle against resistance.
Art (1991 and 2005); the Solomon R. Guggenheim
This concept is based on Barney’s athletics
Museum, New York, Musée d’Art Moderne, Paris
experience. The body is seen as a metaphor for
and Museum Ludwig, Cologne ( 2002–3); and the
the creative process, a productive state based
Serpentine Gallery, London (2007). He conceived the
on unresolved tensions between desire, stored
performance piece Guardian of the Veil for the 2007
potential and repression. If the earliest works
Manchester International Festival; and collaborated
in the series were performance-based actions
with Elizabeth Peyton on Blood of Two, performed on
applying athleticism to aesthetic purpose, in 2005
the Greek island of Hydra in 2009. He is represented
Drawing Restraint 9 appeared as the high point
by Barbara Gladstone, New York and Brussels, and
of the series, a feature-length narrative film shot
by Sadie Coles, London.
There is a Land of Pure Delight signed and dated ‘Cecily Brown 2011’ (on the reverse) oil on linen 23 x 31in. (58.4 x 78.7cm.) Painted in 2011 Donated by the artist. £40,000-60,000 / US$90,000-120,000
Born in London, 1969; lives in New York. Graduating in 1993 from the Slade School of Fine Art in London, Cecily Brown quickly established herself as a key figure in the resurgence of painting of the late ’90s. Each painter has to deal with the history of the medium and Brown — the daughter of major British art critic David Sylvester, whose writings were very influential in promoting the careers of Lucian Freud and Francis Bacon — demonstrates a breathtaking talent for looking at and understanding the work of her colleagues and predecessors. Her art celebrates painting itself as an essentially sensual and physical process and her erotic imagery, which combines figuration and abstraction, derives from sources as diverse as the paintings of Poussin, Rubens, Bacon, Willem de Kooning and Philip Guston, pornographic magazines, comic books and Hollywood movies. Painting is often seen as a macho practice: Renoir used to say he was painting with his penis and Cézanne claimed his painting was ‘couillarde’ (ballsy). Cecily Brown reveals the power of female energy. Many critics underline the teasing, almost flirtatious, aspect of her work, the frenzy of the brush always struggling with restraint. ‘Her paintings are about looking; looking to discern an image, a story, a narrative; but also looking as a form of voyeurism, transgression and violation and the mutual perversion this implies. Sex is the most obvious subject matter to tease the guilty viewer and … has provided a perfect subject for her early explorations into painterly narrative.’ (Suzanne Cotter) In 1997 Brown made a spectacular debut in New York – where she had moved in 1994 – with a solo show at Deitch Projects. She joined Gagosian Gallery in 1999 and has had solo exhibitions in major museums including the Hirshhorn Museum and Sculpture Garden, Washington, DC (2002), Museo Reina Sofía, Madrid (2004), Museum of Fine Arts, Boston (2006), IA and Modern Art, Oxford (2005), and GEM (Museum of Contemporary Art), The Hague (2010). She is represented in the US and UK by Gagosian Gallery and in Germany by Contemporary Fine Arts, Berlin.
Cecily signed and dated ‘Chuck Close 2011’ (lower edge) colour digital pigment print overall: 55 x 47in. (139.7 x 119.4cm.) image: 48 1/2 x 40in. (123.2 x 101.6cm.) Executed in 2011, this work is from an edition of ten Donated by the artist. £10,000-15,000 \ US $16,000-23,000
“No culture can truly be free as long as more than fifty percent of its population is denied equal opportunity. Nor can that community progress and grow without seeking and incorporating the opinions, knowledge, advice and the brain power of half of its citizens. Gender inequality remains our greatest challenge and ending it our greatest opportunity.”
Born in Monroe, Washington in 1940; lives in Bridgehampton, New York. Chuck Close has been a major figure of contemporary art for the past four decades. A University of Washington, Seattle and Yale graduate, he gives up what he calls “virtuoso brushmanship” to develop a system made of self imposed limits to build
“painting experiences for
the viewer“. Close typically begins with a photograph of a face, creating a painting or print through a complex grid-based reconstruction of the image that he accomplishes by hand through one of many techniques that are unique to his work. A hyperrealist, his works are usually portraits of himself, his family or friends produced on a very large scale. He first exhibited at the Museum of Modern Art, New York in 1973. Two years later the public discovered what is now one of his most famous image Linda (1975-76), a 9-foot-tall blow-up of a color photograph of the subject’s face, with every wrinkle, hair and pore rendered in merciless detail. “My art has been greatly influenced by having a brain that sees, thinks, and accesses information very differently from other people’s. I was not conscious of making a decision to paint portraits because I have difficulty recognizing faces. That occurred to me twenty years after the fact when I looked at why I was still painting portraits, why that still had urgency for me” The work figured here is a portrait of the artist Cecily Brown. Close’s paintings are labor intensive and time consuming, so are his prints that can occupy him for many months. Close has complete respect for, and trust in, the technical processes — and the collaboration with master printers — essential to the creation of his prints. The creative process is as important to Close as the finished product. He is represented by Pace Gallery.
All/Ball signed, titled and dated ‘Michael Craig-Martin 2011 ALL’ (on the reverse) acrylic on aluminium 78 3/8 x 78 3/8in. (199 x 199cm.) Donated by the artist. Executed in 2011 £15,000-20,000 / US$23,000-31,000
“I believe that the only certain way to raise living conditions amongst the poor across the world, to improve heathcare and education, and to reduce the possibility of war and conflict is by supporting women in every society — helping to raise their conditions and social and economic status. More than any other charity I know, Women for Women International works directly to realize this basic hope for all humanity.”
Born in Dublin, Ireland, 1941; lives in London. Michael Craig-Martin grew up in the United States and graduated from Yale University School of Art. He came to Britain in 1966 and has lived there ever since. His early works made deliberate reference to the American artists he admired most: Donald Judd, Jasper Johns, Robert Morris. Convinced of the supremacy of the artist’s intention over the object itself he began to use everyday items to make conceptual artworks such as An Oak Tree (1973) but, prompted by a growing frustration with the limitations inherent in the use of actual objects, soon began to make drawings of them instead. In the 1980s, Craig-Martin was a tutor in the Department of Art at Goldsmiths College, University of London, and became a key figure in the emergence of the generation of Young British Artists, including Liam Gillick, Damien Hirst, Gary Hume, Sarah Lucas, Julian Opie and Fiona Rae. Craig-Martin’s work is in many public collections, including the Museum of Modern Art, New York, and Tate, London. In the past fifteen years he has made site-specific installations and held exhibitions in numerous museums and public galleries including the Kunsthaus Bregenz, the Centre Georges Pompidou, Paris, the Kunstverein Hannover, and the National Art Center, Tokyo. He is represented by Gagosian Gallery and Alan Cristea Gallery.
Kosovo afwfw_15-9_FINAL_A.indd 20
Goddess-In-Reverse signed, titled and dated ‘“GODDESS-IN-REVERSE” Tacita Dean 2011’ (on the reverse) embroidery in artist’s frame 8 x 6 x 1in. (21 x 15.2 x 4cm.) Executed in 2011 Donated by the artist. £1,500-2,500 / US$2,300-3,800
Born in Canterbury, England, 1965; lives in Berlin. After graduating from Falmouth School of Art in 1988, Dean pursued her Masters degree at the Slade School of Fine Art where she studied between 1990 —1992. Though Dean is known for utilizing a wide range of media, including sound, photography and drawing, she is best known for her work with 16mm film. Her highly original films capture moments in ways that paintings or photography cannot. In Craneway Event (2009), Dean explores latemodernist culture near the edge of extinction in an Albert Kahn building from the 1930s. She looks at a moment in time lost by filming three afternoons of choreographer Merce Cunningham (1991 — 2009) and his dance company practicing in a disused Ford assembly plant in Richmond, California. In 1998 Dean was nominated for the Turner Prize for her film, Disappearance at Sea. The collection of stories about personal encounters with the sea was inspired by the 1969 disappearance of Donald Crowhurst, an amateur sailor who went missing during a Sunday Times Golden Globe Race. The film follows a revolving beacon in the St. Abb’s Head Lighthouse in Berwickshire. Sounds of the sea and the clunking beacon are heard in the background as the day turns to evening, conjuring a sense of departure. The sea has been a recurring theme in Dean’s work since the mid-1990s. Her more than 40 films and other works have appeared in solo shows in museums throughout the world, including: Witte de With Center for Contemporary Art, Rotterdam
of Contemporary Art, Philadelphia, with US tour (1998);
(2000), MACBA, Barcelona (2001); Tate St Ives (2005); Schaulager, Basel Tacita Dean. Analogue: Films, Photographs, Drawings 1991–2006 (2006); Guggenheim Museum[The Hugo Boss prize 2006 Tacita Dean 23 February – 6 June (2007); Still Life, Palazzo Dugnani, Nicola Trussardi Foundation, Milan (2009). She is represented by Frith Street Gallery.
Untitled (woman lying down and insect) monoprint on calico 13 x 15in. (33 x 38cm.) Executed in 2005 Donated by the artist. ÂŁ3,000-5,000 / US$4,600-7,500
“A lot of women need protecting and looking after in this world and women understand that more than anyone.”
(1993). Entitled My Major Retrospective, the show told her life story, mostly set in Margate. The piece that brought her to fame was Everyone I’ve Ever Slept With 1963-1995. In it, Emin used the process of appliqué to inscribe the names of lovers, friends and family onto a small tent into which the viewer had to crawl, becoming both voyeur and confidante. This piece was bought by Charles Saatchi and included in the successful Sensation show at the Royal Academy of Arts, London (1997). In 1999, her work, My Bed, was shortlisted for the Turner Prize. Here, she exhibited her own bed covered with objects and traces of her struggle with depression during relationship difficulties. The piece generated much controversy due to the presence of bodily fluids on the sheets and the
Born in Croydon, 1963; lives in London. Emin is one of the leading figures of the group known as the YBA (Young British Artists) and recognised for her deeply confessional art. Emin’s work is known for its raw honesty and often sexually provocative attitude that firmly locates it within the tradition of feminist discourse. She uses a wide range of media in her exhibitions, from appliquéd blankets and needlework to videos, animations, photographs, watercolours, sculptures and intensely personal drawings and paintings. Her interest in the work of Edvard Munch and Egon Schiele particularly informs Emin’s paintings, monoprints and drawings.
items strewn on the floor, such as empty bottles, cigarette packets and a pair of knickers. Emin has exhibited extensively all over the world. She represented Britain at the 52nd Venice Biennale in 2007. In the same year, she was made a Royal Academician and was awarded an Honorary Doctorate from the Royal College of Art, London, a Doctor of Philosophy from London Metropolitan University and a Doctor of Letters from the University of Kent. The first major retrospective of Emin’s work was held at the Scottish National Gallery of Modern Art in Edinburgh in 2008. In 2011, a major survey exhibition at the Hayward Gallery in London consisted of work from all aspects of Emin’s art practice and rarely seen early works.
She graduated in fine arts from Maidstone College
She also made a new series of outdoor sculptures
of Art in 1986, before moving to London to study
especially for this solo show. Shortly before Louise
at the Royal College of Art, where she obtained an
Bourgeois’ death, Emin collaborated with the artist
MA in painting. In 1989, she decided to destroy the
on a series of paintings, the result of which was
majority of her art, beginning to work again only
the exhibition Do Not Abandon Me at the Hauser &
several years later, producing confessional letters
Wirth gallery, London (2011). She is represented by
and combining them with mementos from her
White Cube, London and Lehman Maupin New York.
youth. Emin presented this work at her first solo exhibition at the White Cube Gallery in London
Nocturnal (Neon Miniature) signed, titled and dated ‘Teresita Fernández Nocturnal (Neon Miniature) 2011’ (on the reverse) solid graphite and acrylic on panel 6 x 8 x 2 1/2in. (15.2 x 20.3 x 6.4cm.) Executed in 2011 Donated by the artist. £4,000-6,000 / US$6,000-9,000
in 2000 and “Bamboo Cinema”, a project for the Public Art Fund, installed in Madison Square Park, New York, in 2001. Fernández has been the recipient of numerous fellowships and awards both in the U.S. and
Born in Miami, 1968; lives in Brooklyn. Fernández is a
abroad, including the 2005 MacArthur Foundation
sculptor and artist whose work is characterized by an
Fellowship, a 2003 Guggenheim Fellowship, and
interest in perception and the psychology of looking.
the 1999 Louis Comfort Tiffany Biennial Award.
The work presented here is made of graphite, a
Fernández has also completed residencies in
material that has become part of Fernández’s unique
Lehmann Maupin Gallery, New York, in 2009.
and in 2011 was announced as the first artist to take part in the John Hardy Artist Residency
Referring to Borrowdale, in Cumbria, England,
Program in Ubud, Bali, Indonesia.
where graphite was first discovered and mined in
She has been featured in numerous solo
the 1500s, Fernández pushes the boundaries of
exhibitions internationally and abroad including
the medium. Re-imagining the graphite landscape
the Corcoran Gallery, Washington, D.C. (1997),
of Borrowdale, the works challenge the notion of
the Institute of Contemporary Art, Philadelphia,
what constitutes a drawing and feature optical
PA (1999), the Witte de With, Rotterdam (2001),
illusions, a signature of Fernández’s style.
Castello di Rivoli, Torino, Italy (2001), the Miami
The Nocturnal Series, to which this piece belongs,
Art Museum, Miami Florida (2002), Lehmann
is a group of landscapes that are at once painting, conventional drawing and sculptural relief. From afar, they suggest dark, monochrome minimalist paintings. As the viewer moves closer, they slowly reveal detailed and lustrous romantic landscapes. Like a drawing over a drawing, the
Japan, Italy, and at ArtPace in San Antonio, Texas
Maupin Gallery, New York (2009), and the Setouchi International Art Festival, Naoshima, Japan (2010). Recent solo exhibitions include Blind Landscape, Contemporary Art Museum, University of South Florida Tampa; Blanton Museum of Art, Austin, TX; Teresita Fernández will have a solo exhibition at the
graphite – carved, polished, layered and drawn
Metropolitan Museum of Art.
on – reflects light to depict luminous night scenes
Teresita Fernández’s work is included in many
of oddly familiar but mysteriously displaced sites.
significant private collections as well as in the
In this piece, the artist adds a bit of color in her
permanent collections at the St. Louis Art Museum;
exploration of landscape.
the Museum of Contemporary Art, Miami, FL; the
Fernández had her first solo exhibition in 1995
Miami Art Museum, Miami, FL; the Walker Art
at the Museum of Contemporary Art, Miami,
Center, Minneapolis, Minnesota; the Sammlung
and since then has regularly exhibited her work
Goetz, Munich; and Albright-Knox Gallery Buffalo,
worldwide. The artist’s recent projects and
New York. Teresita Fernández lives and works
commissions include a commission for the Seattle
in Brooklyn, New York. She is represented by
Art Museum’s Olympic Sculpture Park, a special
Lehmann Maupin Gallery and Almine Rech,
project for the Museum of Modern Art, New York
BODY XXIII signed, titled, dated and inscribed ‘Body Antony Gormley for Artists for Women 2011’ (on the reverse) carbon and casein on paper 30 x 22in. (77 x 56cm.) Executed in 2011 Donated by the artist. £8,000-12,000 / US$12,000-18,000
Born in London, 1950; lives in London. Since attending Central Saint Martin’s College of Art and Design and Goldsmiths College in London, over the past 25 years Antony Gormley has become a dominant figure in contemporary art. He revitalized the human form in sculpture through a radical investigation of the body as a place of memory and transformation. “I am interested in the body”, he says, ‘because it is the place where emotions are most directly registered. When you feel frightened, when you feel excited, happy, depressed somehow the body registers it.’ The drawing shown is part of a series simply called BODY. “Drawing is a way of thinking and feeling beyond the body. A drawing is the trace of a movement of vitality but might help in imagining spaces that the body can never experience (perhaps deep in the darkness of the lower oceans or in space beyond the reach of human time). To experience the body we have to test and be aware of its limitations. We, as material beings in a material world, are bound to base our intellectual horizons on perceptual ones: drawing can be a means of transcending this limitation.” Gormley was awarded the Turner Prize in 1994 and received the Order of the British Empire (OBE) in 1997. He is an Honorary Fellow of the Royal Institute of British Architects and has been a Royal Academician since 2003. In March 2011, Gormley received the Laurence Olivier Award for Outstanding Achievement in Dance for the set design for Babel (Words) at Sadler’s Wells in collaboration with Sidi Larbi Cherkaoui and Damien Jalet. He has participated in major group exhibitions including the Venice Biennale (1982 and 1986), Documenta VIII, Kassel, Germany (1987), the Sydney Biennale (2006) and the International Sculpture Biennale of Carrara (2008 and 2010). Solo exhibitions include those at the National History Museum, Beijing (2003), Fundaçao Calouste Gulbenkian, Lisbon (2004), MADRE, Naples (2005), Hayward Gallery, London (2007), Kunsthal, Rotterdam (2008) and the Kunsthaus Bregenz (2010). Antony Gormley is represented by White Cube.
Afghanistan afwfw_15-9_FINAL_A.indd 30
Isobel Coleman is a senior fellow at the Council on Foreign Relations (CFR) in New York, where she directs CFR’s Civil Society, Markets, and Democracy Initiative and the Women and Foreign Policy Programme. Her areas of expertise include democratization, civil society, economic development, regional gender issues in the Middle East and South Asia, educational reform, and microfinance. Her writing has appeared in publications such as Foreign Affairs, the Financial Times and the International Herald Tribune. She is the author and co-author of numerous publications including, Restoring the Balance: A Middle East Strategy for the Next President (Brookings Institution Press, 2008), and Strategic Foreign Assistance: Civil Society in International Security (Hoover Institution Press, 2006). In her latest book Paradise Beneath Her Feet: How Women Are Transforming the Middle East (Random House, 2010) Isobel Coleman shows how Muslim women and men are fighting back with progressive interpretations of Islam to support women’s rights in a growing movement of Islamic feminism
Nadja Romain Was it a special interest in Middle
Women really didn’t have any rights before that point.
Eastern culture that first brought you to the region?
If you read the history of Islam, there were many very
Isobel Coleman I was brought to the region through
strong, important, powerful women within the early
politics rather than culture. This is a part of the world
days of the Islamic faith who played a very major
that is very important strategically and, of course,
role in establishing the religion. The Koran contains
the region has many challenging issues. As my
certain rights for women that they didn’t previously
background is development economics and political
have. Many Islamic feminists will say that, for the
science, I find the Middle East very compelling, but
time, it was very progressive, if not revolutionary.
I really started looking at it because it’s such an
The problem is that it didn’t keep up with the times.
important part of the world strategically.
So what they’re trying to do now is, in effect, to
NR Zainab Salbi says about your book, Paradise Beneath Her Feet, ‘It is a page turner, I am coming
NR In a conference, I heard you talking about a TV show
at this from a Muslim woman’s perspective, as well
in the Middle East, inspired by an American TV show
as from the perspective of a woman from the Middle
called The View, where women talk about their situation
East. For once we have someone talking about
and every issue concerning their daily lives. You said
Muslim women with such integrity’. In the book,
that the show attracts a large male audience. It’s quite
what you establish is that in a very conservative
paradoxical, how there can be this kind of conversation
Islamic environment, we Westerners can’t impose the
on TV yet so many limitations placed on women in the
empowerment of women. It has to be found within the
community itself, which is common sense, but when
IC I think the reason so many men watch a show like
you talk about Islamic feminism, at first glance, it
that is because they have limited opportunities to talk
seems like an oxymoron. Is there an Islamic feminism?
to women in real life, and so for them it is a window
IC Well, I think that Islamic feminism is exactly that. It
into women’s worlds. I mean, certainly they can speak
does sound to many ears like an oxymoron but, really,
with their mothers and sisters, but in many countries,
it is a combined effort between women and men that
gender relations are very constrained and there’s
will help achieve greater rights for women within
a real difficulty for men and women to just talk to
an Islamic framework. And it is very important for
each other if they’re not directly related or they’re not
women’s movements there to have something much
pursuing marriage. It’s a very constrained society so I
more local and indigenous. It is important for them
think that’s part of the reason why young women and
to know that they’re not simply adapting something
men really take to new forms of social media, whether
wholesale from a foreign culture and a foreign region
it’s texting or Twitter or Facebook. It’s a way to connect
with all the baggage that entails. They actually have
to people in what is still a traditional society, where
their own reasons and their own justifications for
there aren’t many opportunities to do that.
women’s rights and women’s empowerment. NR It is hard to believe that when Islam arrived in the
NR Your book is helping us to understand culture in the Middle East and it shows how a clash of culture can have
7th century, it established the most feminist progressive
dramatic consequences. For instance, in Afghanistan,
laws of the time, but this is what the Islamic feminists
when the Soviets wanted to empower women, to
claim. In the current Muslim world, are there any
educate them, they made the mistake of having men
accusations of religious texts being exploited to promote
teach them, so suddenly conservatism about gender
a feminist point of view? IC It’s very hard to believe that Islam was so
equality became a sign of resistance against the enemy.
progressive in the 7th century, but it’s all relative, right?! I mean, there was really very little that was
Do you think that the same kind of thing is happening now in Afghanistan and Iraq?
progressed in the 7th century so the fact that Islam
IC I think you have had some examples of that in
arrived and gave women rights was revolutionary.
Afghanistan and Iraq, but they are very different
places now to what they were back when the Soviets
are not part of the negotiations but Afghan women
were there in the 1980s. There are many different
are very conscious of the risk of being left out and are
currents going through society today in Afghanistan.
doing what they can to make sure it won’t happen.
The majority of people have access to mobile
They’re speaking to international policy makers, but
phones and television. Something like 55% of the
this is a very unpredictable time and I think there is
country watches Tolo TV, which has some relatively
a risk that women will be left out. But any process
progressive soap operas that deal with all sorts of
that excludes women will not, of course, be a good
issues. It’s a much less closed society than it was in
process. What I mean is that, today, you have women
the 1980s, and while there have been certain things
who have achieved a lot of gains in Afghanistan,
that have created a backlash, you also see a backlash
politically, economically and socially, and it’s really
against the Taliban. The Taliban has used terror
important that their voices are heard.
tactics against girls’ schools, burning them down to
NR Considering how 9/11 and the Arab Spring have
terrorize the population. And what do you see? You
changed the Middle East and the Western world’s
see families and villages and communities coming
relationship to it, what impact do you think these
together to rebuild those schools. There’s very strong
changes will have on the Muslim world as a whole and
support for girls’ education and for women to be able
on the issue of gender equality?
to work than there was back in the 1980s.
IC Well, the Arab Spring is a watershed in many
NR You’ve said that Afghanistan needs to find a way
respects, but I don’t like the phrase ‘Arab Spring’, I
to build a strong economy and that women can help.
think, overall, it’s too mystic.
Is there an awareness amongst the male population
NR So how would you phrase it?
in Afghanistan that women are needed to help achieve
IC I would call it the Arab Uprising, because what
you are seeing are uprisings across the whole
IC You certainly see that. There are very high poverty
region, some of which, I hope, will move in a positive
levels in Afghanistan and you do see many families
direction. Others have become violent, so I think some
relying on the income generated by wives and
countries will come out of this in a better position and
daughters. So there is that growing awareness. One
some will come out of it in a much worse position.
example I like to give is this: one of the few well-paid
This is a very fluid time for women and if this period
jobs in the Afghan countryside is that of a midwife.
leads to more freedom and democracy overall, then
At first, it was very difficult to get girls to sign up for
that is also good for women, but the question is
the training as parents, fathers, brothers and tribal
what kind of freedom and democracy? And how will
leaders were against it. But, today, eight years into
minority rights, such as religious-minority rights and
the programme, there are long waiting lists for that
women’s rights, be protected? And that’s not at all
training, not only because people recognise the value
clear. It is therefore a very precarious time, and over
of the service they’re providing – saving women’s lives
the past decade you’ve had very harsh authoritarian
during childbirth and delivering healthy babies – but also
leaders who have suppressed religion and religious
because being able to work and earn money and to help
parties. Now that suppression in some countries
your countrymen is very prestigious for a village girl.
is gone, you have religious parties that have moved
NR Do you think big corporations will help to increase the economic role of women in the near future? IC I think that one of the big drivers of change for women in the next several decades will be corporations. Corporations will work on a broad array of initiatives for women, not because they’re moved by human rights arguments, but because they’re moved by economic arguments. They see women as consumers, as employees and as important business
firmly into the mainstream of the political system. How that translates into changes for women is not clear. I think, in some cases, religious parties will accept women’s rights as part of the fabric of culture and society. That’s true in a country like Tunisia, where women have enjoyed rights for many years... but in other countries that will be far more contested and women must be very careful that they don’t lose ground in this new fluid environment.
owners. They see economic opportunity there and my
NR Egypt is a good example of this. You used the world
feeling is that this in no way diminishes the human
‘unclear’ several times. For many of us, the situation in
rights argument, it’s just another perspective that can
Egypt seems very unclear. In terms of women’s rights
help move this much-needed revolution forwards.
and many other rights, it seems like it’s going backwards.
NR We are living through a turning point politically
What’s your point of view on the situation there?
in Afghanistan, with a new constitution, but it doesn’t
IC I would not say that women’s rights are going
appear that women are part of the negotiations. How
backwards, but there are clearly very strong voices
can we make sure the country will move forward with
in the Egyptian political scene today that are against
more consideration for women’s rights?
some of the laws that have been passed in recent years
IC I think we have reason to be concerned that women
that benefit women. They have stated their intention
to roll back and change those laws, particularly in
the largest oil reserves, it’s just very difficult for
the sensitive area of family rights. There have been
countries to be prosperous when they do not invest
changes that have been made to family law over
in half their population. Again, that’s something we
recent decades that have given women more rights
should be concerned about. Countries that are on
in areas of divorce, custody and marriage, and these
a downward spiral that have high levels of poverty
types of things are contested on religious ground by
and instability and very high population growth rates
religious parties. With the rise of new political parties
that outstrip the natural resources of the countries –
and the discussions on constitutional reform, we’ve
these countries cannot sustain their own population
seen debates on whether women should be allowed
and it causes human catastrophes and enormous
to run for president, and there have been strong
dislocations. We’re seeing a famine in Somalia again;
voices within the Muslim Brotherhood, for example,
in the 21st century the world is experiencing a very
saying it is against Islam for a woman to be a leader.
severe famine, with upwards of maybe three million
But there have been other voices within the Muslim
people at risk of dying. That is a human catastrophe,
Brotherhood saying women can be leaders, that they
and the role of extremists in the horn of Africa has
fully support women having a role in society. So you
clearly exacerbated that situation.
can see there are deep tensions on these types of questions, even within the Muslim Brotherhood itself.
NR In what sense? IC Well, it’s exacerbated the situation because when
NR When it comes to Egypt, we hear that religious
people in Somalia are trying to go about their daily
parties are asking for Sharia law to be reinstated. The
lives, they are over-harassed from all sorts of activities
word ‘Sharia’ sounds scary for Westerners, it sounds
that are just part of the daily regime. For example,
like the next step is Jihad. Should we be afraid of Sharia.
women wearing bras, this is the type of thing they
What does it really mean?
have been focusing on and brutally enforcing on the
IC I think what’s important to understand is that
streets of Mogadishu and towns all around Somalia
Sharia has been part of the Egyptian legal and political
that they control. And while people are literally
system for centuries so it’s not something brand new
starving it’s also of course the fact that al-Shabab has
that’s been introduced. The question is what role will
engaged in terrorist activities that have complicated
Sharia have? There are very conservative Islamic
the delivery of aid and food aid, because NGOs are very
groups that say Sharia should define everything and
reluctant to be accused of letting aid get into the wrong
others that say it should be a source that we look to
hands. Again, this is not a new problem, this has been
as we always have but not the source of law. There
going on for decades in Somalia. Warlords and now
should be multiple sources of law. Really, what we’re
radical Islamist groups have controlled the flow and
talking about here, is not whether Sharia will be in
distribution of aid and it has tremendously hampered
the Egyptian system but what kind of Sharia and
humanitarian relief efforts.
how much Sharia, and there are, I think, some very radical voices today that want a theocracy and they are talking about setting up Sharia councils that base every single law on religious grounds. That’s what you have in a country like Saudi Arabia or Iran. Polls show that Egyptians are very wary of theocracy and that’s not what they’re looking for. They do look for a system that includes Sharia but that’s not necessarily dominated by it, and that’s a very important distinction. And I’m going to use the word unclear again – it is unclear how the Egyptian system will evolve and how this will play out. But there is reason to be nervous because there are some forces that are pushing in that direction. It is important for the Western world to understand that in Africa, and in the Middle East, and more specifically in countries like Iraq or Afghanistan, where we’re very involved,
NR You established a link between gender inequality and extremism. The more women are denied basic rights, the more religious extremism develops. Shall we look at women’s rights as an indicator of the development of extremism in the Muslim world? IC Well, what I like to say is that extremist views on women go hand-in-hand with extremism. And by that I mean, anybody who thinks that it’s OK to burn down a girls’ school to stop girls from being educated is an extremist. Somebody who thinks it’s OK to assassinate a woman because she’s in public office is an extremist. Yes, those are examples of violence, but then there are the extremist attitudes – the very harsh gender segregation, where women are not allowed to be in public places, they’re not allowed to be seen by a doctor if the doctor’s not a woman. And the fact is, there aren’t any female doctors in a lot of these places
the situation of women is actually something we’re
so it’s really a death sentence for women if they’re
concerned about, because it also concerns the
not allowed to be seen by a male doctor. These are
security of our territories. It concerns security, it
extremist attitudes that I think give rise to broader
also brings us back to economics. I mean, countries
extremism and so, in many respects, attitudes towards
that deny a full role for half of their population are
women are like the canary and the coal mine. They’re
never going to be prosperous, thriving countries, it’s
an indicator, a marker, of where a society is going.
impossible. Unless of course you’re blessed with
Rentierkopf (Reindeer Head) signed, numbered and dated ‘Carsten Höller 2010 e.d. II/X’ (lower margin) colour screenprint image: 21 1/2 x 19 1/2 in. (54.5 x 49.5cm.) sheet: 30 5/8 x 27in. (77 x 68.5cm.) Executed in 2010, this work is number two from an edition of ten Donated by the artist. £1,000-2,000 / US$1,600-3,000
“It’s in the village where your mother has been killed by the poison, that you have built your house with.” — Ancient proverb from Bas-Congo
Born in Brussels, 1961; lives in Stockholm. Höller holds a doctorate in agricultural science and only started to produce art in the late 1980s. His training as a scientist is reflected in his work as an artist, which often allows the viewer to become the subject of an experiment. Höller is probably best known for his ongoing series of slides, which he started in 1998 and includes Test Site (2006), a massive installation for The Unilever Series at Tate Modern, London. What interests him regarding this work is the visual spectacle of watching people sliding and the ‘inner spectacle’ of simultaneous excitement and anxiety experienced by the sliders themselves. In 2008, Höller, in collaboration with Fondazione Prada,
nightclub, The Double Club, in London. Open only for six months, the club combined Western and Congolese culture and fifty per cent of its profits were donated to the City of Joy charity, which generates specialized projects to help abused women and children in the Democratic Republic of Congo. At his 2010/11 show at the Hamburger Bahnhof in Berlin, visitors could pay 1,000 euros for a night on an exposed circular platform perched above 12 castrated reindeer, 24 canaries, eight mice and two flies. His quest with this show, entitled Soma, was to recreate the mystic, elusive elixir of soma, which – according to Hindu scriptures – grants access to the kingdom of the gods and untold happiness and wealth. Höller has exhibited internationally over the last two decades, including at Fondazione Prada, Milan (2000), the ICA Boston (2003), Musée d’Art Contemporain, Marseille (2004) and Kunsthaus Bregenz, Austria (2008). In 2006, he represented Sweden (with Miriam Bäckström) at the 51st Venice Biennale. He is represented by Gagosian and Air de Paris.
Hotel (Ten Thousand Waves) Endura Ultra print 7 70 7/8 x 94 1/2in. (180 x 239.8cm.) Executed in 2010 Donated by the artist. ÂŁ20,000-30,000 / US $31,000-45,000
ISAAC JULIEN “My recent work Ten Thousand Waves, explores the plight of the Fujian workers who came to England in search of a better life and died just struggling to survive. I fully support the aims of Women for Women who help members of communities have the freedom to create a better life for themselves and reach their full potential.”
Born in London, 1960; where he currently lives. Julien is an installation artist and filmmaker. Drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, he is famous for breaking down the barriers that exist between different artistic disciplines. After graduating from St Martin’s School of Art in 1984, where he studied painting and fine art film, Isaac Julien founded the Sankofa Film and Video Collective and co-founded Normal Films. He came to prominence in the film world in 1989 with Looking for Langston, a poetic documentary about Langston Hughes and the Harlem Renaissance, a cultural movement spanning the 1920s and ’30s. Julien was nominated for the Turner Prize in 2001, for his films The Long Road to Mazatlán (1999), made in collaboration with Javier de Frutos, and Vagabondia (2000), choreographed by Javier de Frutos. Other works include Frantz Fanon: Black Skin, White Mask (1996) and Young Soul Rebels (1991), which was awarded the Semaine de la Critique prize at the Cannes Film Festival the same year. The piece presented here belongs to his series Ten Thousand Waves a 9 screen video installation that features Maggie Cheung, Yang Fudong and Zhao Tao represented in this image. Julien was the recipient of both the prestigious MIT Eugene McDermott Award in the Arts (2001) and the Frameline Lifetime Achievement Award (2002). In 2003, he won the Grand Jury Prize at the Kunstfilm Biennale in Cologne for his single-screen version of Baltimore. Most recently, he has had solo shows at the Pompidou Centre in Paris (2005), Museum of Contemporary Art, Miami (2005) and the Kerstner Gesellschaft, Hanover (2006). Julien is represented in the Tate Modern, Centre Pompidou, Guggenheim and Hirshhorn Collections. He is represented by Victoria Miro Gallery.
Untitled (Woman with Net) pigment printed silk 80 x 58 1/2in. (203.1 x 148.5cm.) Executed in 2011 this work is number one from an edition of two Donated by the artist. ÂŁ5,500-7,500 US$8,300-11,000
â€˜There is still a lot of work to be done to improve the condition of women around the world, and I am supportive of organizations like Women for Women International that make this work central to their mission.â€™
Born in 1972; lives in New York. Servane Mary has emerged as one of the most promising figures in the revival of painting in the New York art scene. While her work is part of the dialectic around the use and translation of photographic imagery in painting, its content usually refers to women: as icons, objects of contemplation and desire, as figures of survival when captured in the turmoil of war and history. Servane Mary is a supporter of Women for Women International, whose mission echoes the personal concerns of the artist and the topic of her paintings. This portrait is part of a series of twenty-two depicting iconic female figures. It portrays an English spy from World War II. The series wonders about the role of women who have left the prescribed route and become involved in political action and/or madness and its depictions of female figures are related to concepts of life, death and beauty. The image was drawn from the internet and pigment-printed on silk. A second layer, merging with the black-and-white photograph of the woman, is a net that has been soaked in coloured inks. It hangs from its top corners pinned directly to the wall, the stress lines of the soft material becoming part of the composition. She is represented by Martos Gallery.
French Carpet 2010 Ballpoint pens on canvas 79.9 x 55.5 in. / 203 x 141 cm. This piece will be sold privately out of the Christieâ€™s auction. Please contact us
Born in Boui, Russia; 1966; lives and works in Paris. After completing his studies at the Special School of Arts-Plastiques in Boiu in 1980, Molodkine continued his education at the College of Arts, Krasnoie-sur-Volga from 1981 and 1985. Following his studies he entered into military service for two-years, a period when he assisted with delivering crude oil shipments to the northern reaches of Siberia. His military tasks undoubtedly influenced his later work, which are sculptures and installations made from acrylics, crude oil and ball point pen on canvas. Molodkineâ€™s work generates dialogue and talking points about the role of crude oil in societies, particularly western societies national dependency and identification with this natural resource. His massive canvas drawings and acrylic installations also
religious images and conflicts between economies, politics and religion. In his 2009 exhibition, Oil Evolution, Molodkine commemorates the 200th anniversary of Charles Darwin with installations of Primate, Australopithecine and Homo Sapien acryliccast skulls joined together by tubes that circulate crude oil. The installation attempts to reconstruct the descent of man suggesting that oil and not DNA now transmits the virtues of generations and is the new symbol of national identities. Since 1999, Molodkineâ€™s ballpoint pen drawings and acrylic and crude oil installations have arrested art critics and admirers the world over. He has exhibited works in galleries including: The Marble Palace, Russian State Museum, St. Petersburg (2001); Kashya Hildebrand Gallery, New York (2003); Orel Art Gallery, Paris (2006); Orel Art Gallery, London (2009). His work also appears in the permanent museum collections, such as The Rosenblum Collection, Paris, France; Collection of The State Russian Museum, Saint Petersburg; Collection of Schusev State Museum of Architecture, Moscow; Collection of S. Freud Museum, Saint Petersburg. He is represented by Orel Galerie, Paris, Art Sensus, London.
Women on their farm in Mwandiga afwfw_15-9_FINAL_A.indd 42
Extracts from Half the Sky: Turning Oppression into Opportunity for Women Worldwide By Nicholas D. Kristof and Sheryl WuDunn
In the nineteenth century, the central moral challenge was slavery. In the twentieth century, it was the battle against totalitarianism. We believe that in this century the paramount moral challenge will be the struggle for gender equality in the developing world. ‘I don’t know why I was released and my sister killed, said Claudine Mukakarisa, a genocide survivor from Butare, Rwanda. When [Rwandan President] Kagame’s army defeated the genocidaires, the Hutu militia fled to Congo – but took thirteen-year-old Claudine and her sister along as well. Militia members killed her sister but finally let Claudine go...Probably it was because she was pregnant. Claudine was puzzled by her swelling belly, as she still had no idea about the facts of life. ‘I had thought I could not get pregnant, because I had been told that a girl becomes pregnant only if she is kissed on the cheek. And I had never been kissed.’ Claudine’s overriding characteristic is the determination to survive with her child. Over time, she found that she could get jobs gardening or washing clothes, typically earning about 60p for a day’s work. [Women for Women supporter] Murvelene’s sponsorship gave new hope to Claudine and her child. Women for Women classes are devoted to vocational training, to teach women skills that will bring them an income for the rest of their lives. And, the women attend classes on health, literacy, and human rights. One aim is to make the women more assertive and less accepting of injustices. Murvelene, a forty-one year-old woman from Brooklyn, said of her commitment to Claudine, ‘If I’m lucky enough to be able to help her, and she can lift herself out of the position she’s in, and lift up her family members or other people around her, to me that’s really important. And for me, it was a way to get out of myself. A lot of times, you forget how fortunate you are here, never really needing anything.’ Women for Women International is effective because it touches people at the grassroots level. This kind of bottom-up approach in development work has repeatedly shown its superiority in bringing about economic and social change. Nicholas D. Kristof and Sheryl WuDunn are the first married couple to win a Pulitzer Prize in journalism; they won for their coverage of China as New York Times correspondents. Mr. Kristof won a second Pulitzer for his op-ed columns in the Times. He has also served as bureau chief in Hong Kong, Beijing, and Tokyo, and associate managing editor. At the Times, Ms. WuDunn worked as a business editor and as a foreign correspondent in Tokyo and Beijing. They live near New York City.
Color of God signed, titled and dated in Farsi; signed, titled and dated ‘2011 Farhad Moshiri “COLOR OF GOD”’ (on the reverse) hand embroidered beads and acrylic on canvas laid down on board 67 1/4 x 59in. (171 x 150cm.) Executed in 2011 Donated by the artist. £40,000-60,000 / US$61,000-90,000
FARHAD MOSHIRI ‘I believe in the power of Hope. It is this very Hope which Women for Women International provides to thousands of women, survivors of conflict, around the world. Hope translates into enablement and opportunity. That is all that counts.’
Born in Shiraz, Iran, 1963; lives in Tehran. A graduate of the California Institute of the Arts, where he studied art and filmmaking, Farhad Moshiri is now one of the major figures in the art world to have emerged from the Middle East. He first rose to international acclaim with his series of jar paintings, followed by a series of highly textured works incorporating both calligraphy and abdjad, an ancient Arabic clerical code correlating letters and numerals. Moshiri has since been constantly pushing his materials, using cake-icing dispensers, Swarovski crystals and knives to make paintings that incorporate increasingly textural and sculptural approaches. But it is not Moshiri’s technique that has earned him the attention that he currently attracts; rather, it is his mastery of Iranian visual vernacular, as well as his acute awareness of popular culture and art history. The inspiration for the piece shown here came when he was stuck in one of the legendary Tehran traffic jams, facing the back of transportation trucks bearing multi-coloured decals, many of which had religious quotations. This made him think of a famous verse in the Koran, which debates whether or not God has a colour. ‘Of course I start devising this piece in my head, applying the “Farhad cynical signature” to the debate in question!!’ He is represented by the Third Line Gallery, Dubai.
Untitled signed and dated ‘Louise Nevelson 1956’ (lower right) wood and cardboard collage on board 36 x 24in. (91.4 x 61cm.) Executed in 1956 Donated by Milly and Arne Glimcher. £8,000-12,000 / US $12,000-18,000
LOUISE NEVELSON “Milly & I fully support the work of Women for Women International as until there is gender equality, there is no freedom for anyone.” —Arne Glimcher
Born in Kiev, 1899; died in New York, 1988. Nevelson was a sculptor whose career spanned over 60 years. Influenced by Marcel Duchamp’s foundobject sculptures, she created wooden wall pieces, consisting of multiple boxes and compartments that hold abstract shapes and found objects. She is credited with expanding debate in the feminist art movement, thanks to her large-scale, edgy work, which was associated with masculinity at the time. Nevelson emigrated to America with her family in 1905. In the late 1920s, she attended art classes at the Art Students League of New York, before travelling to Munich in the early 1930s to study Cubism under Hans Hofmann. This greatly influenced her later totemic monuments. Her first solo exhibition was at the Nierendorf Gallery, New York, in 1941. In 1959, Nevelson took part in her first big museum exhibition, Sixteen Americans, at the Museum of Modern Art, New York, and the Martha Jackson Gallery gave her a solo show. Three years later, she was included in the 31st Venice Biennnale. Nevelson was elected president of the National Artists Equity in 1965 and became vice-president of the International Association of Artists in 1966. Her first major museum retrospective took place in 1967 at the Whitney Museum of American Art, New York. Hailed as one of America’s foremost artists, Nevelson was a prolific figure in the international art scene and her work is found in major museums and private collections around the world. The Louise Nevelson Estate is represented by Pace Gallery.
Untitled signed and dated ‘M Odenbach 2011’ (lower right); signed, inscribed and dated ‘”Frauen für Frauen” Marcel Odenbach 2011’ (on the reverse) paper collage and ink on paper 14 1/4x 18 7/8in. (36.2 x 48cm.) Executed in 2011 Donated by the artist. £1,000-2,000 / US$1,600-3,000
Born in 1953; Cologne, Germany, where he also currently lives, Marcel Odenbach studied architecture, art history and semiotics. In the late ’70s, he started using moving images in his work, alongside installations, performances and drawings, to examine the cultural identity of his native country. Between 1992 and 1998, Odenbach was a very influential figure as a professor of media art at the Karlsruhe University of Arts and Design. He created this collage especially for the Artists for Women for Women International auction and this is what he says about his practice :‘For me, a German, collage as a form of expression is particularly interesting. First of all, I am returning in formal terms, as well as subject matter, to the tradition of the 1920s and ’30s in Germany, represented by artists such as Kurt Schwitters, George Grosz and John Heartfield. Secondly, I refer back to my early experiences of reminiscences and public memory, of the almost traumatic confrontation with post-war Germany. As a child in the early 1950s, I acquired a feeling for the past based on individual pictures, photos and film sequences and, later, I developed a vision of past events. I discovered only scraps of information, scraps not connected to each other in any way, since not only had the majority of the material not been published at that point, much of it was prohibited. As an artist, I was left to confront the past on my own. Like a detective, I put together the fragments that I found, and had to tie the private stories told to me together with the official pictures. Relatively early on, I realized that aside from the facts and interpretations, various realities also existed. Collage at that time made it possible for me to construct my own manner of understanding history.’ Odenbach is one of Germany’s most important artists. His work has been shown in museums around the world, including the Museum für Moderne Kunst, Frankfurt, the New Museum, New York, the Museo Nacional Centro de Arte Reina Sofia, Madrid, and The Institute of Contemporary Art, Boston. He is represented by Anton Kern Gallery.
The Stein’s Collect and Flowers signed, titled, inscribed and dated ‘The Stein’s Collect and Flowers, Berlin (Catalog) Elizabeth Peyton AUGUST 2011’ (on the reverse) pastel and coloured pencil on paper 11 5/8 x 8 1/4in. (29.7 x 21cm.) Executed in 2011 Donated by the artist. £10,000-15,000 / US$16,000-23,000
“Even in the developed world it can be a struggle for a woman to feel her own strength and have an equal chance in moving forward in the world… I know in my own life it is very important to feel like I am being treated equally and have the same opportunities... It is very nice to think that some work of mine by making money could help someone attempting to do the same under much harsher circumstances.”
Born in Danbury, CT, 1965; lives in New York and Berlin. She studied at the School of Visual Arts, New York City, before achieving recognition in the 1990s. She is now among the most celebrated painters of her generation. Though the subjects in Peyton’s paintings vary, the main focus of her art remains remarkably consistent. Her interest is in people who, whether through their actions, their art or their lives, mark their time and shape our culture. In the drawing The Steins Collect and Flowers, 2011, Peyton overlays an image of Henri Matisse’s Woman with a Hat with a large vase of flowers. Framed and partly obscured by the flowers, Amélie, Matisse’s wife, looks out to us. Peyton’s drawing captures a moment that is at once historical and absolutely present, allowing its audience to access a figure from the past whose fierce gaze meets and returns our own. The inspiration for the drawing emerged when Peyton read in the Autobiography of Alice B Toklas by Gertrude Stein about Gertrude and her brother buying the painting that is on the cover of The Steins Collect catalogue from Matisse. It is one of the first paintings he sold and it is of his wife. ‘I went to see The Steins Collect show in San Francisco and saw the painting. Later I was thinking about the life of that painting, the moment between his wife and him, and then the Steins seeing it at the Salon and buying it and having it on their walls, and on and on and ending up on the cover of the catalogue that was sitting on my table in Berlin with some flowers. I was thinking about time and painting.’ She is represented by Gavin Brown, New York and Sadie Coles, London.
Infection 5Y2F velcro, neon, cable and transformers 129 7/8 x 27 5/8 x 33Ωin. (330 x 70 x 85cm.) Donated by the artist. £12,000-18,000 US$19,000-27,000
TOBIAS REHBERGR “Tout pour les femmes”.
Born in Esslingen, Germany, 1966; lives in Frankfurt and Berlin. Rehberger is known for his sculptures, environments, furniture and ceiling installations. Drawing from the everyday, he alters ordinary situations and objects with which we are familiar to explore the relationship between function and aesthetics. After studying at the Staatlichen Hochschule für Bildende Kunst – Städelschule in Frankfurt am Main, Rehburger started to develop his unique style in the early 1990s. For an installation at the 50th Venice Biennale in 2003, he created a canopy of glass lamps that were activated from locations around the world, including a pumpkin field in Romania and a derelict Burger King in Kyoto. At the 53rd Venice Biennale in 2009, he was awarded the Golden Lion for best artist, for a visually disorienting cafeteria made up of a complex scheme of geometric forms and contrasting colours. As a prominent artist of his generation, he has received international critical acclaim and exhibited at major galleries around the world, including the Friedrich Petzel Gallery, New York, the Stedelijk Museum, Amsterdam, the Whitechapel Art Gallery, London and the Museo Nacional Centro de Arte Reina Sofia, Madrid. He is represented by Friedrich Petzel Gallery, New York.
Rose Rose 10 signed, titled and dated ‘ROSE ROSE 10 Riley 2011’ (on the stretcher) oil on linen 32 1/4 x 27in. (81.8 x 68.5cm.) Painted in 2011 Donated by the artist. £60,000-80,000 / US$90,000-120,000
Born in London, 1931; lives in London. Riley is one of the most significant painters of our time and one of the foremost proponents of Op Art, a style of visual art that makes use of optical illusions. Her artistic education began at Goldsmiths college in 1949 and she continued her training at the Royal College of Art, where her fellow students included Peter Blake and Frank Auerbach. In the late 1950s, she started to hone the style for which she is best known – blackand-white paintings that explore the dynamic effects of optical phenomena. This work made up her first solo exhibition at Gallery One in London (1962). In 1965, she exhibited in New York, at the Museum of Modern Art’s show, The Responsive Eye, which propelled Op Art into the media spotlight. In 1967, Riley began experimenting with colour, inspired by the colourful hieroglyphic decoration she came across during a trip to Egypt. Since then, her practice has examined the perception of nature through colour and form. Riley has stated, ‘the eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift... One moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.’ Riley is noted for constructing a plastic pictorial space between the canvas and the viewer, creating spatial relationships using a distinctive palette and a vocabulary of shapes that is continually evolving. In 1968, she became the first woman to win the International Prize for Painting, while representing Great Britain at the Venice Biennale. She holds honorary doctorates from universities including Oxford and Cambridge. Riley was made a CBE in 1974 and, in 1999, was awarded the Companion of Honour. In 2009, she received the Goslar Kaiser Ring, one of the world’s most prestigious art prizes. Major exhibitions have included the Hayward Gallery, (1970 and 1992–94); a British Council touring retrospective in the USA, Australia and Japan (1978–80) and retrospective exhibitions at Tate Britain (2003), the Museum of Contemporary Art, Sydney (2005), and the Musée d’Art Moderne de la Ville de Paris (2008). She is represented by Karsten Schubert.
Umbilical signed and dated ‘Saville 2011’ (lower right) charcoal on paper 51 3/4 x 77 7/8in. (131.5 x 198cm.) Executed in 2011 Donated by the artist. £80,000-120,000 / $120,000-180,000
“The ability to feel the right to make a decision about the future of your life is in itself empowering and lies at the heart of the work of Women for Women International. A human culture where all it’s citizens have access to knowledge, can freely express themselves and can participate in shaping it’s future must be a richer one.”
Born in Cambridge, England, 1970; lives in Oxford. During her BA studies at the Glasgow School of Art in 1990 Saville exhibited at the Royal College of Art. As a young graduate in 1992 she showed paintings at Critics Choice in Edinburgh and at London’s Cooling Gallery. Between 1992 and 1993 she studied at the Slade School Of Fine Art where her senior show caught the attention of the prolific English art collector, Charles Saatchi. Saatchi purchased her entire collection, and for the next two years commissioned work from her for his collection. Many believe this to have catapulted her burgeoning career. Since her debut in 1992, many have become familiar with Saville’s larger-than-life paintings of bulky women, transsexuals and transvestites, and traumainflicted naked figures. Much of her early inspiration is believed to originate from her six-month stay at the University of Cincinnati, where she observed the physicality and skin of ‘large women’. She also spent time in New York observing plastic surgery operations. Saville credits her interest in large or grotesque physicality to Pablo Picasso’s bulky, short figures, and combines similar contours, angles and sensuous surfaces to the distressed bodies that fill her canvases. Her current exhibition at Gagosian Gallery at Madison Avenue entitled, Continuum, is her first in New York since 2003. Other sensational world-wide exhibitions include: Memorial Art Gallery, University of Rochester, Rochester, NY in (2010); Museo d’Arte Contemporanea, Rome (2005); The Nude In 20th Century Art, Kunsthalle Emden, Germany (2002). She is represented by Gagosian Gallery.
Transversal #1 etching on paper 90 x 48in. (228.6 x 121.9cm.) Executed in 2004, this work is number three from an edition of five Donated by the artist. ÂŁ5,000-7,000 / US$7,600-11,000
Born in San Francisco, 1939; lives in New York and Nova Scotia. Serra is known for his large-scale, immediately identifiable sculptures of sheet metal. Before pursuing a career in art, he studied English literature at the University of California, in Berkeley and Santa Barbara, graduating in 1961. Serra went on to study with Joseph Albers at Yale University School of Art and Architecture, before receiving scholarships and grants to continue his training in Paris, Florence and Rome. To support himself through his studies in California, Serra worked in the West Coast’s steel mills and shipyards. This experience strongly influences his work, much of which focuses on industrial materials. Many of Serra’s huge, site-specific installations challenge the viewer’s perception of his or her body in relation to interior spaces and landscapes, and his work often encourages movement in and around his sculptures. Serra has made a number of films concerning the manufacture and use of steel, and since 1971, he’s also produced largescale drawings using the paintstick, a large crayon comprised of a mixture of pigment, oil and wax. Recent projects include the eight-part permanent installation The Matter of Time at the Guggenheim Bilbao (2005) and a retrospective at the Museum of Modern Art, New York (2007), 20 years after his first major exhibition there in 1986. In 2008 he installed Promenade, a course of five massive vertical steel elements, each towering more than 50 feet high, at the Grand Palais in Paris for the Monumenta exhibition. In the same year, a survey of his drawings from 1989 to 2008, entitled Richard Serra: Drawings – Work Comes Out of Work, was exhibited at the Kunsthaus Bregenz, Austria. A drawing retrospective organized by the Menil Collection opened at the Metropolitan Museum of Art, New York, in April 2011. The exhibition will travel to the San Francisco Museum of Modern Art, where it will open in October 2011, as well as the to the Menil Collection, Houston, in 2012. He is represented by Gagosian Gallery.
Beans (Prohibited) archival Inkjet prints, in five parts 9 1/4 x 37 1/4 x 2 1/2in. (23.5 x 94.6 x 6.4cm.) Executed in 2010, this work is from an edition of four plus two artistâ€™s proofs ÂŁ3,000-4,000 / US$4,600-6,000
Born, New York, 1975; She was educated at Brown University and is a Guggenheim Fellow. In 2003, Simon released a collection of photos entitled, The Innocents, which surveyed the role of photography in the criminal convictions process. In this major work she documented stories of people that spent time in prisons for crimes they were
1000 items detained or seized from passengers and from express mail entering the U.S. from abroad. Simon used a labor-intensive, forensic photographic procedure to document a broad array of forbidden items, including the active ingredient found in Botox, counterfeit clothes and designer accessories, pharmaceuticals, jewellery, overproof Jamaican rum, drugs, items made from endangered species, Cuban cigars, animal parts, pirated DVDs, khat, gold dust, GBL (date rape drug), cow-manure tooth powder and steroids.
wrongfully convicted of committing. Between
Simon has been a visiting artist at Columbia
2008-2011, Simon travelled around the world from
University, Bard College, School of Visual Arts,
Bosnia to Brazil, Iraq and India, researching and
Parsons School of Design and Yale University. She
recording bloodlines and their related stories.
is also a regular photo contributor to publications
The body of work A Living Man Declared Dead
like The New York Times Magazine, The New Yorker,
NPR and the BBC.
between violence, chance, blood, and other fatal components and features Saddam Hussein’s son, Uday’s body double, feuding families in Brazil, victims of genocide in Bosnia, and the living dead in India. The work is both arbitrary and cohesive.
Contraband includes 1075 photographs of over
Collections of Simon’s work can be found in museums around the world, including: the J. Paul Getty Museum, Los Angeles; Metropolitan Museum of Art, New York: Victoria and Albert Museum, London; Centre Pompidou, Paris; Media Museum,
The work presented here belongs to the series
Bradford, United Kingdom; Museum of Fine Arts,
Contraband. For five days in November 2009, Simon
Houston, TX; San Diego Museum of Contemporary
lived at John F Kennedy International Airport,
Art, CA; Whitney Museum of American Art, New
which processes more international passengers
York; Los Angeles County Museum of Art; Tate
than any other airport in the United States. The
Modern, London; Goetz Collection, Germany; High
exhaustive pace at which she photographed
Museum of Art, Atlanta, GA; Museum für Moderne
paralleled the twenty-four hour rhythm by which
Kunst, Frankfurt, Germany. She is represented by
goods move across borders and time zones.
Gagosian Gallery and Almine Rech, Paris/Brussels.
Black humor (2 parts) woodcut on paper, in two parts (i) 28 3/4 x 22 3/4in. (73 x 57.8cm.) (ii) 19 x 15in. (48.2 x 38.1cm.) Executed in 2004, this work is number one from an edition of three Donated by the artist. ÂŁ2,500-3,500 / US$3,800-5,300
Born in Schwerte, Germany, 1952; lives in Cologne, Germany. After training at the Kölner Werkschulen from 1974-1978, Trockel went on to become one of the most important and influential players in Germany’s contemporary art movement. Much of her drawings, videos, installations and fabrics identify and examine women’s place in society, particularly women in the world of art. Her 1985 work, Knitting Pictures garnered her international attention and fame for sardonically countering the hand-made, home-spun women’s crafts of the 1970s by replacing them with machine-produced knitting pictures with repeated logos or patterns like a hammer and sickle and Playboy bunnies. As a public figure Trockel is a professor at Staatliche Kunstakademie Düsseldorf where she has been teaching interdisciplinary art since 1998. In 1995, she was invited to create the Memorial Frankfurter Engel in Frankfurt am Main, Germany; and on multiple occasions she has represented Germany at the Venice Biennale in 1999, 2003 and again in 2011. Her work has been praised in particular in New York City, where she has had several exhibitions including Metamorphoses and Mutation (2001) organised by the Musée National d’Art Moderne, Centre Georges Pompidou, Paris for at The Drawing Center in New York; and her 2003 video installation, Spleen for the The Dia Art Foundation in New York City. Of the many videos shown at this exhibit was Manu’s Spleen III (2001), alluding to the idea of female hysteria as the camera pans on several women laughing uncontrollably. Trockel’s
the world in private and public galleries and museums, including the Sprüth Magers in Berlin and London; The Museum of Fine Arts, Boston; National
Pont Foundation for Contemporary Art, Holland; Dia:Chelsea, New York City; Harvard University Art Museums, Massachusetts; Kunstmuseum Basel, Switzerland; Staatsgalerie Stuttgart; Tate Gallery, London; and the Walker Art Center, Minnesota. She is represented by Gladstone Gallery, New York and Sprueth Magers, Berlin/London.
Who’s Afraid of Virginia Woolf? (Double Portrait After Man Ray) Inkjet print on canvas with metallic embroidery in artist’s frame 11 7/8 x 11 7/8 in. (30 x 30cm.) Executed in 2011, this work is unique Donated by the artist. £18,000-25,000 US$28,000-38,000
FRANCESCO VEZZOLI “I think that the female presence in my works is linked to the very strong — and very protective— relationship I have with my mother. The presence of the mother figure is very intense, and I believe that in every work I am trying to recreate this pattern. It could be an unresolved Oedipus Complex and all these women I represent in my works embody “the mother” every single time. I always think about figures like Cassandra, a very specific archetype of femininity within the Greek tragedy, where the women were a symbol of pain, vengeance and truth at the same time. These are my roots, that’s what I studied the most.”
Born in Brescia, Italy, 1971; lives in Milan. The provocateur par excellence of his generation, Vezzoli was educated at the Central St Martin’s School of Art in London. His work reflects the mythological and grandiloquent aspects of his Italian heritage and is characterized by glamour and extravagant mise-en-scène. Vezzoli explores the role of cultural icons in the popular psyche. His films, performances, photographs and embroidered paintings usually feature celebrities – Natalie Portman, Cate Blanchett, Catherine Deneuve, Lady Gaga, Claudia Schiffer – treated as the goddesses of our postmodern, media-dominated era. ‘I think that the female presence in my works is linked to the very strong – and very protective – relationship I have with my mother. The presence of the mother figure is very intense, and I believe that in every work I am trying to recreate this pattern. It could be an unresolved Oedipus Complex and all these women I represent in my works embody “the mother” every single time. I always think about figures like Cassandra, a very specific archetype of femininity within the Greek tragedy, where the women were a symbol of pain, vengeance and truth at the same time. These are my roots, that’s what I studied the most.’ (from Germano Celant, ed., Francesco Vezzoli, exh. cat., Fondazione Prada, Milan, 2004) For his last exhibition, Sacrilegio, at Gagosian Gallery in New York City (2011) he transformed the space into a chapel filled with Renaissance paintings of the Mother and Child embellished with needlepoint, featuring actresses and supermodels adorned with make-up and tattoos and crying large, elongated tears. His work has been exhibited at many institutions including the New Museum of Contemporary Art, New York (2002), Fondazione Prada, Milan (2004 and 2005) and Tate Modern, London (2006). Past performances include Right You Are (If You Think You Are) at the Solomon R. Guggenheim Museum (2007) and Ballets Russes Italian Style (The Shortest Musical You Will Never See Again) at the Museum of Contemporary Art, Los Angeles (2009). He is represented by Gagosian Gallery.
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ARTISTS WOMEN WOMEN INTERNATIONAL Nadja Romain and Jenny Saville gratefully thank... ...the artists for their commitment to our efforts to empower the lives of women in war-torn countries Matthew Barney, Cecily Brown, Chuck Close, Michael Craig-Martin, Tacita Dean, Tracey Emin, Teresita Fernández, Antony Gormley, Carsten Höller, Isaac Julien, Servane Mary, Andrei Molodkine, Farhad Moshiri, Louise Nevelson (from the collection of Arne Glimcher), Marcel Odenbach, Elizabeth Peyton, Tobias Rehberger, Bridget Riley, Jenny Saville, Richard Serra, Taryn Simon, Rosemarie Trockel, Francesco Vezzoli
...the Christie’s Team Lock Kresler, Zoe Ainscough, Masa Al-Kutoubi, Alexandra Hain Carolyn Hodler, Sarah Patrick, Chris Petre, Louisa Roberston, Alexandra Robinson, Suzanne Shelley, Edward Tang, Nayrouz Tatanaki
...Gagosian London Gary Waterston, Henry Blackshaw, Cristina Colomar, Valerie Blair, Kate Brownbill, Hanna Freedberg, Zoë Santa-Olalla
...Gagosian New York Eugenia Ballve, Emma Cole, James McKee
...Gagosian Paris Serena Cattaneo
...the Honorary Committee to help us raise awareness Vanessa Arelle, Serena Cattaneo, Cristina Colomar, Barbara von Bismarck, Raphaëlle Bischoff Mollie Dent-Brocklehurst, Meredith Dunn, Maryam Eisler, Tania Fares, Christine Fisher, Donna Karan, Emily Lansbury, Joyce Ma, Pilar Ordovas, Almine Rech Picasso, Lauren Prakke, Nadja Swarovski, Natalia Vodianova, Dasha Zhukova, Mercedes Zobel
...Purple PR Gillian McVey, Julia Huff
...Act IV Rebecca King Lassman, Clarissa Bain, Bryony Harris, Juliet Simmons
...all the gallery representatives Rosalie Benitez, Molly Epstein, Caroline Luce, Gladstone Gallery Rachel Boyle, Emily Lambert, Jessica Pepe, Pace Gallery Corinna Durland, Lisa Williams, Gavin Brown Becky Haghpanah-Shirwan, Art Sensus Hiroki Haraguchi, Stephanie Smith, Lehmann Maupin Christiane Hardt, Grieger Marc Hartmann, Iris Scheffler, Friederike Schuler, Sprueth Magers Toby Kress, Dale McFarland, Frith Street Gallery Jose Martos, Martos Gallery Karsten Schubert
...the artists’ studio assistants Bryony McLennan, Laura McNamara, Antony Gormley Alan Murrin, Eimear O Raw, Tracey Emin Molly Taylor, Isaac Julien Maria Von Schantz, Carsten Höller Beth Zopf, Chuck Close Louie Lane, Cecily Brown Amanda Sim, Bridget Riley Luca Corbetta, Franceso Vezzoli Boris Raisin, Xavier Mazzarol, Elizabeth Peyton Trina McKeever, Richard Serra Women for Women International Kate Nustedt Brita Fernandez Schmidt Philippa Halliday Kaelan Sullivan Danielle Mason
...and special thanks to
Book designed by
Vincent William Gagliostro
for hosting the exhibition Artists for Women for Women International ...and to
Swarovski who have made this book possible ...and
Printed by fandg.co.uk
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ARTISTS FOR WOMEN FOR WOMEN INTERNATIONAL
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